Eminem. Zane Lowe. Part 1.

Summary

这段视频脚本记录了一次电台访谈，其中包含了与一位艺术家的对话。访谈中，艺术家分享了他对现场表演、音乐创作和新专辑的见解，以及与乐队合作带来的新体验。他提到了即兴创作歌曲《Rap God》的过程，以及新专辑如何反映他个人成长和对过去主题的重新审视。此外，还讨论了与著名制作人Rick Rubin的合作，以及如何将怀旧元素巧妙地融入新作品中，创造出一种独特的时代感。

Takeaways

• 🎤 这是一次关于Eminem的采访，他在BBC Radio 1的Studio 4进行表演，并且提到了Studio 3。
• 🔥 Eminem在采访中表现得非常兴奋和充满活力，他提到了与乐队一起现场表演给他带来的自由感。
• 💬 他透露自己在录制《Rap God》时是即兴创作的，这首歌在现场表演中对他来说是一个挑战。
• 🎵 Eminem谈到了新专辑的创作过程，包括如何找到专辑的方向和概念，以及如何将歌曲组合在一起。
• 📈 他提到了新专辑与他早期作品的联系，以及他如何通过音乐来反映自己的成长和经历。
• 🔄 Eminem与Rick Rubin的合作，他表达了对Rick的尊敬，并且分享了他们合作的经历和感受。
• 🎧 他谈到了如何通过使用老式采样和节奏来创造一种怀旧但又不完全是复古的音乐感觉。
• 🎥 采访还提到了Eminem的音乐视频《Berserk》，以及他如何通过视频向Beastie Boys致敬。
• 🤔 Eminem在采访中也提到了他对专辑名称的考虑，以及他如何确保专辑名称与内容相符。
• 🎉 他分享了对专辑《The Marshall Mathers LP 2》的期望，以及他如何确保专辑能够达到这样的期望。
• 👏 最后，Eminem对于能够与Rick Rubin这样的传奇人物合作感到非常兴奋和荣幸。

Q & A

这段对话中提到的“frontal lobotomy”是什么意思？

Frontal lobotomy（前额叶切除术）是一种神经外科手术，通常用于治疗某些类型的精神疾病。在对话中，这是一种比喻，用来表达对某人或某事的极端不满或讽刺。

对话中提到的'Radio 1'是什么？

Radio 1指的是BBC Radio 1，是英国广播公司的一个广播电台，主要播放当代流行音乐。

对话中提到的'Studio 3'和'Studio 4'是什么意思？

在对话中，'Studio 3'和'Studio 4'可能指的是BBC广播电台的录音室编号，表明对话发生在BBC的录音室环境中。

对话中提到的'pee on the floor'是什么意思？

这是一个幽默的表达，用来描述一个人在公共场合做出不恰当的行为，这里是为了制造幽默效果。

对话中提到的'Rap God'有什么特别之处？

'Rap God'是Eminem的一首歌曲，以其快速的说唱和高难度的韵律而闻名，对话中提到Eminem即兴创作了这首歌，显示了他的说唱技巧。

对话中提到的'Stan'是什么背景？

'Stan'是Eminem的一首非常著名的歌曲，讲述了一个过于痴迷的粉丝的故事。对话中提到'Stan 2'，暗示可能会有这首歌的续集或相关主题。

对话中提到的'Marshall Mathers LP'是指什么？

'Marshall Mathers LP'是Eminem的一张非常成功的专辑，对话中提到了这张专辑，暗示新专辑可能会有类似的风格或主题。

对话中提到的'Rick'是谁？

'Rick'指的是Rick Rubin，一位著名的音乐制作人，对话中提到Eminem与他合作的经历。

对话中提到的'Beastie Boys'是什么？

'Beastie Boys'是一个著名的美国嘻哈乐队，对话中提到Rick Rubin与他们的合作，以及Eminem对他们的欣赏。

对话中提到的'Berserk'视频有什么特别之处？

'Berserk'是Eminem的一首单曲，对话中提到了其音乐视频，特别是视频的色彩和风格，让人联想到Beastie Boys。

对话中提到的'Recovery'是什么？

'Recovery'是Eminem的一张专辑，对话中提到了这张专辑，可能是在讨论Eminem的音乐发展和风格变化。

Outlines

00:00

🎤 现场表演的自由与挑战

这段对话主要围绕一位艺术家在BBC Radio 1的现场表演经历。艺术家表达了对现场表演的兴奋，尤其是与乐队一起表演时的自由感和能量。对话中提到了艺术家在颁奖典礼上的表演，以及他如何即兴创作了一首非常受欢迎的歌曲《Rap God》。此外，还讨论了艺术家的专辑受到全球粉丝的好评，以及他如何将个人成长和经历融入到音乐中，创造出既怀旧又现代的作品。

05:01

🎵 创作过程中的灵感与方向

这部分对话揭示了艺术家在创作新专辑时的思考过程。他谈到了在专辑制作初期可能没有明确的方向，但随着歌曲的积累，逐渐形成了概念。艺术家还提到了如何处理专辑中的一些非常规歌曲，以及如何将它们融入整体概念中。此外，对话中还提到了艺术家对于专辑名称的考虑，以及他如何确保专辑名称与内容相匹配。

10:03

🤝 与Rick Rubin的合作经历

在这段对话中，艺术家分享了他与著名制作人Rick Rubin合作的经历。他表达了对Rick的敬仰，以及在初次见面和合作时的紧张感。艺术家描述了Rick在工作室中的轻松氛围，以及他们如何一起探索老式打击乐和样本，创造出既怀旧又现代的音乐。此外，艺术家还谈到了他对于专辑名称《Marshall Mathers LP 2》的考虑，以及他如何确保专辑内容与这个名称相符。

Keywords

💡Frontal lobotomy

前额叶切除术是一种神经外科手术，曾经用来治疗某些精神疾病。在视频中，它被用作比喻，暗示如果能够对扭曲的大脑进行手术，可能会对社会产生积极的影响。这反映了对人类行为和心理状态的深刻反思。

💡Radio 1

Radio 1是英国广播公司（BBC）的一个广播电台，主要播放流行音乐。在视频中，提到Radio 1和Studio 4，表明了采访发生的地点和背景，也显示了被采访者与音乐行业的联系。

💡Band

乐队在视频中被提及，是因为被采访者与乐队一起表演，增加了现场演出的元素。乐队的存在让表演更加丰富和动态，也体现了音乐表演的集体合作精神。

💡Energy

能量在视频中被用来描述被采访者在麦克风前的表现，显示出他充满活力和投入的状态。这种能量的展现是音乐表演中非常重要的一部分，能够感染观众，提升现场氛围。

💡Freestyle

Freestyle指的是即兴创作，没有预先准备的歌词或节奏。在视频中，被采访者提到他即兴创作了歌曲《Rap God》，这显示了他的音乐才华和即兴创作的能力。

💡Stream of consciousness

意识流是一种文学技巧，用来描绘人物内心连续不断的思想流动。在视频中，被采访者提到了这种技巧，用来描述他的创作过程和歌曲《Rap God》的风格。

💡MMLP2

MMLP2指的是Eminem的专辑《The Marshall Mathers LP 2》，这是他之前非常成功的专辑《The Marshall Mathers LP》的续集。在视频中，被采访者讨论了这个专辑的创作过程和它对他职业生涯的意义。

💡Rick Rubin

Rick Rubin是一位著名的音乐制作人，他在视频中被提及是因为他与Eminem合作制作了专辑。Rick Rubin的音乐制作才华和对不同音乐风格的掌握，为Eminem的音乐带来了新的维度。

💡Nostalgia

怀旧是一种对过去美好时光的怀念和渴望。在视频中，Eminem试图在新专辑中创造一种怀旧感，但又不想让它显得过于复古或陈旧，这是一种微妙的平衡。

💡Stan

Stan是Eminem的一首非常著名的歌曲，它讲述了一个极端粉丝的故事。在视频中，Eminem提到了Stan的故事和它在新专辑中的地位，以及他如何处理这个复杂的角色和主题。

💡Recovery

Recovery是Eminem的另一张专辑，它在视频中被提及是为了比较和对比不同的创作阶段和音乐风格。这张专辑代表了Eminem在个人生活和职业生涯中的一个转折点。

Highlights

对话中提到了一种假设性的治疗方案，即前额叶切除术，用以治疗扭曲的大脑。

对话者表达了对BBC Radio 1的欢迎和对即将进行的现场表演的兴奋。

提到了一种幽默的开场方式，即在演播室地板上小便，以引起注意。

对话中提到了表演时与乐队的合作，以及这种合作如何增加了表演的元素和自由度。

Eminem提到他在表演中即兴创作了《Rap God》，而不是事先写好的歌词。

讨论了《Rap God》的现场表演对任何人来说都是一个挑战，因为它是一连串的押韵。

Eminem谈到了他如何在专辑中反映和处理过去几年的经历和学到的东西。

对话中提到了专辑《The Marshall Mathers LP 2》的创作过程和概念的形成。

Eminem分享了他在制作专辑时没有固定方向或概念的情况，以及如何最终确定方向。

提到了Eminem对经典专辑的看法，以及他如何不认为自己的专辑是经典。

Eminem谈到了他与Rick Rubin合作的经历，以及他对这位制作人的尊敬和紧张感。

Eminem描述了与Rick Rubin合作的过程，以及他们如何一起探索老式节拍和样本。

对话中提到了Eminem对Rick Rubin音乐风格的赞赏，以及他如何希望在新专辑中实现类似的风格。

Eminem分享了他如何希望新专辑听起来怀旧但又不完全是复古的风格。

对话中提到了Eminem对《Berzerk》这首歌和其音乐视频的热爱，以及他对Beastie Boys的致敬。

Eminem谈到了他如何希望新专辑能够处理和解决一些长期存在的问题。

Transcripts

who can say for sure perhaps a frontal

labotomy would be the answer if science

could operate on this distorted brain

and put it to good use society would

reap a great

benefit welcome back to Radio 1 thanks

man Mel Studio 4 here we are and uh part

of the reason we're here obviously is

because it's the BBC but also because

we've got Studio 3 around the corner and

you've got the band set up and you're

going to perform some songs for us as

well which is pretty damn exciting it's

really exciting man I'm super excited to

be here I was trying to figure out how I

was going to top the publicity of yours

and Kanye's interview so I decided I was

going to walk in here and just pee on

the floor and

leave I'm peeing right now oh God all

right clean up I won all right see you

guys later but see the difference is

this time I'm totally prepared for

it

um you know seeing you with the band and

seeing you perform the other night

actually at the awards ceremony seeing

you on the mic it was I don't think I've

ever seen you so alive on the mic and so

like just full of energy and and in the

moment yeah absolutely amaz absolutely

amazing and what I noticed as well is

that you know spitting live as well

completely live with the band behind you

seem to free you up a lot more as well

are you are you feeling that

way it I think I think performing has

gotten a lot different um it's gotten

better with the band

because there's just more elements to it

and being that it is a live show you can

there's more places you can go with it

you know there's things you can do with

your hands you know that uh I'm not

quite sure what to do with my hands I

don't do my car perform pretty good no

it's it's it's uh it's really cool it's

different and it's uh I think it's

better and spinning Rap God as well I

mean that just is that puts everything

to into perspective I think for

everybody else I mean when you wrote

that and you you got that one down and

recorded it I didn't write it I

freestyled it you freestyled off top of

your head off the Dome absolutely

ridiculous thanks man I mean no the song

is ridiculous doesn't make any sense

whatsoever thank you now when you get to

perform that live that must be I saw at

the end once you finish that I mean

that's a challenge for anybody and I

mean at the end of it you you must feel

like wow I mean that's a lot of Rhymes

to get through what is it five or six

minutes non-stop um yeah I mean the

other night I don't think we did the

whole song we did kind of a deadly

medly no we I don't even I don't even

know how you would like cut that up and

make a shorter version of that because

it's such a stream of Consciousness

through the whole track yeah I don't

know I haven't even I wouldn't even

begin to want to think about trying to

do that because yeah I think that it is

a a good that's a good stream of

Consciousness yes or un which is what

you were doing before as well just as we

walked in yes little stream of

Consciousness going on there nice stream

of Consciousness running down my leg you

are welcome it's all good man the album

itself has been so well received by

everybody including you know fans right

across the world because in my opinion

listening to it now it's kind of the

perfect combination of of the the Venom

and the danger that that existed on the

first record but also what you've been

through and what you've learned in the

last sort of five or six years too it's

kind of like a combination of the two is

that is that fair do you think like the

first album that feels like it's

slightly grown up but also is going back

to some of those subject matters and

dealing with that stuff it's grown up

and down yeah grown down um yeah I mean

you know some of the themes and and

topics and things like that are are

Revisited on this

album

uh uh but but but at the same time I

feel like it's kind of a 2013

version you know all all my all my

albums I think for the most part pretty

much tell where I'm at you know on each

one at that time period or whatever so

this is kind of

like there's a lot of reflecting and

things like that back on everything that

was happening during that time you know

and it's kind of like

me reflecting on it and and and getting

to the point where I am now with it

selling some schools as well kind of

bearing hatchets and dealing with stuff

once and for all do you feel like is

this album being allowed you to do that

I mean some stuff yeah some stuff yeah

but for the most part I just felt like

it might be fun to just revisit that

just you know the um the overall Vibe of

the of of that album just because uh it

kind of started to go there early on a

little bit in the recording process so

when when did that start to happen when

did it feel like oh okay we are going

down that road um I don't know I mean I

think that I I I had started making a

few records for it and it just sounded

like the tonality of it the tones of the

records kind of were heading towards

that way and once I got you know figured

out where what direction it should go in

um kind of started gearing everything

that way you know and and a lot of

times uh making an album I don't always

have

the direction or concept early on you

know what I'm saying like like sometimes

it doesn't come to like the middle

towards the end of a record to to figure

out where I'm actually going with that

and that that's just usually just a

culmination of songs and uh depending on

what the vibe is but sometimes I do

songs that are so maybe so left fill one

or two of them that it's like oh [ __ ]

where am I going to where am I going to

put these songs and now what am I going

to call it because going to make sense

to go you know like let's say recovery

or whatever you know but with this one I

I feel like I kind of got a

earlier idea for a concept that must

have be nice actually to be able to sit

down and sort of carve it up as it was

going and have that end result in mind

and piece it together that way yeah I

mean it was but but but it wasn't in the

sense of like I had to record a lot of

songs for it you know because I felt

like if I'm going to call it that I want

it to make be able to make sense yeah

Stakes is high as well I mean you know I

mean I was talking to someone about this

before and and and I was saying you know

or maybe I read it I was saying Eminem

will never consider one of his albums to

be a classic he's not that way inclined

but you know how people feel about the

martiall ma LP I mean sales alone speak

volumes and and then the critics and

every layer of it it was it is

considered you know a modern day classic

album that's difficult isn't it I mean

you know to did you consider the

expectation of calling it that and and

what it would mean to the record overall

yeah I mean I kind of had known that

uh going in in other words once I once

once I did kind of know what direction I

was going I knew that I needed certain

songs to to be able to call it that and

and like I said to be able to make sense

um

but I just wanted to make

sure that I had the right ones and and

and in other words like I knew

that uh obviously Stan of the first man

LP was a big topic M and you know I had

heard a lot of chatter right around the

time of uh doing the recovery record

that I should do stand two and why

doesn't he do stand two and and you know

all I kept thinking was well stand's

dead you know what I'm saying like he

died in the story so in the back of my

mind I kind of had an idea of like who

could be left from the story yeah but

you know I needed to

get the right beat and be able to do

this soon as it shots as well man I mean

did you know immediately that this was

the beat for this for this coner yeah as

soon as as soon as the uh as soon as I

heard the words to the

chorus um it's like I'm in the dirt was

was I got this this beat was sent to and

it had those words on and sometimes for

me it's

like like I like making my own courses

and writing my own courses things like

that but it's also fun for me to be able

to try to take someone else's words and

and interpret them my own way yeah for

sure I mean you know when you hear that

course I'm sure initially it's probably

written along the lines of you know it's

it's a first person scenario it's a

self-hatred scenario but to actually tie

it into there's layers to that you know

I being bad is good I hate to be it but

here I am and I'm back again and then

you got to deal with the story and then

at the end I mean you're taking

everybody right to the end as well you

couldn't be facing down any more of the

criticism by self and by others that you

faced throughout your career I mean it's

the ultimate kind of acknowledgement

isn't

it start meeting a maker almost really

kind of inspiration behind it I mean

it's kind of like saying like all right

if you're going to go down this road and

you're going to call it this you know

what I'm saying and this is going to be

the title this is all of these

things coming back on

me amazing man I mean I love that it's

an amazing opening to the record and

it's really ambitious as Wells three you

set the bar really really high and then

from there we go into R and I mean I

love that beat I just

love the big sample the use of it and

first time you reference as a producer

on the record I mean when did you first

have the idea of working with the rec um

well it was uh I mean I've always been a

fan of Rick you know and my manager Paul

um had been talking to him and Rick had

expressed that he had interest in in you

know working with me and

you know when Pro when Paul brought it

to my attention I was like super excited

just you know honored at the fact that

he was even thinking about it you know

and you know was a little I had my

reservations just

because you know I felt

like I would probably be I'm a super fan

of Rick you know what I'm saying so I

I'd probably be a little nervous and I

don't know what the vibe would be just

because I would be uh you know wanting

to impress him you know what I'm saying

so it was very much kind of like the

feeling that that I got early on with

Dre had you met him before had you met

had you met Rick before I had met him

right no I had never met him so I was

like nervous to meet him and then you

know even more nervous to to work with

him but you were saying same thing to as

as Dre like when you first all the way

back same kind of experience as when you

walked in the studio and saw Dre that

time and just yeah absolutely I mean I'm

I'm still always in my head I'm still

always trying to trying to impress Dre

too you know to this day at the same

time but um yeah I just kept thinking

like well if I get in the studio with

Rick what if what if we're not able to

come up with anything what if we're not

you know what I'm saying like all these

things in my head and then when I met

him it was like the guy is so laidback

that it's it just it made it easy you

know and his vibe in the studio was just

like very much

like like uh I don't know how to say it

like

he Tred whatever don't be afraid to try

whatever even if it the the idea in the

beginning is stupid yeah you know cuz a

lot of ideas in beginning stages not

mine of course mine are just in insane

from the moment I think of them but

sometimes ideas you know they're not

always the greatest yeah no I mean you

know they'll be afraid to fail basically

to get somewhere else to get on the

journey absolutely so if you say one

thing that's going to spark another

thing to lead to a better thought yeah

you know that's kind of how it went and

you know we started

going through like old break beats and I

was trying to tell him I didn't I kind

of had the

idea uh I kind of had a notion that I

was maybe going to call it the Marshal

mats LP 2 but I didn't want to say

anything yet to him

because I didn't I wasn't 100% sure and

I wanted to make sure that I you know uh

had enough songs to to even play for him

that would make sense you know uh so I

kind of you know we discuss like like I

love the sound that Rick gets when he

does hip-hop you know even from early on

Beasty Boys it's incredible and that's

what I was kind of hoping to get was

kind of like you know something like I

was trying to figure out like how can I

make the record sound nostalgic without

and but but subliminally nostalgic not

you know what I'm saying like not

throwback yeah so that it kind of

reminded you of maybe 13 years ago you

know when you first heard me but but

It's Over beats that are even you know

they're older but you're not sure why

you feel this you know what I'm saying

just just to try to create a feel so we

started messing with old samples and

break beats and things like that and cuz

you know Rick is Rick is super

like talented and mastered like every

other genre of music as well you know

what I'm saying so like the way he dips

in and out of just different genres is

is is crazy to me so you know I was but

I but but like I said I was hoping to

get what I got from him oh man the first

time I saw berserk as well and I was so

happy to see you know the way that you

came through and then the video you know

with the whole the way the colors were

so revers beasty boy starle it was

Fanboy stuff for me you know like you

know just be able to go out there with

the beanie on the ad Rock thing and it

was cool man I loved that I Lov that

yeah thanks