Eminem stands of a graffiti piece created by Alan Ket in Detroit Eminem stands of a graffiti piece created by Alan Ket in Detroit

GIF Wrap: Eminem's CXVPHER Lyrics Reviewed Via GIFs

Marshall Matthers is scary nice. But you knew this. Still, the quintessential master of ceremonies has to remind you every now and then. He won’t dumb down for his audience, so you’ll just have to keep up. To ease the process, VIBE transcribed his verse from the 19-minute Shady CXVPHER that smacked the entire rap Internet in the forehead yesterday (Nov. 10). Throw some sort of harness on yourself. This is one of the wildest lyrical rides you’ll take.

Lyrics: [My name is Marshall. I’m repping that motherfuckin' Motor City, bitch.] I just turned Slaughterhouse to a quintet Began to trend-set, murder the friend’s pet Made shit as ill as it can get When in depth like a fucking vignette and two bars skin wet I’m already covered in sweat And, I wasn’t even ready to come in yet. Ahh... Let me set this drink down, beat up a gal Start beef with a pal Probably be wild until I’m wrinkled and senile And "Rap God" was a freestyle off the top domepiece while I was asleep on the couch And, I’m freestyling now I need a towel Sweat leaks from my brow It’s burning my eyes My cerebral is foul Cause shit that I’m thinking about should be illegal I need my head banned like the guy who left Cleveland, Ohio And went to South Beach with his talents. Scream "fuck you" on the way out and wink with a smile This whole game can eat a dick, I’m going back deep underground But right now back on that bullshit and you I’m singling out ‘Cause you so fucking outdated you should mingle a while. What the fuck is this clusterfuck of a busters And a bunch of Buster Douglass’ Motherfuckers is one hit wonders one swing and you’re crowned Knocked one out of the park and you jiggling now And, you think you fucking with me ‘cause you sold like three-hundred thou Bitch, I can jump without my feet ever leaving the ground Reach up and swing from the clouds with three thousand people around. Evil and vile enough to leap in the crowd And, leave a child in a sink hole in Cinco De Mayo when I sprinkled in pico de gallo Mardi Gras beads and a towel [I just made that up] I don’t know much Spanish I’m not bilingual But I'll show you a Mexican standoff between just these two Amigos ‘Cause neither wants to really say what they’re thinking aloud. But, I sure as fuck know how to read body English, no doubt Cause we’re trying to kill each other, buy lyrically Fuck is humility? What the fuck is a real MC, Royce? He came up in this shit with me Never spit that hustler shit I wasn’t fit for me let them adjust until they get the gist of me And, just not giving a fuck with hater of hustler of muscular dystrophy It wasn’t a mystery why this middle finger was stuck in the upward positioning So, what in the fuck is a list to me? I’m used to not being on it. I expect it out’em. Heck, man, I get my respect without them And I never really been into diamonds since I put my first record out But, I could put a chain around my second album and wear it as a neck medallion Became a millionaire, went downhill from there. Became civil, office swivel chair, sterling silverware Screaming life is still unfair til I get a real career The fuck am I gonna do until then? This job is too fulfilling Two gazillion pairs of super villain shoes to fill in And, the mood to kill till I plow my Coupe DeVille Into some children at the Food Pavilion and Build-A-Bear Warrior’s mind, I’m Pro hydrchlorian on euphoria In the drug emporium line, I’m soaring I’m pouring Vicodin four at the time ignoring the warning signs Full on until I go four-wheeler driving Going violent and whore firing You surely won’t find one more important than I am With this vitalio rhyming for Gloria Stynum But, I finger her like a witness, show me a line-up I usually am abusive, but excuse me, ma’am I guess I must’ve threw you for a loop like Toucan Sam When I said I could use the sample cause you’se a tramp But look how you react to this trigger Like when I call you a bigger dyke than the Hoover Dam You playing right into Lex Luthor’s hand It’s such a ruthless plan, might even lose a fan But, fuck it, Superman wouldn’t change in a phone booth for Stan I’m a brand new being like Grand Puba’s band Happy as Anderson Cooper having a tuba crammed in his pooper with lubricant Wait, that’s too, I can’t, since honesty is the best policy I’ll give you the college try Try to acknowledge my mistakes, probably won’t qualify As a gentlemen and a scholar, but, its time that I swallow pride And say that I’m sorry, sorry I can’t apologize I think of all the times I compromised my bottom lines And thought of rhymes that sodomized your daughters minds Then I’m like dollar signs But, I may fight for gay rights especially if they dyke It’s more of a knockout than Janay Rice Play nice, bitch, I punch Lana Del Rey right in the face twice like Ray Rice in broad daylight In plain sight of the elevator surveillance 'Til her head is banged on railing Then celebrate with the Ravens Never date an assailant who self-medicates with inhalants I mediate, but I may need a better way to escape The aggression, rage and the anger Cause leg restraints on the ankles Heavyweights on the ankle with handcuffs in chains This ain’t enough to contain it But I still get the same respect as Jay if I came on stage in a fucking negligee everyday in Liz Clairborne Devastated from breakup with Kate Hudson Wait, slut your friends, what are they gonna say? Cause make-up ain’t gonna cover that eye that’s seven-eights of the way shut Pepper-sprayed with your face cut Made my bank like a layup Eff these effing skanks on the way up Oh, bitch thinks she’s Heaven sent It’s evident that she ain’t never been with seven inches Yes, I said seven, I measured it Seven inches from the floor While standing on the fourth-floor balcony At the Sheraton when I’m stretching it Bitch, I’m a pimp so a limp dick is all you’ll ever get So, if she’s she’s hesitant to get the hint I’ll bet you that I get the message sent who she’s messing with Eloquent when I tell a chick not never use sex as a weapon When I step in and beat the wretched wench with a crescent wrench Existential detriments to a lesbian devil In the presence stench of an estrogen level That separatists like a Etestian rebel And pacifist with a pencil A pessimist, with lips pressed against the edge of this Red Bull Pedal to the medal, I’m rippin’ this shit cause right away I’ll give it to a bitch like a pedestrian, deadly as ever You see what kind of effects she has on the opposite sex when I push her flexible little sexy ass through a plate of plexiglass Shady XV as perplexing as the last 15 years when I predicted my next relapse When I spit these lyrics do so don’t look at me weird When I start shifting gears and shit be smeared all over Britney Spears And these little Disney queers Who use chicks for beards? [Just made that up too.] Oh and it's Shady 2.0 We wrote in roman numerals like they do for the Super Bowls Cause it’s supposed to confuse you hoes The flows lose you as usual, so juvenile Two year old when I go to the studio It’s only music but don’t be foolish though You don’t know me through it ho, but you can blow me to it though In my homie’s Buick Been known to lose it though so if I overdo it you drove me to it When I step in the vocal booth like I’m supposed to do And, murder you on a fuckin’ track like Tony Stewart in one take If I fuck up and I don’t redo it You couldn't sound grown on a beat if you were moaning to it The day I don’t say fuck you all, you can throw me through it Rootin’ this, tootin’ this, shootin’ this from the hip (.24-.27) With the women, I’m an enemy to them And, the epitome of an inconsiderate idiot But, they consider me equivalent to chlamydia They tryna get rid of me, gadzooks But, I stiggity stand for the figgity flag Of the United States and the freedom, I distribute these through And if I catch you doing anything Hindering or prohibiting that after I give me that Tattoo of you lips on my ass I’mma be literally pickin’ up and deliberately rippin’ the Statue of Liberty at you, WOOOOOH! [Fuck it. Got it somewhere in there probably.] [::Hawks a loogie::]

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The female voice in hip-hop has always been present whether we've noticed it or not. The late Sylvia Robinson birthed the hip-hop music industry with the formation of Sugar Hill Records (and fostering "Rapper's Delight"), Roxanne Shante's 55 lyrical responses to fellow rappers were the first diss tracks and Missy Elliott's bold and striking music and visuals inspired men and women in the game to step outside of their comfort zones.

These pillars and many more have allowed the next generation of emcees to be unapologetically brash, truthful and confident in their music. Cardi B's Invasion of Privacy and Nicki Minaj's Queen might've been the most mainstream albums by womxn in rap this year, but there was a long list of creatives who brought the noise like Rico Nasty, Tierra Whack, Noname and Bbymutha. Blame laziness or the heavy onslaught of music hitting streaming sites this year, but many of the artists on this list have hibernated under the radar for far too long.

VIBE decided to switch things up but also highlighting rap albums by womxn who came strong in their respectively debut albums, mixtapes, EPs. We also had to give props to those who dropped standout singles, leaving us wanting more.

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VIBE / Nick Rice

10 Most Important Hip-Hop Artists Of 2018

We’ve reached another end to an eventful year in hip-hop. From rap beefs to new music releases and milestones, 2018 has been forged in the history books as a year to remember. But more important than the events that happened over the span of 12 months are the people who made them happen.

While fans received a large dose of music from our favorite artists and celebrated some of the most iconic album anniversaries, there are a few names that stood out as the culture pushers, sh*t starters, and all-around most significant artists of the year.

For your enjoyment, VIBE compiled a list of the top 10 most important hip-hop artists of 2018 based on a series of qualifications: 1) public actions - good, bad, and ugly; 2) music releases; 3) philanthropic/humanitarian work; and 4) trending moments.

Be clear: This list isn’t about the most influential, the most talented, who had the best music or tours. While we are commemorating artists for the work they’ve contributed to this year’s music cycle, we’re looking beyond that and evaluating how these particular artists have shaped conversations and pushed hip-hop culture forward.

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Stacy-Ann Ellis

NEXT: Intent On Impact, Kiana Lede Is Ready To Leave Her Mark

After learning The Alphabet Song as a little girl, Kiana Lede would always “get in trouble” for singing during class. “My mom was like, ‘why can't you focus?’” she laughs while reminiscing on her career’s formative years. “I was like, ‘I don’t know! Songs are just playing in my head all the time!’”

Whilst sitting in a shoebox-sized room at Midtown Manhattan’s Moxy Hotel on a humid September day, the now- 21-year-old Arizona-bred R&B songbird, actress and pianist speculates that she “may have had ADD.” However, she settles down after taking off her white cowboy boots and flops down on the ivory-clothed bed, demonstrating that her fiery Aries energy can be contained. Cool as a cucumber, Lede shuffles between chewing on banana candies and blowing smoke rings after taking drags from a pen, all while musing about her journey to becoming a Republic Records signee.

“I just grew up singing and doing musical theater, and reading a lot of books, and playing piano way too much in my room by myself,” she says, pushing her big, curly brown hair out of her face. Her expressive green eyes widen as she grins. “It was my thing. Nobody in my family does music, just me.”

After winning Kidz Bop’s 2011 KIDZ Star USA talent contest at 14 (which her mother secretly entered her into), Lede was signed to RCA Records. She was released from her contract and dropped from the label three years later. However, thanks to guidance and friendship from the Grammy-winning production duo Rice N’ Peas, (who’ve worked with G-Eazy, Trevor Jackson, and Bazzi), she released covers of songs such as Drake’s “Hotline Bling” while working to get her groove back. The latter rendition resulted in Republic Record’s Chairman and CEO Monte Lipman flying her out and signing her to his label.

“I got a second chance, which a lot of people don't get,” she reveals. “So I'm really happy that that all happened. I wouldn't be here right now in this room if that didn't happen.”

Thanks to the new opportunity she was given, Lede’s sound has evolved into something she’s proud of—equal parts soul, R&B and bohemian. As evidenced by the aforementioned ensemble, glimmers of each aesthetic can be found when observing her personal style as well. She released her seven-song EP Selfless in July, which features the bedroom-ready “Show Love” and “Fairplay,” which manages to fit in the mainstream R&B vein while also showcasing her goosebump-inducing vocals. The remix of the latter features MC A$AP Ferg. What pleases her most is that it not only garnered a favorable response from fans, but that those listeners found it so relatable.

“As an artist, it's really nerve-wracking for someone who writes about such personal things all the time,” she says. “Just the fact that it is my story… It's good to know that other people know that there's somebody on their side, and they're not the only ones going through it. A lot of people obviously feel this way, and have been through this same thing that I've been through. So I think that's cool.”

Although she moved to various places as a Navy serviceman’s daughter, Lede claims Phoenix as home. This means she hails from the same stomping grounds as rockers Alice Cooper, Stevie Nicks and the late Chester Bennington of Linkin Park. However, growing up in a mixed race household gave way to tons of sonic exploration outside of the rock-heavy scene.

“My dad's black, and both of my parents are from the East Coast,” she says of her musical and ethnic upbringing (she’s black, Latina and Native American). “[My parents] listened to a lot of R&B. My mom listened to a lot of SWV, TLC, Boyz II Men. I didn't realize I knew the songs until I got older. I played a charity show with T-Boz, and I was like 'why do I know these songs?'” Lede also says her father was a fan of neo-soul and gangsta rap, but she personally believes the early-2000s was the best time for music.

“[That era] influences a lot of my music subconsciously, and also, singer-songwriter stuff,” she continues. “I listen to a lot of early-2000s music because I played piano most of my life. I listened to Sara Bareilles, John Mayer.”

An open book, Lede details some of her struggles with anxiety and depression with the utmost candor. After being dropped from RCA, her trust in people diminished, and she experienced long bouts of depression after being sexually assaulted by someone in the industry. The track that she feels most deeply about is “One Of Them Days,” which tackles these issues head-on.

“When I'm anxious and depressed, it's really hard to be happy,” Lede says. “Most of the time, I can do it, but there are just some days where I literally can't separate the anxiety, and I can't tell anybody why, because I don't really know why myself… I was feeling very odd that day, didn't even know if I could write a song. Hue [Strother], the guy who I wrote the song with, he was like 'I totally get you. Lots of people go through this.’’’

As we’ve observed in headlines recently, mental health and being honest about life’s trickier situations can help someone going through the same thing, and Lede hopes her music provides encouragement to those who are struggling. As for how she’s learning to push through her mental health roadblocks, she meditates, runs, and is an advocate for therapy, especially in Trump’s America, where harrowing news reports dominate the cycle.

Another hallmark of Kiana Lede’s personality is her bleeding heart for others. She cites women of color, sexual assault victims and the homeless youth specifically as individuals she feels most responsible to help, since she is personally connected to all three. While she’s aiming to create a project that helps homeless youth specifically, she’s working hard this holiday season to ensure that they have a place to stay “at least for the night” after horrific wildfires displaced many individuals in California.

“My passion is really people. Music is just a way that I can get to helping people,” she says with a grin. “Helping people emotionally and physically are both very important. I never want to stop helping people. I feel if other people can respect me, and I can respect myself, then I'll be happy. Happiness is all that we strive for.”

Recently, Lede played her first headlining solo show, a one-night event at The Mint in Los Angeles. While she was thrilled to see that the show sold-out, she was even happier to see the faces of her audience members, who she said ‘looked like [her].’ “Mixed girls, brown girls, black girls, gay boys,” she explains over-the-phone. Even though she wasn’t in person to discuss her latest huge accomplishment, you could hear the pride and joy through her voice.

As for the future of her career, she’s looking forward to more acting roles. You may recognize her from the first season of MTV’s Scream, and after her recent Netflix series All About The Washingtons with legendary MC Rev Run was cancelled, she has been “reading for auditions” and is “negotiating” for a role in a film set to shoot in NYC. While her time with the Run-DMC frontman was brief, she says he taught her about the importance of “not compromising your art for money.”

What Kiana Lede is most excited about, of course, is making music. She hopes to work on a new EP and then release an album after that. The ultimate goal is to fully realize the dreams in her personal and professional life, and she assures she’s just getting started.

“I want to be able to look back on my career and think 'man, I really poured my heart into this music, and made music that mattered, and made music that made people feel a certain way, whether it's bad, good, sad, anxious, whatever it may be.’”

READ MORE: NEXT: H.E.R. Is The Future Of R&B (And Then Some) In Plain Sight

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