《滚石》专访EM：MMLP2背后的故事/转

烑葓誯

  每一个人，我相信，都想告诉这个世界，
“总有一天我会做到的，总有一天我会成功的。”
  每个人都有自己的抱负和梦想，而且他们总会经历没有旁人支持理解的时期。
Eminem Q&A Exclusive: The Making of 'The Marshall Mathers LP 2'
独家专访Eminem：制作MMLP2的过程
In these cover story outtakes, Slim Shady goes deep on the creative process behind his new album
在这个封面故事中，Slim Shady深入谈到关于新专辑背后的创作过程
——By Brian Hiatt
November 1, 2013 2:10 PM ET
Eminem was just a couple of days away from finishing his new album, The Marshall Mathers LP 2 (due November 5th), when we spoke in his suburban Detroit studio in early October. In these outtakes from the upcoming Rolling Stone cover story, which will hit stands November 22nd, he talks about the recording process, going blonde, his wicked sense of humor and much more.
当我们早前10月份在Eminem家乡底特律的录音室采访他时，距离他完成新专辑MMLP2（11月5日）已经有一段时间了。在11月22日发行的以他为封面的《滚石》杂志的封面人物故事里，他谈到了专辑的制作过程，染回金毛，他对幽默的感受和更多的事情。
以下黑色粗体为记者提问和说话，蓝色中文为EM回答部分，（括号里灰色部分为注释）
Are you feeling good about the album at this point?
Um, that's a tough question, man. For the most part, yeah. But I don't know if I ever feel totally great about a record when I put it out. With every record that I put out, someone has literally got to come pry it from me because when I listen to my own music, I just hear flaws in it. Like I hear 'Oh fuck! I could have done this better or that better!' And I'll work it to death. Obviously if I wasn't comfortable with it, I wouldn't put it out. But from the beginning, ever since my career started, I don't know if I've ever been totally like, this is completely it.
你现在感觉好吗？对于这张新专辑
嗯，哥们儿，这问题好难回答的。总的来说，我感觉很好。不过我不知道我有没试过做完哪张专辑是感觉完美的。每一张我发行的专辑，有些人会深入研究进去（给我挑刺）因为当我听到我自己的音乐，我马上就感觉到缺陷。感觉就像“啊操啊！我本来可以做得比这个更好的”然后到死我也会纠结这个。很明显如果我不满意，我不会把它放出来。但在我事业的初期，我不知道我有没感觉，确定这个完全是我想要的效果。
In this last crunch, what have you been working on?
I guess you would say last minute jitters of "Fuck! Are the vocals loud enough? Can you hear what I'm saying on this part? Is the beat right? Are the vocals too loud?'" If I could not have to mix any songs and just take the actual two tracks that I rapped over and put them out, I would do that. 'Cause nothing ever feels the way as when you first did it.
在最后时刻，你一般忙什么呢？
我猜你说的是在最后一分钟神经过敏“草，我够不够大声了呀？大家能听我在这部分要说啥吧？节奏对不对呀？声音会不会太大了呀？- -”如果我只需要做我说唱的两个小结而不需要给歌做混音，那太好了我愿意。因为没有什么事是你做了以后还感觉如初的。
But you're not changing lyrics or anything like that? It's just all mix and sound stuff?
It's just sonic shit that needs to be worked out for the most part, because when I decide to keep a song, that's pretty much it. Like, if it doesn't work, I pretty much know right away, right when I get it in the car and take it home.
但你难道没有改歌词什么的吗？只是混音和调整副歌吗？
我就是特别着急要马上给做出一首歌，因为当我决定要留下一首歌，基本上就已经成型了。因为，如果这个歌行不通，我在拿到它坐上车带回家的那一刻我就能感觉到。
So why did you dye your hair blonde again?
Um, I'll say that one was [manager Paul Rosenberg's] idea. In the earlier stages of the record and developing this shit I had thought about it. And once the songs started to come together and the picture got a little more clear of what it was gonna be, he hit me with the idea and I was like "Yo, you know I thought about that, right?" And he was like, "Well you know, why not?" And I was like "I don't know how it's gonna look. I haven't had it in how many fucking years? Five, six years." I was like, "I'm so used to it being dark," you know. So I just tried it. And I was like "Fuck it."
所以为嘛你要染回金毛？
嗯，我经纪人Paul想我染的嘛。在最初我做这张专辑的时候我自己也有想过。在那些歌曲陆续制作然后脑海里有了更清晰的画面，他（Paul）就给我提了这个建议，而我马上就感觉“哟，你和我心灵相通了吧？”
然后他说“反正你也这样想的啦，干嘛不试一下？”然后我就说“我都不知道染了要变成啥样。我他妈都多少年没试过这样的造型了？5,6年了吧。”我感觉“反正我也厌倦了自己老是黑头发”你懂的。所以就决定试一下，我豁出去了。
Did physically looking like that help you get back in the mindset or change the way you were recording?
Not really, honestly. Because I already had most of the songs. And I don't know if I'm gonna keep it like this or how long I'm gonna keep it. But for right now it is what it is. And I feel like it may fit and maybe people will understand when they get the record.
外型上的改变有没有在专辑制作过程中带你回到过去或者改变了你制作的方向?
说实话，也没有。因为我那时已经做完大部分的歌了。然后我不知道我会不会一直这样或者保持多久。但现在就是你们看到这样了。我感觉和专辑很搭，可能大家在拿到专辑的那一刻就明白了。

For Recovery there was a lot of rejected stuff. You recorded 100 songs or something, or at least you had 100 beats. So was there a lot of stuff thrown in the garbage pile this time around?
I feel like right now I'm probably working harder than I've ever worked in my life. And I've probably worked harder on this record than any other record aside from maybe the time period during The Eminem Show, which is a little hazy 'cause just so much shit was going on at that time. Just being so busy with The Eminem Show and doing the 8 Mile movie, and the soundtrack and the score to the movie. This is probably the equivalent of that but all focused on the record mostly.
《Recovery》有很多弃歌。你做了大概100首歌，或者说你至少做了100个beat。所以这次也扔掉很多歌了吗？
我感觉这次是我这一生中最努力的时候了。我可能比我录《The Eminem Show》那时候还要更努力，我那时都疯了，因为好多事情扎堆在一起要做。我又要做专辑《The Eminem Show》又要拍电影《8英里》，我还得给电影做原声音乐。要找一个平衡点，不过主要精力还是做专辑。
That's crazy.
Once I had the direction that I wanted to go, and you know calling it The Marshall Mathers LP 2, obviously I knew that there might be certain expectations. Like, I wouldn't want to just call it that just for the sake of calling it that. So I wanted to make sure that I had the right songs to be able to call it that. So, a lot of recording. A lot of songs that people probably will never hear. We hit a couple of road blocks. There were songs where the beat leaked or a producer sold the beat to someone else or whatever. And just when you think you got it or you got the right amount of songs you go back and you listen and you're like, "Fuck man! I feel like it needs this or this" to paint the whole picture.
好疯狂。
一旦我有了想做的方向，把专辑叫做MMLP2，我知道很多人都会特别期待。我不会只是想让它卖的更好而这样叫它。（MMLP于2000年发行，首周176万，累计销量全美超过1000万，全球超过2000万。被认为是Eminem最好最畅销的专辑）所以我得确保我有合适的歌能配得上这个名字。所以，也录了好多。很多歌大家永远都可能听不到。我们遇到了一些麻烦。有些beat被泄露了，或者制作人把beat卖给了别人之类的。然后当你拿到合适的歌曲，你返回去听然后就感觉“草啊！要的就是这种感觉啊”然后就会描绘心中的蓝图。
A lot of people, maybe even you, think the original is your best album.
It's probably my favorite. I think some of them are my favorites for different reasons. Hate to even say that about my own record, but I mean the first three records, I think they may have captured a time period. And then I think I pretty much probably have publicly said, you know, Encore and Relapse wasn't – it was just a different time.
很多人，甚至你自己也可能，认为你最初的专辑才是最好的。
可能是我的最爱了。其中的一些歌成为我的最爱有很多理由。真讨厌这样评价自己的专辑，不过我觉得我的头三张专辑（The Slim Shady LP，The Marshall Mathers LP，The Eminem Show）可能是我状态最好的时候。然后我想，就像大家说的，你也知道Encore和Relapse不好 — 但那只是不同时期罢了。
You've been hard on Relapse, but Tyler, the Creator says that it's his favorite hip-hop record in years. He loves that record.
Yeah, he tells me that every time I see him. I don't hate the record. I want to rap and be able to always try to do my best lyrically, but at the same time find the right balance between that and making the right songs. And you know, I don't know if I necessarily found that balance yet, because I was just getting sober and just kind of finding my feet again and so there was a lot of songs that were just like "Ha ha this is funny!" You know, walking around and joking around with your friends and shit and it ends up on the record and you're laughing about it. Because when I got sober it was like – I've said this before – but it just was like "Oh shit! I can think straight again!" So I don't know if that record was particularly my best work as far as songs, writing songs that felt like something, that brought some kind of emotion. I ran accents into the ground. I got stuck on that kind of serial killer, crazy vibe and just kind of went with it.
你老是纠结于《Relapse》这张专辑，但是Tyler Creator却说那是他当年最爱的一张。他很喜欢那张专辑。
是啊，每次他见我都和这样讲。我不讨厌那张专辑。我想确保自己的歌词是最好的，但同时又想和歌曲平衡在一起。然后你懂得，我不知道我有没有必要一定要找到那个平衡点，因为我现在很清醒，知道自己在干嘛，所以有很多歌都是这样“哎呀这个很好玩啊！”你懂得，到处兜兜转转然后和朋友们开玩笑之中就做出专辑。因为当我清醒时就像 — 以前我没说过这个 — 但这就像“卧槽！我终于可以重新正常思考了！”所以我不清楚那那张专辑算不算好作品，写一些歌蛮有感觉的，也带来了一些情绪。口音蛮重的当时。我那时被连环杀手，疯狂的氛围迷住了，所以有点往那个方向走。
On Recovery, obviously the world came to you on that one. How do you feel now about that record?
I feel like that record I finally got back to where I was at maybe during The Eminem Show. Like, creatively and songwriting, I guess. I mean obviously Recovery was the first time I had ever worked with that many producers outside of our camp. Aside from working with Dre, it was like I always wanted to produce my own records, because producing is fun to me too. One of the things that was cool for me about that record was getting beats that already had choruses on them. It's kind of like a challenge to myself to be able to hear somebody else's hook and kind of interpret the words. Because my own hooks, I already know what I mean when I write them. The way that I do music is, like, regardless of what the beat is and whatever kind of appeal it may or may not have, I always want to try to go as hard lyrically as I can. So regardless if the beat feels like "Wow maybe this could be played on the radio," I'm not like, "Maybe radio would play this so I'll just wing it." Like, I always have looked at it like I want to approach every record from an MCs' aspect.
在《Recovery》，很明显你进入了状态。你现在怎么看那张专辑呢？
我感觉在那张专辑中我终于回到了可能是做《The Eminem Show》时候的状态。就像，一直创作和写歌，我想。我的意思是很明显《Recovery》是我第一次和自己不熟悉的外面的一些制作人进行合作。除了Dre之外，我总想自己制作自己的专辑，因为制作的过程对于我来说也很有趣。最酷的就是制作的时候有一些歌已经有了和声了。对我来说就像是一个挑战，我能先听到别人的歌声然后解释那些歌词。因为我自己的部分，我写下它们的时候就明白它们的意思了。我做音乐的方式，感觉就是，无论是什么样的节奏旋律，我总是想尽最大努力让歌词与它们匹配。所以如果节奏的感觉是“哇这个在电台放效果会很好”我就不会说，“可能电台会放这首歌那我就唱吧。”就是，我一直都想从MC的角度来录歌。
So how did you come to decide to designate this the sequel to The Marshall Mathers LP? How did you decide to make your life miserable like that?
Well here's what it is: It's not necessarily a sequel.
你是如何决定要做MMLP的续集的？
那时候你人生蛮痛苦的，为什么决定还想体验一把？
呃这样说吧：其实也不一定是个续集。
Okay.
As much as it is a revisitation – like this is a different time period in my life. So there's not gonna be like, continuations of every song or anything like that. To me, it's more about the vibe and the nostalgia. One of my favorite new things to do is experiment with new, older breakbeats and sounds and shit like that. You know, retro shit, and try to make it current, like bring it up to date.
好吧。
差不都像是回顾吧 — 感觉这是一个我人生中的不同时期。所以不一定要有，延续每一首歌或者什么的。对我而言，更像一种氛围或者怀旧吧。我最喜欢做的事情就是不断尝试将新的，旧的碎拍和声音混合在一起。你知道，复古的，然后把它做成现在通俗的，就像回到过去一样。
So did seeking out Rick Rubin come from that direction? You were like "Why don't I go back to the source?"
Paul had mentioned to me that he might be interested in doing it and he had been talking to him and I was like, "Fuck man." Another thing with this record is that I kind of got back into producing more. On Recovery, I wanted to focus more on writing, and not have to worry abut making the beats. On Relapse I think it was mostly all Dre. So I kind of started producing again a little bit. I was kind of in the middle of that when Paul had mentioned that, and was fucking around with those kind of sounds and I don't know if that's what made Paul reach out to Rick or if Rick reached out to him. But as soon as I heard he was interested I was like, "Yo, just let me finish this up and let's go see him."
所以找到Rick Rubin也是出于这个方向的考虑吗？你感觉就像“为何不找回源头呢？”
Paul有和我提及他可能有兴趣做这个，他们一起聊过，然后我就觉得，“那太好了”另一个方面就是在这张专辑中，我在制作部分花了更多心思。在《Recovery》里面，我把精力主要放在写作，不需要管制作的事情。在《Relapse》我感觉都是Dre在制作。所以我想开始重新制作试试看。Paul和我提议这件事的时候我已经陷进去了，被各种声音所包围，我也不知道Paul去找Rick是出去什么原因，或者说是Rick来找Paul也说不定。但当我一听说他也感兴趣我就觉得，“哟，等我做完这个就一起去会会他”
You've called Rick "Yoda" – was there still stuff to be learned from him at this point in your career?
[Yoda voice] Learning I did. Um, yeah, I mean the best part about Rick's vibe is he's very Zen-like in the sense of just "Let it happen." The weird thing about it is nine times out 10, we would know instantly if something didn't work and it didn't feel right, you know. He's almost like a coach.
你叫Rick做“Yoda（尤达）” — 在你事业的这个时期还有什么可以和他学习的吗？
[EM学Yoda说话]是啊在学。嗯，是的，我觉得Rick的氛围最好的一点就是“禅” — 就像出于一种“顺其自然”的感觉。最奇怪的就是十 有 八 九，如果有不合适我们立刻就能感觉到不对。他像个导师一样。
He's very psychological, right?
Yeah the guy's got his shoes off. [Laughs] Working with him is the most relaxed atmosphere. He's not afraid to try anything. I kind of felt in the same way I felt, and still feel to this day, as far as like wanting to impress Dre. We talked at his house and then I think we went straight to his studio from there and we started going through breakbeats. I told him that I had started experimenting with some more retro sounds. So we just sat down and started picking shit out and I would start writing to them and next time I'd get together with him we'd start adding shit to it. The dude's got so many ideas, man. One of the coolest things about the sound that he gives you is the Rick Rubin scratches. When he fucking scratches some shit, it's almost like this perfect slop that it has on it. Not that it's off-time or anything like that, but it's just like – it's fucking weird. I don't even know how to explain it. You just know that he scratched it. I don't know if that even makes sense or not. It's like a simple scratch, like a basic kind of thing, but it's so fucking dope when you hear it. It's just, it's vintage him. And plus he knows what a lot of those sounds came from and shit.
他很有哲理是吧？
是呀，他把鞋子都脱了[EM笑]。与他合作是最放松的感觉。他不怕尝试任何东西。我现在也这样觉得，就像当初想要给Dre留下深刻印象一样，我们在他家聊天然后我想我们从那儿直奔他的录音室然后我们马上就开始做音乐。我和他讲我开始尝试混合更多复古的声音。所以我们坐下开始挑选，接着我开始创作，然后下次我和他一起再往里加东西。他有好多的想法。最酷的就是他给了你一种Rick Rubin式小剪辑。当他开始做这些，就像那本来就是最完美的感觉。不会觉得过时了，但就像 — 很奇怪的感觉。我都不知道该如何解释。你就是知道他给弄出来了。我都不知道那行不行得通。很简单的，就像一开始就是那样的，但是当你听到就觉得太吊了。他展现出复古的一面。还有他知道哪些声音都是从哪里怎么弄出来的。

Did he have all the old drum machines sitting around the studio?
Oh, he's got some shit in the stash. Yeah. Definitely.
他在录音室还保留了哪些旧的鼓吗？
噢，他是有储藏哪些东西的。是的，肯定有的。
So much has changed in hip-hop since you started producing – did you find the beats you were making on your own were influenced by newer stuff?
Um, not necessarily, because like I feel like I just do whatever feels right. Obviously I pay attention to what's going on and what's out and keep my finger on that pulse. But I don't ever want to be like or do like what anyone else is doing. That's no offense to anyone else.
从你出道到现在说唱界风云变幻啊 — 你有没有被新事物影响找到合适你的东西呢？
呃，也没必要吧，因为我只是想做我感觉对的东西。事实上我很关注时下发生的事情，会跟上大方向。但是我有不想做所有人都在做的事情。但我这样说不是想冒犯任何人。
Basically, if there are outside influences that are current, you let that come in from the other producers, but your shit is your shit.
Yeah. That's exactly it. More current-sounding shit I leave to them. And not that I don't feel like my shit sounds current, but it's not the exact same thing. And I think I've updated as well.
总的来说，现在外面流行的其他作品也会影响你的创作，但你还是做自己想做的。
对，就是这样。更通俗 — 加多一点和声。并不是我不喜欢我的东西更流行，但这个不能混为一谈。而且我觉得我与时俱进。
On the new song "Legacy" you're talking about yourself in detail as a kid. What does it take to get back in that mindset at your age?
I always try to make my music relatable to the kid who people said, "He ain't shit" or bullied or whatever. It felt like one of them self-empowerment songs. Everybody, I believe, wants to show the world that, "One day I'm gonna be this. One day I'm gonna be that." Everybody has goals, aspirations or whatever, and everybody has been at a point in their life where nobody believed in them. Like, if you haven't been kicked or whatever, if you never went through. . .
在新歌“Legacy”里你详细谈论了你的童年。究竟怎样才能在脑海中回忆你那个年龄的状态？
我总是尝试将我的音乐和那个人们谈论的小孩联系起来“他也不是一无是处”或者什么的。像是自我激励的歌吧。每一个人，我相信，都想告诉这个世界，“总有一天我会做到的，总有一天我会成功的。”每个人都有自己的抱负和梦想，而且他们总会经历没有旁人支持理解的时期。就像，如果你从未被驱逐，如果你没有那样的经历……
Tribulations.
Tribulations and shit like that, then you're perfect and fuck you anyways. So everybody has been in that place where they just have been counted out or not even counted. Like, "You don't matter." "Oh yeah? I'm gonna show you." So it was about incorporating that idea into the idea of my legacy – into what I leave behind when I'm gone. And I always looked up to other rappers for the words that they gave me. There's many, many songs that got me through a lot of shit.
苦难。
没有经历苦难你就得到一切了那我也无话可说。所以其实每一个人都会有那样的一个状态，就是大家都不认可你。别人说，“你啥也不是嘛”你就想，“那我得证明给你看。”所以这是我一个送给后代的遗产 — 我想在离开以后给世人留下的东西。然后我也一直有留意别的说唱歌手所说的话。有太多太多歌帮助我度过难过。
I just love that you rhyme "Onyx" with "comics" on that song.
I don't know if anyone will get this, like this is super-nerdy, but the rhyming words in that song never change. And that's just one of the things that I do to try to challenge myself. I wanted to try to make a whole song where the rhyming words never changed.
我喜欢你在歌曲中将"Onyx" 和 "comics"押韵在一起。
我都不知道有人会留意这个，这个很书面化的，但是押韵的词在那首歌里是不会变的。那时我想做一些事情来挑战自己。我想做整首歌里面押韵永远不变的效果。
You've praised the Beastie Boys' evolution, but it doesn't seem like you're going to have a "the disrespect for women has got to be through" moment.
I mean, listen, my sense of humor has certainly not gone away. I realize that I'm an adult, a grown-ass man, and I don't know what I'll be doing a year from now, 10 years from now, but I don't think that my tongue-in-cheekness will ever go away. I guess it's just a part of my personality. I always want to keep some type of element of fun to the music as well. If one song is darker or talking about a sad subject, I don't want to make a whole album of that, of being a downer. I don't want to make a whole album of being too uppity. You gotta try and find that right balance, and that's one of the things that the creative process was on this record as far as just experimenting. In other words, recording till I get it. And if I record 100 fucking songs and I don't have what I feel like I need yet to make the body of work, then I'm gonna keep going and keep recording.
你称赞“Beastie Boys”团体的演变，但是看起来你并没有逃脱在大众眼中对女性不尊敬的状态。
我的意思是，我的幽默显然没有离我而去。我意识到我是个成年人，我不知道我这一年都在干吗，我这10年在干吗，但是我不认为我丧失了幽默的能力。我猜这是我人格的一部分。我一直以来都希望能在歌曲中加入有趣的元素。如果一首歌是比较黑暗的或者要谈论一个悲伤地故事，我不想做一整张都是那样歌曲的专辑，做一个失落者。我也不想做一张很自命不凡的专辑。你一定要尝试和找到中间的平衡点，这就是相比实验性探索，这才是创作过程中所必要的。换句话来说，我会一直路到我满意为止。而如果我录了100首歌，我都感觉不对，那我还是会继续录到感觉对为止。
You've written a bunch of your own hooks, and even sing some of them. Where does your sense of melody come from?
That's a good question. I would want to say that it's stemming from early hip-hop. Rappers used to fuck around all the time with melodies, at least on the shit that I grew up on. I don't know keys on a keyboard or what note this is or that is. I can only hum something. But I think it just comes from all the data that I've collected in my years of listening to music. And you know, fuck man, I think that as hip-hop started evolving, there was more melody in it, people were starting to sing hooks. Even like, early Slick Rick – [sings] "Hey young world" – those kind of things. Maybe I took it somewhere different at times, I don't know.
你自己写了很多副歌部分，甚至还自己唱了。旋律是从哪里来的呢？
好问题。我是从早期说唱乐里提取的。说唱歌手周围经常都有各种旋律，至少我的成长中是这样的。我不懂键盘的按键是什么音之类的。我只能哼出来。我想这些声音来自于我脑海中的储存库，毕竟我都听了好多歌了。还有你懂得，我觉得从说唱乐进化以来，越来越多旋律加入其中，人们也开始唱副歌了。甚至说，早期的Slick Rick[EM唱歌]“Hey young world”— 那种感觉。也可能是不同时期我在别的什么地方找到的，我也不知道。
Maybe it's just pure instinct.
Honestly, that's probably what it is. I don't want that to sound like arrogant or nothing but I just don't know where I get that sense from, you know what I'm saying? I'm not a singer singer. I just know what's in key and what's not.
可能就是直觉呢，天生的乐感。
说实话，可能是吧。我不想这样说，显得我很自大，但是我真的不知道我灵感从哪里来，你懂我在说什么吗？我不是传统类型的歌手，我只知道什么感觉对什么感觉不对。
Having Kendrick Lamar on your album, did you have any concern that he might go in and try to upstage you?
I completely respect what Kendrick does and the fact that he's in the same camp, that he's on Aftermath, only made sense to me. He came to Detroit, we kicked it for a few minutes, you know, and I felt the vibe of what he's like and everything, and you know, he's a super cool and super humble dude. When we did that record, I think that was actually a week or two before he did the verse to "Control."
你在专辑中和Kendrick Lamar合作，有没考虑过他进来后可能会过来喧宾夺主和你对着干？
我很尊重Kendrick做的还是事实上他和我是一个圈子的，他在Aftermath（Dre的公司），这才是重要的。他来底特律，我们闲聊几分钟，你懂得，然后我感觉他的氛围和所有东西，他是个超级酷又很谦逊的人。当我们一起做音乐，我想那是在他做“Control”之前的一两个星期。（Control这首歌挑衅了很多的说唱歌手。主要是想表达现在的某些说唱歌手都特别不上道可以滚蛋一边凉快去了。）
Is there advice you would give him at this point?
I don't know if he needs advice. He seems like he's got a really good head on his shoulders, man. He's very smart and you can tell by the way he put his album together for one. He's like a hip-hop head, man, he just loves hip-hop. And obviously the way that he did the "Control" verse, it was almost like if you get mad at him, then you might look foolish. He set it up so that you can't really get mad at a lot of that shit he said because it was what every other MC is already thinking. Or you should be thinking.
在这个非常时期你有没什么建议要给他呢？
我也不知道他需不需要建议。他有个绝顶牛逼的脑袋。他很聪明而且让这张专辑统一起来。他脑袋里专注说唱，他就是热爱说唱乐。而且很明显他在“Control”这首歌的歌词，如果你因此对他动怒，你看起来就想傻逼了。他就是挖了个坑给你们跳嘛，那些都没必要动怒，因为一早有别的MC都是那样想了，或者说应该要那样想。
Fundamentally, do you feel like a rap god or do you feel like an underdog?
I think everything switches back and forth from hour to hour, day by day with me. That whole "Rap God" record pretty much from top to bottom is tongue in cheek. So I mean, do I want to feel like that? Maybe sometimes. Again, it goes back to everybody who competitive raps and does this for just purely the sport of it wants to be the best. Again, that's why Kendrick's verse worked  so well because he only said what every rapper's already  thinking, If you don't want to be the best, then why are you rapping?
说真的，你感觉自己是说唱之神或者你觉得自己还是井底之蛙？
我觉得所有事情都会在分分秒秒中变得不同。“Rap God”这个歌更多是在炫耀技巧性的东西。所以我的意思是，我想那样吗？可能有时候是吧。再说了，这回到饶舌一开始的初衷就是比谁嘴皮子最厉害了。所以说，这就是为什么Kendrick那些话引起了那么大的反响，是因为他把所有说唱歌手想说的都说了：如果你不想做最好的，那你干嘛要来唱？


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《汽车音响》张

滚石是个值得尊敬的伟大的音乐品牌！看来中国是没有机会也出现一个这样的音乐品牌了！