He raps about a chick he met at the mall who is amenable to his drinkin', druggin' and fightin' ways. But the record bears the bit out: The next song is 'Good Girl.' It features a crooner named Poo Bear, but it does not feature any of Yelawolf's reputation-making energyhe typically boasts a meth-head yammer of a voice. That is, Radioactive required a song for the girls, a hit.ДЇor a moment, the skit seems like a joke, a parody of a bottom-line-obsessed record label messing with the work of a promising artist.

Finally, Eminem, the boss, declares, 'We need one.' Yelawolf is, at first, a little confused: 'What do you mean? For like, bitches?' Then he's indignant, simply guffawing 'No!' at one point. 'I think the one thing that the album doesn't have, that it might be missing is, like, a song for like, girls.' The two go back and forth. 'You know what I was thinking man?' Eminem says hesitantly. At the time, Yelawolf was Shady's latest signee. Eminem plays himself, a whiteboy rap demigod and head of Shady Records, a large label distributed by the larger Interscope.

Just what do you want, anyway? Yelawolf faces off with the crowd at Hopscotch 2011.ДЄbout a third of the way through Radioactive, the 2011 debut from the rapper Yelawolf, the album all but announces that fans of the fast-rapping trailer park poet should stop listening.ДЄffixed to the end of 'Throw It Up,' a skit masquerades as a private phone call with Eminem the skit spotlights the importance of the album's marketability.

Rittz songs about meth