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Yelawolf: On Eminem, Interscope & Being White In Hip-Hop

yelawolf

AllHipHop.com chopped it up with emerging star Yelawolf and the rap artist shared his insight on being White in Hip-Hop, comparisons to Eminem, and his new inked deal with Interscope.

AllHipHop.com: Everyone knows that the Eminem comparisons arose due to you two both being Caucasian- both styles of music are totally different. What do you think it’s going to take for Hip-Hop to accept a pure, good white artist without any sort of discrimination?

Yelawolf: Years and years of great white artists. It’s going to take more classics from white artists that make international impacts. I mean Rock n’ Roll is black music, but there were plenty talented white Rock n’ Roll that just kind of made that line disappear. It’s going to take decades. It won’t happen in my lifetime. The odds are just slim for a white artist in Hip-Hop. This is a black culture… it’s just something you have to respect and appreciate. Have to be thankful that you’re able to do it. Do what you do and love what you do. You have to be passionate about what you do and let it live.

AllHipHop.com: In an interview you did with Vibe magazine I quote: “Eminem is a f***ing robot. He’s the greatest recording artist I’ve ever heard, period. When it comes to rapping words, it’s like he’s a robot.” Explain.

Yelawolf: One the [greatest recording artists]… let’s be specific. I say he’s one of the greatest recording artists I have ever heard because his precision, syllable delivery, tone, punctuation… something you pay attention to as a MC and a rapper. Like Busta Rhymes… Busta Rhymes is precise- he’s another great recording artist also. So is Twista, so is Andre 3000. There’s a precision. He’s a robot based off the albums he put out- especially The Relapse. If you listen to that, the deliver is crazy. But you know, it’s just respect that’s all.

AllHipHop.com: You recently inked a deal with Interscope records. Some people would say that the only out-the-box artists they have been successful with is will.i.am and Lady Gaga…

Yelawolf: What about Dr. Dre and The Chronic?

AllHipHop.com: Well how do you feel about those type of comments?

Yelawolf: I would say you have to do your research. You have to do your research on the internet. The major label system is not set up for artists who are not perpared to go major. A lot of artists sign to major labels and they are not ready. We came into our situation with records out and on tour. We came to Interscope as Ghet-O-Vision. You can’t stop music- it’s impossible. We were at Colombia [records] for like six months and between 2007 and 2008 and got dropped- now look what happened. You can’t stop music. It’s up to the artist and that team of where they’re going to go. I don’t anticipate any hang-ups because I have a great team. I didn’t go there by myself, I went there with Ghet-O-Vision. We’re ready.

AllHipHop: You say Ghet-O-Vison is ready. That’s your record label so let us know what you guys have cooking up.

Yelawolf: After we jump off tour, we’re going to jump back in the studio and do Trunk Muzik: 0 to 60. Just a release for the people. We’re going to remix, remaster and put three to five- I don’t know -how many records on there. It will be a release with Ghet-O-Vision/Interscope. After that we’ll put an album out.

AllHipHop.com: What can listeners expect on this project?

Yelawolf: I’m just going to be giving people what they want. I’m not trying to steer away from Trunk Muzik, I’m [turning it on] to on 10 and keep evolving from there. 808 rhythms, chopping, rap s**t, some s**t to ride to. Always try and keep in mind that I’m trying to do something timeless. Classics.

AllHipHop.com: Any last words for Hip-Hop?

Yelawolf: As an artist, I’m here for the blue-collar people. I represent small towns all over the world- American and all over the world. I’m a voice for those people. I’m ready for people to accept what I’m doing and I’m ready for people to not accept what I’m doing. I’m here to stay. Welcome me. The next 10 years are going to be a lot of fun.

“Pop The Trunk”

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