The music industry is standing in solidarity with the rest of the world, shutting down for one day as part of a Black Out initiative to help prevent social injustice and racial inequality. With protests taking place across the world, this is the music industry’s way of contributing to mass efforts against racism in America. 

Black Out Tuesday is taking place tomorrow, June 2, 2020, and Eminem has officially announced that Shady Records will take a stand against social issues in America by participating.

“Shady Records will join in the observance of Black Out Tuesday on June 2, 2020,” wrote Em on Instagram. “On this day we will dedicate our time and efforts to help prevent social injustice and explore ways to assist in the fight against racial inequality.”

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Eminem attached a few resources that people can use to educate themselves on what’s happening, as well as ways for people to get involved the NAACP, Black Lives Matter, and more. 

“Join us in fighting for change,” added the rapper in his caption.

The legendary spitter has also addressed the continued threat of the coronavirus in Detroit, recording a message about how the city can stick together to stay safe in the wake of pandemic.

Big ups to Eminem for sticking with his community and doing what’s right on Black Out Tuesday.

Real really does recognize real. On Wednesday (May 27th), Eminem had some very kind words to say about his longtime friend and former Shady Records artist, KXNG Crooked. To celebrate the 20th anniversary of The Marshall Mathers LP, Em conducted a listening party of the hip hop masterpiece as well as a live stream chat with fans, where he answered questions and talked music. At one point, he was asked which rapper he thought was the most underrated, to which he responded, “KXNG Crooked.”

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Crooked, who was formerly signed to Em’s label for a period of time as a member of Slaughterhouse, was thrilled to hear about Em’s gracious co-sign. “That means a lot coming from a Jedi man,” he told HipHopDX. “I’m grateful for his willingness to speak positive things about me in public because he doesn’t have to. I guess sometimes it takes a master to recognize another one. Thanks for showing me because I know to thank him now.”

Crooked went on to post screenshots of the articles on Instagram, writing “Thanks Marshall” in the caption.

Most recently, Em and Crooked collaborated on the track, “I Will,” off the former’s latest album, Music To Be Murdered By. The track also included verses from Crooked’s former fellow Slaughterhouse members, Joell Ortiz and Royce Da 5’9.

Over their years as friends and collaborative partners, Eminem and 50 Cent have amassed quite a repertoire of classic tunes under their belt. From “Patiently Waiting” to “Don’t Push Me,” “Jimmy Crack Corn” to “Gatman & Robbin,” “Psycho” to “You Don’t Know,” the Shady and Fif connection has often manifested into dark and menacing bangers. It’s ultimately helped make them one of hip-hop’s surefire teams, never failing to deliver quality when called upon. It’s no wonder that fans hold their bromance in high regard to this day.

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And while it’s been a while since they united for a proper collaboration (the Ed Sheeran led “Remember The Name” notwithstanding), the friendship has remained as sturdy as ever. Today, Slim took to Instagram to proudly endorse 50’s latest endeavor, his new book Hustle Harder Hustle Smarter. 

Alongside the cover, Em channeled his inner infomercial in the caption: “Like he said: Get Rich or die tryin’!! Get my friend @50Cent’s new book Hustle Harder, Hustle Smarter to help learn how!” The kind gesture did not go unnoticed by 50, who came through in the replies to show some appreciation. “Thanks EM Love you dog,” he wrote, a departure from his traditionally hard-nosed Instagram antics. Such is the power of the 50 Cent/Eminem partnership — some things run deeper than rap. 

As we all figure out how to adjust to our new normal in these strange times, there are many different artists and brands starting up new initiatives to help get us through the COVID-19 pandemic. Considering just how far-reaching the pandemic is, and how deeply it affects day-to-day society, from jobs to daycare, it’s a given that many people are struggling. Still, there is hope, and there are certain figures that are instilling optimism across the country– and among those joining the fold, we can now count 1800 Tequila.

Just in time for Cinco de Mayo tomorrow, 1800 Tequila is kicking off a brand new live stream series, titled “Live From Inside,” that’s hosted by artists you know and love– Lauren Jauregui, Boogie, Chika and Kiane Lede are a few of the artists that 1800 Tequila is partnering with for this new digital series. 

The idea is, that you’ll not only get to have an artist host a live stream with the fans, but you’ll also get a new performance each time, alongside a guest mixologist who will be showing you how to create a few simple cocktails using 1800 Tequila liquor. Essentially, you’ll get all the trapping of a night out from the comfort of your couch. 

Before the digital event series kicks off tomorrow night with Lauren Jauregui, we hopped on the phone with Boogie to find out more about it, and his current quarantine situation. He tells us how he’s been keeping busy during quarantine– including making music and even learning a new instrument. We also touch on Eminem, Boogie’s label boss and collaborator, to find out more about their relationship, too, and Boogie’s recent string of collabs with TDE.

Check out our interview below, edited for clarity.

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HotNewHipHop: Hey Boogie

Boogie: Roseee, I miss you. How’re you?

Yeahhh, it’s been a minute, I wanted to do this myself cause I  haven’t talked to you in a while thought this would be fun.

Ye, once they told me it was you I got so excited.

How’re you doing out in L.A. right now?

I’m good, tryna keep myself busy.

So I guess this 1800 Tequila initiative will keep you busy?

Yeah for sure. I’m glad they hit me up about this. 

So can you tell me exactly what it is and what you’re going to be doing and what fans can expect?

Yeah, so basically what it is it’s a new live stream series of performances from different artists. It’s encouraging people to stay they a** at home and not go outside to be ignorant like everybody else. You can enjoy some 1800 cause that’s what we gone be drinking while we doing this. All the money is going directly to the people that’s affected by COVID-19, that’s what makes it so amazing because we just tryna reap the benefits of the situation. We know people affected by it. Hopefully it’ll cushion people a little bit. 

Cool. How have you been entertaining yourself during quarantine? What do you do day to day?

I have a kid who irritates me but keeps me busy, a lot. Besides that, I’m just tryna work. I’m not saying it’s a good situation but I’m tryna make the best out of it cause it forces me to actually sit inside and I get to know sh*t I’m lacking on, and face reality, so I’m kind of glad it happened in a way. 

Yeah for sure, I’ve been thinking about that too, you can use this time to build a new habit or just get something done that you’ve been putting off. 

Exactly. I picked up a piano. I’ve been playing the piano. I’m trying to learn how to play the piano. It’s kind of frustrating but I’m trying to embrace the challenge.

It’s going to stimulate your mind. You mentioned taking advantage of this down time, and it’s been a minute since you dropped your album on Shady. Is that in the works, like another album?

Yeah. Anybody who knows me, knows how much I overthink my projects. I always wanna make sure I improve from the last project ‘cause I feel that’s what’s keeping me alive as an artist. I keep getting better. I feel like my last project was so good, I kind of got to this point where I was like nothing is good enough and now I’m finally free. My thoughts just finally more free, and I just feel that’s how my life and my music work, it depends on where I’m at and that’s where I make the best music. 

I really loved your last album, the more I play it, the more replay value I get out of it. It just consistently goes up and up. I like that kind of album, it gets better with time.

Yeah, I wanted something that aged well. Our attention span is so short these days cause we get so much music everyday and every week, it’s hard to pick out songs and make sure I had something that did that. 

It’s rare just to find an album like that where it’s even better now from the first time I heard it. How has life been like since you’ve signed to Shady? Has anything changed for you?

What changed is it’s a lot of Eminem fans. They are probably one of the toughest fan bases in the world. If I’m not rapping fast sometimes, they get mad but then if I start rapping fast I disappoint my other fans [Laughs]. I’m tryna have a balance with my fans and all these new fans and make everybody happy. 

That’s so funny, I mean I don’t necessarily think of you as a fast rapper but you’re definitely lyrical, like low-key lyrical stuff that might impress the Eminem fans?

I put a lot of pride into my lyrics so…and my lisp is too big. I got a lisp, to be rapping all fast and sh*t, it’ll start sounding like I’m spitting. 

Do you talk to Eminem? Would you talk to him over the phone or text message? What’s a normal relationship, conversation for you guys?

When we talk it’s regular, he’s like a regular person. But when he calls, somebody else calls first and then they’ll be like ‘Marshall’s on the phone,’  and I feel like I’m about to talk to my teacher or something. 

Have you ever been to Detroit to visit him in the studio at all?

Yeah I have. When I first signed to him he flew me out. I been out there a couple times. 

As you work on the new album, is he involved or is he more hands-off?

What makes it great about him is he just lets me grow as an artist and let me do what I gotta do. If I need something from him I can always reach out. As far as my work I don’t really want other people influencing my ideas, I wanna get my own thoughts off, I don’t really involve too many people honestly.

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You haven’t put out anything yourself but you’ve been featured on a couple of songs recently, all with the TDE camp. You have “Trapped In” with Reason, I think it was released before the pandemic but it’s also kinda timely with the title.

It’s crazy how that hook is about being inside. We did that about a year and a half ago.

That’s so crazy. And then you have the one with SIR— have you been spending a lot of time with TDE camp in general? How did that relationship develop with the whole crew?

The thing with TDE, I think it’s a relationship that’s grown over the past few years. Me and Reason was friends before he got signed, I been watching him grow and helping him when I could. Me and SIR been homies for a minute. Of course Kendrick [Lamar] is from my neighborhood, I text him like a month ago. I’m just cool with all of them. We all from LA so it’s close-knit city, as far as the industry goes. 

Do you have any other records in the stash with TDE rappers? Is there something with Kendrick or ScHoolboy Q?

No, I wish. I would’ve been exposed that. No Kendrick record right now, just the Reason and SIR record. Me and Isaiah [Rashad] are actually finna work on something soon.

Once quarantine is over, who are you most excited to get back in the studio with?

When I get out of quarantine, I wanna work with… uhh. I don’t really be thinking about chasing features cause everybody I’m cool with I still be texting ‘em. Me and Jack Harlow have been working on some stuff, so that’s about it. 

What’s the first thing you wanna do when you can leave your house, not studio-related?

I wanna go to the spa. I want a facial, full body massage while I’m butt naked.

That would be sick. Okay cool, thanks so much for talking to me. We’re excited to check out the 1800 Tequila Live sessions.

Yeah make sure everybody know!

You’ll be able to catch Lauren Jauregui tomorrow on IG Live with 1800 Tequila at 9 pm EST/6 pm PST. Boogie will be hosting “Live From Inside” on May 11th, Kiana is following suit on the 17th, and Chika will be capping it off as the host on the 21st.

Westside Gunn’s vision as a curator has been widely regarded as second-to-none. It’s part of the reason why Griselda has somehow managed to blur the lines between midnight street violence and high-fashion luxury. Few have built such an impeccable brand. Simply put, it’s become increasingly easy for a wide variety of demographics to like the idea of Westside Gunn. An underdog story manifested with tangible results, the most recent milestone being an inspirational front-row seat at Paris Fashion Week.

Even though his brand of rap has become relatively niche in the contemporary soundscape, Gunn has managed to make it feel particularly wavy — though it often seems like the music itself is seldom thoroughly analyzed, given how appealing he is as an orchestrator. While it doesn’t ultimately matter why one might gravitate toward Westside Gunn, examining Pray For Paris on the basis of its musical merit alone reveals an artist at the height of his craft, exuding confidence, character, and creativity. And that’s not even shining a spotlight on the ad-libs, arguably Gunn’s most recognizable vocalistic component.

Pray For Paris features Westside Gunn’s most inspired rhyming to date. He’s previously suggested that Conway and Benny’s pedigree outweighs his own, though it would be unwise to underestimate Westside’s ability on the mic. His biggest strength lies in his ability to bring his world to life through use of slang and strategic non-sequiturs. His lyrics often rattle off in stream-of-consciousness fashion, tethering the layman to his reality through one or two recognizable images. “Rest in peace Vino, rest in peace Kino, the Spiegel, the seagulls, April fresh ego,” he raps on the DJ Muggs-produced “No Vacancy.” “Slam you on your neck like Bruno Sammartino.” The themes of luxurious violence unfold like red wine slowly seeping through a white carpet. “Welcome home Tito, you proud and sippin’ pinot,” he concludes. “My shooter shot five n****s in a row, we yell ‘bingo.’”

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Though he laments the idea of being pigeonholed as a rapper, it would be a shame to overlook Gunn’s effortless dominance as an emcee. Moreso than ever before he’s taking stylistic risks, exhibiting a newfound dexterity in his delivery. On “George Bondo,” produced by the in-house tandem of Beat Butcha and Daringer, Westside rhymes ably alongside Conway The Machine and Benny The Butcher, two rappers who easily tower over the average modern-day lyricist. Even amidst such company Gunn never falters, as he effortlessly weaves violent short stories into his stanzas. “You ever sold a hundred then spent it all in the same weekend?” he asks, firing off syllables in one of the album’s quicker schemes. “Razors leave your face leakin’ / Chill, let the Wraith creep, and the brick broke in eight pieces.” A writer with less imagination might have pulled back on the specificity; we can almost hear the skull cracking as the clay scatters atop the pavement. 

At this point, it almost feels redundant to praise Gunn’s curatorial abilities. He’s been murderous in that department for years — only now, following a slew of widely-publicized co-signs from Eminem, Jay-Z, Kanye West, and Virgil Abloh (signer of bricks), the volume of curious eyes has multiplied. But Pray For Paris would not be the success that it is on the strength of vision alone. Only a gifted emcee possesses the potential to maximize the masterful production from Alchemist, Daringer, DJ Premier, Beat Butcha, and DJ Muggs. If the instrumentals are the paint itself, Gunn’s is the practiced hand guiding the paintbrush. His ability to go bar for bar with elite emcees is all too often treated as an afterthought. Yet he does so time and time again, whether alongside his own Griselda compatriots on two standout cuts, the Freddie Gibbs and Roc Marciano assisted “$500 Ounces,” and the smooth posse cut “327” with Tyler, The Creator and Joey Bada$$.

Stylistically cut from the same cloth as Ghostface Killah and Raekwon The Chef, Gunn’s approach to cocaine rap and violent retribution is seldom pretty, a stark juxtaposition against his affinity for haute couture and high-priced memorabilia. His ability to simultaneously — and credibly — operate within two seemingly disparate planes of existence makes him a unique sort of narrator. One that enjoys the nature of the opulent flex but never allows it to tarnish his dedication to crafting raw hip-hop. Pray For Paris is very much a love letter to the craft, penned and signed entirely on a brick. The rare sort of art that a sincere knowledge of history can only enhance. 

The eternal shelving of Slaughterhouse‘s sophomoric Shady album Glass House remains one of hip-hop’s great tragedies, especially given that it doesn’t appear likely we’ll ever get our hands on it. Especially not after the way Joe Budden and Eminemwent from collaborators to rivals, exchanging shots on records and podcasts alike. Yet, perhaps foolishly to be sure, fans have decided to remain hopeful that Slaughterhouse will rise again — even if it is by way of a years-old release.

Speaking on the My Expert Opinion podcast, Royce opened up about the status of the lost project, and what might need to occur before it stands a chance at releasing. As expected, Joe Budden plays a pivotal role in the saga, though Royce is clear to absolve him of all the blame. “There wasn’t always an issue between Joe and Shady,” he explains. “The issue with Joe and Shady now is just the way he voiced his opinion about Marshall’s album. Marshall didn’t like that. It wasn’t because he had an opinion about Marshall’s album, it was the way he publicly voiced it. I actually had a problem with that too. But me and Joe spoke about it.” 

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Though Budden did apologize to Royce for putting him in an awkward position, Em has yet to receive the same treatment — a point that Royce is quick to point out. Even prior to the whole Revival-Gate incident, however, the Glass House album was facing a fair number of challenges. “There were things behind the scenes going on that brought certain vibes into the studio as well,” continues Royce. “Two people had some disagreements and some business dealings separate. I’m not gonna say who those two people were. And that caused a little something and then everybody in the group decided to go do separate albums.”

As for now, the group remains signed to Shady Records, inactive though they may be. “[Jpe] wants to get it released from Shady because he doesn’t want to release it through them,” says Royce. “But he’s basically saying he’ll still play ball. You know, ownership is a big thing to Joe right now. He’s evolving. Just in terms of understanding the importance of equity. He looks at the brand as something we built, which we did, you know.” As to whether Slaughterhouse will ever be able to come together on the same page, Royce isn’t entirely ruling it out – provided everybody is fully on board to commit.

“If we are not gonna do the album then I don’t even want to have conversations unless I know that everybody’s down to rap,” he clarifies. “I don’t want to force anybody to rap, man. Joe’s having a good time doing what he’s doing, Crook is super successful. Joell Ortiz just got married. I mean, I’m just happy where everybody is, where we are as men. I’m happy about that.”

After Conway The Machine drops his next three albums, the New York rapper is stepping away from the mic. He made the announcement last week with a brief statement on Twitter. “After FKTG, GDMM and EIF4, Conway out,” he wrote. Just weeks ago, we received Conway and The Alchemist‘s LULU EP, a seven-track offering that hip hop heads can’t stop streaming. Up next, Conway told Instagram Live viewers that he has some new music coming with Hit-Boy, albeit he didn’t share when we can expect that to reach our ears.

On Monday (April 13), Conway and The Alchemist sat down with Genius for a social distancing interview. The pair of artists discussed their collaborative record and what it was like working with one another. Conway recently teased that he was releasing a solo album on Shady Records, and he was asked what fans could expect from the project.

“That sh*t gon’ be probably the pinnacle of the motherf*ckin’ rap game in 2020,” he said. “That’s gon’ top off everything off nicely. It’s gon’ shake the pavement. I got probably 10 or 12 joints on that. I have zero features on there right now. I mean, I got [Westside Gunn] and [Benny The Butcher] on there, but outside of that, I have zero features.” He later added that Rapsody is “on the joint, too.”

“It’s that pain, it’s that raw emotion, my story, my life,” Conway said. He also shared that we should expect another project to drop later on this month. Check out Conway The Machine and The Alchemist chatting with For The Record below.

Though rappers announcing their retirement can occasionally feel like The Boy Who Cried Wolf, the ever-looming possibility of our favorite emcees hanging up the mic is a reality we must all contend with. For Conway The Machine, who has been one of the game's best lyricists of the past few years now, it would appear a timeline has already been set, albeit a loose one. 

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Taking to Twitter to break the news, Conway revealed that he had three more albums in him before calling it quits. "After FKTG, GDMM and EIF4, Conway out," he writes, much to the dismay of the game at large. In case you're wondering, Conway is referring to From A King To A God, his Shady Records solo debut God Don't Make Mistakes, and Everybody Is F.O.O.D 4. It should be noted that The Machine also has an upcoming project with Westside Gunn called Hall & Nash 2, though he neglected to elaborate on how that fits into the gameplan.

The news rings especially disheartening in the wake of Westside Gunn's own looming retirement in 2021, which means that the Griselda collective as we know it will be far less active in the years to come. At the very least, Conway won't be leaving us empty-handed -- look for more news on his upcoming solo projects as it surfaces. Do you feel like The Machine is sincere in his desire to retire? After all, this is hip-hop, where retirement talk is more often than not concluded with a resounding SIKE.

As Ebro Darden tells it during the onset of their Beats 1 conversation, Conway The Machine is looking “dapper even at the crib.” Clearly, the Griselda lyricist has been reaping the spoils of his prolific and triumphant musical run, which is set to continue this Friday with the release of Lulu; you can check out the Alchemist-produced, ScHoolboy Q-assisted “Shoot Sideways” right here. As he tells it, the hard work is only getting started, as his goals remain the primary focus. 

“Keeping my sword sharp, keeping my pen game right, and trying to make my best song,” he reflects. “Every song I want to get better, every album, every EP…I want to be the best ever one day.” He proceeds to break down his dynamic with ScHoolboy, going so far as to tease the potential of a collaborative project one day. “I would love to,” he says. “I don’t object to that. Hopefully we get to that point. I be doing so much, he be doing so much, we ain’t get the chance to lock in the studio for a couple of days. But we see each other in passing, like at Alchemist’s house. We just vibe like that.”

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He also takes a moment to provide an update on his upcoming musical plans. “God Don’t Make Mistakes is the project we doing for Shady, we’re dropping on Shady,” he explains. “My solo. In the meantime, we still gotta keep mashing the gas. I can’t let up. After Lulu I’m giving you that From A King To A God, then [me and Westside Gunn] going to give you Hall & Nash 2.”

“I want people to respect my pen like Eminem pen, or Hov pen,” he continues. “Or Kool G’s pen, or LL’s pen. The top tier elite dudes…I want to be remembered forever in the history books, on that Mount Rushmore of rappers. Having that embrace from Jay and Em, and some of my producer big homies like Premier and Alchemist and Pete Rock, guys like that who really paved the way for the sound people say I’m bringing back, that’s what meaning the most to me.”

When Ebro asks whether Eminem will appear on God Don’t Make Mistakes, Conway breaks it down. “Yeah man, he definitely going to be on there,” confirms The Machine. “Actually, ‘Bang’ was a record off God Don’t Make Mistakes. It got leaked somehow on the internet. It got on Instagram somehow, so we decided to drop it now to put that single out there…That was actually a record for my Shady project.” 

The sophomore slump is a well-known trope. The idea that an artist can come out of the gate swinging and succumb to the pressures surrounding a follow-up release. Many different factors can come into play. An increased budget might lead to stylistic detions. A lack of preparation can result in haphazard songwriting. The list goes on, and many rappers have stood in the shadow cast by the legacy of their own debut.

On February 6th, 2003, 50 Cent released his first album Get Rich Or Die Tryin under the watchful eye of Eminem’s Shady Records and Dr. Dre’s Aftermath Entertainment. The project earned instant acclaim and sold over twelve million copies in a single year. The rare combination of quality music and universal appeal, a phenomenon not often seen witnessed in the mainstream music scene. Yet such lofty gains undoubtedly heightens the pressure. How does one improve on what may truly be a flawless album? For 50 Cent, The Massacre was his valiant attempt.

Released fifteen years ago to this day, Fif’s second album was met with much of its predecessor’s commercial success — yet not nearly as much of its critical acclaim. Looking back, it’s easy to understand why the media was taking a stricter stance against hip-hop’s seemingly unstoppable villain. Where Get Rich’s hits felt organic in their delivery — particularly the dark dancefloor banger “In Da Club” — The Massacre seemed like a factory for scientifically rendered singles. “Disco Inferno,” “Candy Shop,” and “Just A Lil Bit” were the project’s first three releases, leaving many wondering whether Fif was gearing up for a full-blown crossover. Remember that this was a man who made a name for himself through his blistering mixtape output – a rapper who all but obliterated Ja Rule over his sing-rap formula. Given that Get Rich was largely hailed a (then) modern-day gangsta-rap masterpiece, the slightest detion was enough to raise an eyebrow or two.

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Released in full a few weeks after “Candy Shop” dropped, The Massacre brought a slew of new producers and trusted collaborators into the fold. Dr. Dre contributed a pair of instrumentals (two down for his four on Get Rich). Eminem laced five. Scott Storch had three. Hi-Tek, J.R. Rotem, Sha Money XL, Needlz, and Buckwild rounded out the effort. The expanded roster led to a more eclectic sound, both a blessing and a curse with regards to cohesion. It seemed as if 50 Cent intended for everything to scale up to match his stardom. There’s an undeniable polish to The Massacre, a tonal shift from the minor-key heavy Get Rich. Understandable given his own meteoric rise, though songs like the brooding “I’m Supposed To Die Tonight” serve as welcome reminders of his bleaker urges.

And yet despite pulling onto the scene with a glossier paint job, the same villain sat behind the wheel. “Piggy Bank” has since become immortalized as a 50 Cent classic, one of the cockiest, arrogant, and delightfully obnoxious diss tracks of all time. Not only was he firing shots at his old pal Ja Rule, but he opened the floodgates to include Jadakiss, Fat Joe, Shyne, Lil Kim, Kelis, and Nas. No longer was this an up-and-comer with dreams of world domination, but a full-blown madman slamming his fist down on the big red button. It’s hard not to throw on “Piggy Bank” and be swept away in the narrative of a simpler time, an era in which confrontation transpired on wax rather than social media stories and subtweets.
 

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Let the record state that despite its bloat, there are phenomenal songs littered across The Massacre. Introductory banger “In My Hood” picked up directly where Get Rich left off, capturing the depth of Fif’s appeal without straying too far from his roots. Though not quite “Patiently Waiting,” Em and 50’s reunion special “GATman & Robbin” made for a compelling theme song, boasting a hypnotic flow scheme and one of the hardest Batman flips rap has ever seen. “Get In My Car” might be one of the smoothest instrumentals on the project, Fif’s unflinching bars reminding the masses that he’s not to be tried under any circumstances. The album’s last quarter tends to fly under the radar, but there’s plenty to unpack on songs like “God Gave Me Style” and the vintage-sounding “I Don’t Need Em.” And let’s not overlook Dr. Dre’s cartoonishly badass banger “Gunz Come Out,” which rolls in like a tank over a kingdom of Playdoh castles.

Even an excellent effort can succumb to the sophomore slump. The shadow of Get Rich is simply that powerful. Yet fifteen years removed from those damnable trappings of expectation, it feels absolutely safe to call The Massacre a classic. Perhaps there’s nostalgia attached to that label; what of it? There’s quality across the board, and Fif puts on a masterclass in hitting two major demographics without sacrificing artistic integrity in the process. It’s a testament to his songwriting longevity that “Candy Shop” and “Just A Lil Bit” are still welcome in rotation to this day. Not to mention the fact that it’s currently sitting at 6X platinum, its ascent to diamond status all but inevitable. Considering there are many young fans who likely know 50 as a television mogul first and rapper second, that’s a pretty incredible accomplishment. Not only did Curtis Jackson change the game back in 2005 — he massacred it with a smile on his face.