Eminem continues to hearten fans and draw a couple of tears from them, as he just dropped the music video for his The Death Of Slim Shady (Coup De Grâce) cut “Temporary” featuring Skylar Grey. The song and visual is a touching tribute to his daughter Hailie Jade, with the lyrics hypothesizing on the Detroit rapper’s final message to her before his eventual passing. The visuals show old home video footage of Hailie, tearful moments at her wedding, and even the reveal that she’s expecting a child. We can’t believe that Marshall Mathers will become a grandfather soon, and from the looks of it, he can barely believe it either.
“I watched it in entirety and I don’t think I can do it again,” Hailie Jade recalled her reaction to Eminem’s “Somebody Save Me” music video featuring Jelly Roll, another family tribute. “I definitely cry every time I hear it at all. Between that and ‘Temporary’… I mean, I can’t. I audibly sobbed, I think, for both songs, but especially ‘Temporary.’ Watching the [‘Somebody Save Me’] video back and listening to the songs, I feel like my parents did such a good job growing up where I didn’t realize how bad things were.
“I think that’s why I get emotional so much just thinking that that could have happened,” Hailie Jade shared concerning Eminem’s addiction struggles and near-death experiences. “And obviously that’s the point of the song. But I will say, if you’ve ever lost an addict or loved one, I feel for you.” “The older I get, the less I can listen to any of the songs,” she said of “Mockingbird.” “I’ve done enough crying and I told myself I refuse.”
However, Eminem and Hailie Jade aren’t the only ones who got emotional from these milestones. “I wish I had a daughter, I do, I wish I had a daughter,” 50 Cent recently told Haute Living of Hailie’s wedding. “I wish I had that [father-daughter] relationship. For female children, their dad is the first man they fall in love with. Male children go to their mom; I’m a mama’s boy myself. It was unbelievable, the wildest thing for me, period. I was like, ‘Yo, bro, this is cr*zy. We’re getting old. Your baby is grown. What the f**k is going on?’ I was having a moment myself over there. I told Em, ‘You said it was OK to cry? Because I’m crying.’ I couldn’t believe it went that fast.”
Eminem is still firing on all cylinders in 2024, and took a couple of months to bring the rest of The Death Of Slim Shady (Coup De Grâce) to life. Moreover, he just released a deluxe version of the album, the Expanded Mourner’s Edition, with a new “Fuel” remix with Shady Record signees WESTSIDE BOOGIE and GRIP. Also, the Detroit legend officially put his two digital deluxe tracks onto streaming after months of exclusivity, and one of those is the cold-blooded “Like My S**t.”
If you’re curious, the other is “Kyrie & Luka” featuring 2 Chainz. On “Like My S**t,” though, Eminem proves that he hasn’t run out of rhymes in his notebook, flipping turns of phrase and homophones with the same playful cheekiness as always. The beat is a frenetically percussive one, with trill hi-hats, rattling percs, and light but frantic string melodies. Everything else is pretty much within the aesthetic and quality standard you’d expect as far as fast, shifting flows and his trademark irreverence.
Even though many fans expressed disappointment that The Alchemist wasn’t on this new deluxe, “Like My S**t” and the other cuts certainly give Eminem fans a lot to chew on. If you haven’t heard this track yet, find it on your preferred streaming service or check it out on YouTube below. Down there, you can also find some standout bars and the comments section for you to leave your thoughts on the record. As always, come back to HNHH for the latest great rap drops around the clock.
Quotable Lyrics Turn the thermostat all the way up’s only way you’re gonna blast the heat, All you leisure-wear like V-necks, all y’all just casual tees, Critics I don’t rap to please, they be like that brand of greens, Label them Del Monte ’cause everyone you can’t appease, yeah
Eminem’s new Expanded Mourner’s Edition of his 2024 album The Death Of Slim Shady(Coup De Grâce) doesn’t just contain two new tracks. It also boasts a slightly altered remix of the previously JID-assisted “Fuel,” now featuring Shady Records signees GRIP and WESTSIDE BOOGIE. On it, the Detroit rapper takes more scathing shots against Diddy. “The Notorious B.I.G.’s death was the domino effects of Tupac’s murder,” he raps on his new verse. “Like facial tissue, whose card should I clean next? Puff’s? / ‘Til he’s in police handcuffs, guilty, will he step up / Like gee, never turned himself in, who knows all the murders there’s been? / Or me next up, prepare for me to not choose none of my words carefully.“
This adds to Eminem’s previous Diddy disses on the same song. “I’m like a R-A-P-E-R / Got so many eses (essays), S-As” he rapped on the original version. “Wait, he didn’t just spell the word ‘rapper’ and leave out a P, did he? / R.I.P., rest in peace Biggie / And ‘Pac, both of y’all should be living / But I ain’t tryna beef with him / ‘Cause he might put a hit on me like ‘Keefe D, get him.’“
Eminem’s “Fuel” Remix With WESTSIDE BOOGIE & GRIP: Listen
As far as the Bad Boy mogul, the last update we got on Diddy’s various misconduct allegations was a new sexual abuse lawsuit from Danity Kane singer Dawn Richard. Also, he reportedly lost a $100 million default judgement in a sexual assault case, something that he filed an emergency motion to dismiss over. That’s not even bringing up Keefe D’s current trial for Tupac Shakur’s murder and how his name has been brought up under accusations of murder. All in all, it’s not a very pretty situation. It’s clear that Eminem is doubling down on his strong stance.
Elsewhere, Big Sean recently reflected on working with Eminem on The Death Of Slim Shady after many other collaborations. “I’m happy to be a part of that album as well. For sure, for sure,” Sean told the VMAs red carpet. “It was the first album I bought from Costco with my birthday money. That was way back. To be on The Death of Slim Shady was a full-circle moment.”
Eminem’s new album The Death Of Slim Shady (Coup De Grâce) is an unsurprisingly irreverent and fiery project overall, but it also has some very tender and emotional moments. More specifically, the tracks “Temporary” featuring Skylar Grey and “Somebody Save Me,” featuring a Jelly Roll sample, tribute his family and his children. The Detroit legend’s daughter Hailie Jade recently revealed her tear-jerked reaction to these songs via her Just A Little Shady podcast. While some fans might have found these and other songs on this new album to be overkill or corny, that all becomes moot when compared to how it struck a chord with who it was really meant to reach.
“I watched it in entirety and I don’t think I can do it again,” Hailie Jade said of Eminem’s new music video for “Somebody Save Me.” “I definitely cry every time I hear it at all. Between that and ‘Temporary’… I mean, I can’t. I audibly sobbed, I think, for both songs, but especially ‘Temporary.’ Watching the [‘Somebody Save Me’] video back and listening to the songs, I feel like my parents did such a good job growing up where I didn’t realize how bad things were.
Hailie Jade Speaks On Her Father Eminem’s Recent Tribute Tracks: Watch Full Podcast Episode
Hailie Jade’s comments on the Eminem songs begin around the 27-minute mark.
“I think that’s why I get emotional so much just thinking that that could have happened,” Hailie Jade expressed while choking up around Eminem’s dangerous addiction and his reflections on almost overdosing. “And obviously that’s the point of the song. But I will say, if you’ve ever lost an addict or loved one, I feel for you.” But things weren’t all sad. She also said it was “fun” to see herself and her family in old footage in the “Somebody Save Me” visual.
Meanwhile, Hailie Jade admitted that she still has a hard time getting through Eminem’s 2004 classic “Mockingbird” without crying. “The older I get, the less I can listen to any of the songs,” she shared. “I’ve done enough crying and I told myself I refuse.” Sometimes, music is for a very particular person, and even those outside of this dynamic can understand the weight of the situation.
Eminem’s new album The Death Of Slim Shady (Coup De Grâce) had a killer first week when it comes to sales, amassing 281K album-equivalent units without counting physical sales. Now, it officially manifested into his 11th career No. 1 album on the Billboard 200 albums chart, breaking Taylor Swift’s dominant 2024 record for 12 consecutive chart-topping weeks with The Tortured Poets Department. Moreover, this is the largest debut for any hip-hop album this year so far. Also, the Detroit MC now ties with Bruce Springsteen, Barbra Streisand, and Kanye West for the fifth-most number ones on the Billboard 200 chart.
For those curious, that list has Drake (13 No. 1 albums), Jay-Z and Taylor Swift (both with 14), and The Beatles (19) ahead of Eminem and company. Nevertheless, this is a huge achievement for him, even if the album’s critical reception has been less than stellar. However, comparison might be the thief of joy, but in this case, folks are generally much more receptive to this body of work than they were to Em’s other post-2000s releases. But whether you’re a fan or a hater, you can’t deny that there’s so much to appreciate and dissect when it comes to The Death Of Slim Shady.
In addition to this album success, Eminem continues to keep a firm grip on commercial dominance within the rap game, at least in a few different metrics. One of those is the goalpost of Spotify monthly listeners, which he sits firmly at the top of with around 86 million at press time. Kendrick Lamar is not far behind as the second rapper on this list with 75 million at press time, ironically surpassing Drake recently. Alas, not even their beef can dethrone Marshall Mathers.
Meanwhile, referring back to the depth and content within The Death Of Slim Shady, fans are still finding new details and interpretations to analyze and discuss. A popular recent theory is that Eminem actually intended to structure this album in reverse, as playing the tracks from last to first apparently reveals another perspective and concept. This isn’t the first time that viewpoints like these caused fan debate. But they rarely do, and engaging so many fans beyond a surface level listen is a feat far beyond a No. 1 debut.
Eminem is riding the high off of The Death Of Slim Shady (Coup De Grâce), and all his celebrations are a Death Row/Aftermath/Interscope affair. Moreover, he recently popped out for a surprise performance at Snoop Dogg and Dr. Dre’s launch party for their “Gin & Juice” canned cocktail brand in the United Kingdom on Thursday (July 18). None other than Shaq hosted the event, and even LeBron James was in attendance. Marshall Mathers performed “Houdini” and “Forgot About Dre,” whereas Dre and Snoop played cuts like “The Next Episode.” This followed Em’s appearance at a Death Of Slim Shady pop-up in London, at which he kicked it with fans, gave out autographs, and posed next to a fake casket for his alter ego.
As for Eminem’s hip-hop old-heads, Snoop Dogg and Dr. Dre seemed to enjoy the English city, with the latter comparing it to Compton. “I didn’t know it was that many Black people out here. It felt like the hood,” Snoop Dogg remarked. In an interview with Capital Xtra, they elaborated on their collaborative bond. “It taught me how to be professional, Dr. Dre has always been like a big brother to me,” Tha Doggfather posited. “He’s always had the attitude and the spirit of always looking forward.”
“I love that [Snoop Dogg] gives me his trust with his career,” Dr. Dre added. “I’m never going to let my bro down.” All in all, this seemed like a fantastic event and a great celebration about the duo’s upcoming album and Eminem’s latest release. Speaking of which, fans are already breaking down possible interpretations, meanings, and theories behind The Death Of Slim Shady. One is the classic flip of playing the album backwards, and it’s wild to see how many different takes are just as valid and reasonable.
Meanwhile, another close Eminem family tree member, 50 Cent, recently offered his thoughts on the Detroit legend’s latest full-length. “Yo @eminem s**t is crazy it takes me a while to understand the details of this one [fire emoji],” Fif wrote of the project on Instagram. We can only guess as to what these stars will do for the rest of 2024. Hopefully they keep things just as exciting.
Like “Head Honcho” with Shady Records signee Ez Mil posits, “canceled” isn’t the word to describe Eminem. That concept drives The Death Of Slim Shady (Coup De Grâce) and is as painfully ancient and obvious as it is subversive. While Marshall Mathers has arguably tried to “kill” Slim Shady since 1999, this new project is unique in how explicitly he connects his biggest demons while showcasing his best long-form quality control in over a decade.
However, that quality control is still bizarre since Eminem throws stuff at the wall and doesn’t focus much thematically on most individual tracks, an odd trait for a “concept album.” It’s a missed opportunity for breakdowns of the rapper’s personas and beliefs. Still, the things that make this album great and irate are in Em’s whole discography to varying degrees… all that changes is the specific names, like Diddy and Megan Thee Stallion mentions on The Death Of Slim Shady. Slim Shady’s “death” here is more of an exorcism of his immortality and is generally an entrancing spell.
As for Eminem, his own “immortality” in hip-hop has his technically gifted pen to thank, not his other half. Some Dr. Dre production all over The Death Of Slim Shady (plus Dem Jointz, Em himself, and more) certainly helps, too. But his colorful and zany artistry always stretches thin with vivid, albeit cartoonish approaches. Comically crude, wildly impressive, and deep moments emerge, such as the Amber Heard bar on “Lucifer,” the rhyme schemes on “Antichrist,” and recollections of Em’s daughter Hailie playing guitar on “Somebody Save Me.” Then, it’s stale shock value, eye-roll wordplay, and melodrama: animal cruelty on “Evil” that went nowhere, that terrible sock puppet bar on “Bad One,” and forcedly aggressive cadences on the otherwise soft “Temporary.”
Instrumentally, things are much more consistently enjoyable than past efforts like Revival or Kamikaze. The peppy and gritty beat on “Renaissance” and the percussive speed-up on “Habits” are particular highlights. There’s an orchestral sense of drama throughout these beats with fitting drum tones, and progressive embellishments make the instrumentals more dynamic. Alas, lyrically and musically, The Death Of Slim Shady‘s repetition is its kryptonite. Tracks like “Houdini,” “Brand New Dance,” and the family tribute tracks from the perspective of a dying or deceased Marshall are not-so-subtle retreads of “Without Me,” “Just Lose It,” and “When I’m Gone,” respectively.
There are also way too many Caitlyn Jenner, little people, and Gen Z jokes peppered all throughout the album’s first leg. Eminem — or Slim Shady, rather — tries so hard to offend that it comes off just as performative as how he characterizes the “cancelation” he rallies against. Regardless of how much anyone tries to reiterate that “that’s the point,” this causes even more whiplash between his typical toilet humor and linguistic creativity. Still, The Death Of Slim Shady‘s saving grace, “Guilty Conscience 2,” contextualizes these aspects compellingly and paints Slim Shady as an addict to controversy due to his upbringing. With his “death” at the end of the song, subsequent tracks suggest what Marshall actually has smoke for, whether Candace Owens’ hypocrisy or the state of hip-hop through tracks like “Tobey.”
That’s not to say that Slim Shady is the problem with The Death Of Slim Shady: “Fuel” is still the best song on this album thanks to two killer verses from Eminem and JID. But these songs present really strange vocal mixing choices ( i.e. “Road Rage”) that don’t clarify when one personality is talking and when the other retorts. To be fair, it’s arguably Em’s most ambitious full-length since The Eminem Show, but only one or two moments here really tackle killing Slim rather than parading him around just to suppress him later. Sadly, it doesn’t fully translate as growth or evolution.
Above all, The Death Of Slim Shady champions all of our assumptions about Eminem and his alter-ego as explicitly as possible. Very few new topics enter, but a heightened musical consistency makes these repetitions well-flowing and easier to appreciate. His addictions to substances and controversy have never been more intertwined, and neither have these struggles so directly explained his shortcomings as a family man. Yet Mr. Mathers is always passionately committed to his loved ones. In many ways, this “coup de grâce” (in other words, a merciful kill shot) feels like the album that he has tried to make for the past fifteen or so years.
Even with this album’s concept of beating a dead horse back to life, we doubt Eminem and Slim Shady are separate. While blasting “cancelations” of either Colin Kaepernick or Dave Chappelle, Em/Slim’s biggest issue seems to be how people always need to apologize and criticize rather than tolerate opposing views. That’s been a mission statement of his throughout his whole career, and it’s ironic that he seemingly can’t tolerate that it’s a nauseating one. Then again, isn’t this the most “Eminem” album perhaps ever, with all his best and worst feats and flaws delivered with a middle finger and a wink? Maybe Slim’s addictive controversies are what died in a blaze of glory. But that combative fire will always fuel Marshall Mathers.
The Death Of Slim Shady (Coup De Grâce) is the talk of the town, and it’s because of the density and grand nature behind tracks like “Lucifer.” On this track, which features a soulful and slightly bluesy Sly Pyper chorus and a stark and Wild Wild West-esque beat, Eminem tackles the hypocrisy of Candace Owens, his family upbringing, and his lack of lyrical mercy for pretty much any target. Much of this song, just like some other cuts like “Fuel,” does contain a lot of attempts to infuriate, scandalize, and “cancel” himself, and some of it’s a mixed bag.
But there are still hilarious, impressive, or exciting moments on here like a particular can of Coke bar, the rhyme scheme that he employs to criticize Candace, or the idea that people would be better off battling Kendrick Lamar than facing off against him. In fact, this even revived debate about whether Marshall or K.Dot would win in a rap battle. From the flows, wordplay, and rhyme schemes employed on “Lucifer,” we know that it would be a tough matchup for both MCs.
Eminem feels in his element on The Death Of Slim Shady, for better or worse, and songs like “Lucifer” bring out some of the best realizations of this comfort. If you haven’t heard it, find it on your preferred streaming service (or stream it on YouTube below) and give the whole album a try. Let us know what you thought about it in the comments section, and don’t forget to get a taster of some standout bars from “Lucifer” down there, as well. As always, stick around on HNHH for more killer rap drops around the clock.
Quotable Lyrics You sleep on the flow, h*e, you hear these strings climb? You reap what you sow, so first I must weave rhymes, So seamlessly, then I’ma leave eyes in a state of disbelief, My genius is a trait, so the gap’s in our genes, right?
Eminem is hard at work with the post-release rollout for his new albumThe Death Of Slim Shady (Coup De Grâce), and evoked “The Real Slim Shady” in doing so. Moreover, on Friday (July 12) in Union Square in New York City, a flash mob of blonde-wig-donning, head-bobbing, “Houdini”-playing caught passerby’s attention. In addition to more buzz for this new project, the crew was also there to promote the new “Gin & Juice” pre-mixed cocktails from Dr. Dre and Snoop Dogg. Considering how close all these collaborators are, it’s no surprise that they would want to hit two promotional birds with one stone.
Furthermore, this adds to a lot of hype around The Death Of Slim Shady, although clearly everyone’s not a fan. “Eminem is a satanist,” Ryan Garcia expressed in his latest Twitter rant, which was somehow one of his least controversial when compared to his previous mockery of George Floyd. “It’s not even debatable. I always thought he was overrated but hey that’s just my opinion. Wait Eminem is a homo? Eminem=Gay. For the record I don’t care if Eminem is Gay. Nor do I care if he was straight. Just keep that devil shit he’s doing in his music videos away from kids.”
However, there’s a lot more that Eminem could do to combat the hater narratives with more material to satisfy fans, which they hopes comes sooner rather than later. There are already rumblings of adeluxe version of The Death Of Slim Shady, mostly spurred by the extra digital deluxe tracks (one of which includes a 2 Chainz feature). Hopefully these tracks get a wider release, and they might just arrive with even more material. After all, given Music To Be Murdered By‘s two sides, it wouldn’t be the first time that we get an Em “sequel,” even if it’s just a deluxe and not a full-on next installment.
Still, given how much buzz tracks like “Fuel” created, we doubt that Eminem needs much more promo for The Death Of Slim Shady. But flash mobs aren’t as common as they used to be, so this was a nice treat. We’ll see what other crossovers between the Aftermath, Death Row, and Interscope family tree are in store for the future. For some fans out there, a couple of the bars on the new Slim Shady album definitely need some gin and juice to help wash them down, but there’s also plenty of moments on the LP to just have fun and try out a “Brand New Dance”… Sorry, Chris.
If you forgot to dress in all black for the occasion today (Friday, July 12), don’t fret: The Death Of Slim Shady (Coup De Grâce) is less of a fatal blow and more like a Frankenstein-esque creator-versus-creation resuscitation. Eminem’s new album sees him tackle his alter ego in very similar ways as he’s done in the past, but more overtly and satirically than ever before. There are a whole lot of “offensive” bars to gasp at, some really funny flips to indulge in, and compelling reflections on his life and career.
While some of it is a mixed bag, we’re happy to say that the Detroit legend feels right at home, no matter which personality is taking the mic… or the gun, in this case. The new material on The Death Of Slim Shady (following “Houdini” and the BabyTron and Big Sean-assisted “Tobey“) is quite sharp. Through clever, nearly nauseating, but still nasty wordplay, Eminem expresses himself unabashedly and hangs all the best and worst corners of his mind outside of his butcher shop. We’re sure we missed plenty of highlights, so let us know what your favorite bar from this album was down in the comments section below.
Bar(s): Everything is either too tame or there’s too much anger / I didn’t like the beat, so I hated ‘Might Delete Later’ / You nerdy pricks would find something wrong with ’36 Chambers’
The Death Of Slim Shady kicks off, unsurprisingly, with a middle finger to what Eminem sees as fake rap fans bringing the genre’s icons down. The first line points to the culture’s hyper-obsession with both narratives of staleness or the “doing too much” argument, emphasizing that fans are more concerned with what they want to hear than with artists pursuing their vision. Em brings up J. Cole’s Might Delete Later mixtape as a recent example, possibly alluding to the hated-on Kendrick diss “7 Minute Drill” and how many didn’t like the first beat on that track. Finally, by alluding to the Wu-Tang Clan classic, he makes the case that legendary albums will live on far longer than the hate surrounding them. Maybe all it takes is time for the culture to understand these artistic drives and not jumping down MCs’ throats so eagerly and maliciously.
“Habits”: His Love Of South Park
Bar(s): Would this rhyme be okay if ‘South Park’ had did it? / Would it make you less angry if Cartman spit it?
Onto one of the more cheeky bars on The Death Of Slim Shady, which reiterates Eminem’s love of (and close parallels with) the classic animated TV show South Park. With this bar, he calls out the hypocrisy of people tolerating offensive content when it comes from an expected place, but condemning it when it appears in other, more “serious” areas. Perhaps, Marshall Mathers feels like people view him more critically because of his skill. Since he does have very sobering moments, maybe, they fail to realize that this skill is what gives his music his titanic quality and not the content within. While he’s definitely made this point in a lot of his past material, it sounds a bit fresher this time around as society opens and closes more and more spaces for irreverence, a practice that he’s all too comfortable with disrupting.
Bar(s): Yeah, they listen to me like when Manson spoke / They say I don’t know struggle no more, that’s a joke / B***h, the f***ing elevator in my mansion’s broke / I have to walk like half a block to get a can of Coke
However, this is hands-down one of the funniest bars on the whole album, as Eminem is well-aware of his privilege, wealth, and most importantly, his attitude. Having to walk across a massive luxury property just to get a soda from the fridge is exactly the sort of rich, arrogant, ignorant, First World problem that someone like him would be so angry and frustrated over. But it’s still a flex, of course, or else there would be no “joke” to talk about. Also, this bar is among the only hilarious moments on The Death Of Slim Shady that doesn’t have to clown a celebrity, belittle a marginalized group, or rant about PC culture to do so. As such, it stands out as a vivid image on the project and, even though this catalog’s full of flaunting, rarely do we get glimpses into little annoyances that become big tantrums for superstars.
“Lucifer”: Slim Shady X K.Dot?
Eminem praises Kendrick Lamar on his new album, comparing how dangerous they both are to beef with
“As far as smoke with me, I don’t think it’d be smart […] might as well go lookin for smoke with [Kendrick] Lamar” pic.twitter.com/x5piakkl23
Bar(s): As far as smoke with me, I don’t think it’d be smart, so / Might as well go looking for smoke with Lamar, bro
It’s 2024; of course Eminem was going to throw in a reference or two to the biggest rap battle since Nas and Jay-Z. However, what makes this bar a bit more than just a shoutout is actually how it lyrically calls back to Kendrick Lamar’s “Euphoria,” which itself topically called back to Pusha T’s previous beef with Drake. “Yeah, f**k all that pushing P, let me see you push a T / You better off spinning again on him if you think about pushing me,” K.Dot raps there. So not only is Slim Shady also praising a fellow lyrical killer, but he’s also invoking their shared lineage in the Dr. Dre family tree. Also, we know that Em might’ve shaded Hov on “Tobey,” so to see more combative lines against the rap game on The Death Of Slim Shady was a given.
Bar(s): I’m like a R-A-P-E-R / Got so many essays, S-As / Wait, he didn’t just spell the word ‘rapper’ and leave out a ‘P,’ did he? / R.I.P., rest in peace, Biggie / And ‘Pac, both of y’all should be living / But I ain’t tryna beef with him / ‘Cause he might put a hit on me like Keefe D did him
Along with Caitlyn Jenner and little people, Diddy was one of Eminem’s most consistent and eviscerated targets on The Death Of Slim Shady. While there are many bars on this topic to talk about, this line from “Fuel” (which has a stunning JID feature) is a very comprehensive one as far as the angles it tackles. The first part has some clever wordplay (“‘P,’ did he?” = P. Diddy, rapper = essays & r**er = SAs [sexual assaults]) about Sean Combs’ various lawsuits and accusations concerning sexual assault, abuse, and sex trafficking, all of which he’s denied. The second questions Puffy’s alleged involvement in Big and ‘Pac’s murders and Keefe D’s current court case for the death of the latter. You’ve also probably heard the “Antichrist” bar that mutes Cassie’s name, which stung more on impact. But this one adds the extreme lyrical reaches that fans love.
“Head Honcho”: Slim Shady Sons The Rap Game
Bar(s): These rappers, I’m above them, but punching down ain’t beneath me / Cold as the wind chill factor, but the fact is I don’t know when to chill / But every time I come out, they expect me to f***ing reinvent the wheel / Rappers get praised for spitting bars with less than the tenth of skill
Out of the many bars against lesser rappers on The Death Of Slim Shady, this one is perhaps Eminem’s most layered commentary on the matter. We all know he loves punching down, and we all know that he’s exactly the type of person to flip “wind chill” and “when to chill” in borderline corny fashion. But as fans and as artists, folks continually expect Marshall to bring something completely new to the table when he’s made his intentions and artistic drives clear and largely unchanged throughout his career. In addition, this alludes to the contrast between artistry and novelty, perhaps suggesting that just because things are new, we give them a pass on actually being good. Em toes this line very dangerously thanks to his aesthetic clashes whenever he does try something new, but his skill as a lyricist has never been in question.
“Temporary”: Marshall Mathers’ Family
Bar(s): But don’t you dare shed a tear, what I tell you? / “Straighten up, little soldier,” them times when I held you
Finally, we have to mention the emotional core of The Death Of Slim Shady: the 51-year-old’s tribute tracks to his daughter Hailie (“Temporary“) and his family (“Somebody Save Me”). This is after Eminem “kills” Slim Shady on “Guilty Conscience 2,” and after he talks about his addiction to controversy and the rough experiences that birthed it. So to hear him speak about Hailie saving him from this struggle through a quote that ties back to “Like Toy Soldiers” is a sweet and touching moment. These songs are his final messages for his family after he dies, saying what he couldn’t say on this earthly plane. Much like the rest of this album, it stands up against adversity, but this time, the obstacles aren’t Gen Z’s “wokeness.” Instead, we understand that if Slim Shady and his provocative nature died, then it’s Eminem’s family that brought Marshall Mathers back to life.
