Eminem Exposed As Huge Racist That Switches Like A Frisco Dyke In An Aggressively Homosexual Manner

The tapes of the racist rap-songs are often discussed but rarely to we go into details with the facts.

Lets not forget that this fiasco was so big that it culminated in the destruction of HipHop's most popular magazine and numerous court cases and lawsuits brought on by lawyers for Interscope.


Here are some goodies:


Eminem’s early collaborators aren’t afraid to talk to The Source and the story that emerges is a far cry from what you’ll see in his Academy Award-winning movie “8 Mile.” As The Source Editor-in-Chief Kim Osorio notes in the cover story on Eminem, “Understanding Marshall Mathers’ past – his life before the Black community accepted him – explains how a rapper of his caliber could have something like the racist recording hidden in his closet.” On tracks recorded in 1993 by Eminem’s four-man, all-White rap crew, under the title “The Racist Rap Hour with Bassmint Productions,” with the Eminem’s four-man, all- Wwhite collective known as Bassmint Productions and leaked to The Source by three White Hip-Hop fans from Detroit who were associates of Eminem in from the early ’90s, Eminem calls Black women “dumb chicks” and opposes dating Black women “cause I don’t like that ni99er shit.” On a third song, newly discovered by The Source, Eminem calls Black people “moon crickets,” “spear chuckers” and “porch monkeys.”



Between 1988 and 1993, Eminem formed an all-White rap collaborative known as Bassmint Productions that produced “The Racist Rap Hour with Bassmint Productions.” Fellow MC Eminem’s rhyming partner in Bassmint Productions, White MC Chaos Kid, provided The Source with an exclusive interview where who says who was there and describes first- hand how the racist recordings were made and why he refused to be a part of them he describes first-hand how these recordings were made and why he didn’t participate saying, “I refused to even get on it… I didn’t feel comfortable about being a part of it, so I didn’t rap on it.”




The feature on Eminem’s hidden past – where one of his old rhyming partners tells all about The Racist Rap Sessions of 1993 – and an interview with one of the White Hip-Hop fans from Detroit who drove across the country in order to bring Eminem’s racist tracks to light anchor the package on racism. Features editor Jerry Barrow weighs in with an essay on race; Hip-Hop players from Irv Gotti to Suge Knight to Crazy Legs speak their minds on the controversy; and Benzino asserts that The Source is “the last line of defense” against the forces that will destroy Hip-Hop: greedy record labels, mainstream media with a “double standard” towards race and rappers like Eminem who threaten to completely co-opt an African-American art form. Benzino’s statements are backed up in “The Making of a Hip-Hop Monopoly”, which outlines exactly how with a detailed diagram, corporate control of radio, retail, distribution and a concentration of major recording artists under one record label (Interscope) has marginalized independent artists and stolen Hip-Hop from the Black and Latino communities that gave birth to it. The power of Interscope to bias the media, and influence recording artists is further demonstrated by Russell Simmons reactions to the release of the racist tracks in “Politics as Usual: Russell Simmons’s Comments.




Chaos Kid says "Eminem tried to cover up other racist recordings held by Brothers DJ Butterfingers and Manix, both are other members of Bassmint Productions, which have yet to surface. Chaos Kid also says Eminem “asked Manix to destroy them". Chaos Kid says, “To me he’s reached a point where he’s put the dollar before his conscience, and unfortunately, it is going to be his downfall.”


Brothers DJ Butterfingers and Manix, both part of Bassmint Productions have much more unreleased Eminem material. Chaos Kid said “Eminem asked Manix to destroy it.”


Members of Detroit’s Hip-Hop community view Eminem’s management as racist. Of Paul Rosenberg, who has managed Eminem since 1998, Champtown says, “I feel that Paul Rosenberg is prejudiced. I heard from inside the camp about how Blacks are being underpaid…I know who introduced Rosenberg to Eminem and he is no longer on the map. He was fired. He was the last Black survivor with any authority in the camp and he was fired recently.”


Eminem hid his racist tracks from his first Black producer and record label owner, Champtown, who was responsible for introducing Eminem to Detroit’s Black Hip-Hop community and who helped shape him to be the superstar he is today. Champtown was shocked to hear some of Eminem’s racist tracks for the first time in 2000. “I definitely heard some tapes with Slim using words like ‘moon crickets’ and shit like that on it. And there was ‘spear chucker’ on it… and ‘porch monkeys,’” said Champtown.Champtown and Eminem’s older friends dispute Eminem’s claim that his breakup with an “African-American girlfriend” is what caused him to record “Foolish Pride” where he rants, “Black girls are bitches” among other things. Said Champtown, “I don’t believe it. He was with Kim for the whole time I knew him. I never knew him to date any Black women.” Chaos Kid doesn’t remember his Black girlfriend either: “This whole story about him going out with a Black girl – I don’t know.”