Yesterday, Eminem finally unveiled his eagerly anticipated new album, The Death Of Slim Shady. Unsurprisingly, the 20-track project has already managed to spark some debate, particularly surrounding some of the shots he fired at his peers. He took aim at Diddy, Ja Rule, Kanye West, and many more. Em even shaded Caitlyn Jenner on a track with White Gold, “Habits.”
“And I’m ’bout as much of a boy as Bruce Jenner is (Damn)/ ‘Cause I’m not a boy, I’m a man, b*tch, man-b*tch (Haha)/ My speech is free as his choice to choose gender is (Man),” he raps. Of course, social media users have mixed feelings about Eminem misgendering Jenner, and are sounding off in No Jumper‘s comments section.
While some Instagram users believe that Eminem is “uncancelable” and that Jenner wouldn’t have an issue with the lyrics, others simply find them corny. Jenner’s yet to respond at the time of writing. Others were quick to, however. Candace Owens felt the rapper’s wrath on “Lucifer,” for example, which she addressed on The TMZ Podcast yesterday. In the song, he claims that Owens “forgot she was Black,” calls her a “MAGA dirt bag in a skirt,” and more.
“I could not have laughed harder,” she said of the lyrics. “I just think it is so lame, like he has now cemented himself as a lame person… He’s just so desperate to show Black people that he’s real.” Owens finished her response by complimenting Eminem’s daughter, and encouraging him to hang up his rap career to just “be a grandpa.” What do you think of Eminem’s new album, The Death Of Slim Shady? What about him dissing Caitlyn Jenner on “Habits” with White Gold? Did he go too far or not? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
There are lot of things that help define the career of Eminem and one of them is his dark past. It is how this entire character/alter ego, Slim Shady, came to be. Since his path to superstardom kicked off at the end of the 1990’s, he has steadily come to grips with his issues. On The Death of Slim Shady, Eminem is working to close this troubling chapter on “Habits”. It features former collaborator White Gold (Music To Be Murdered By) and at the very start of this near five-minute track, Em has a familiar conversation with Slim Shady.
“Thought you got rid of my a**, huh? (Let me go, you sick f***) Alright, here’s what we’re gonna do (Piece of s***) You take this (No) / Or I put a bullet between your f***ing eyes (I don’t wanna)“. Eminem eventually does comply and takes half of an Ativan (drug for epilepsy, anxiety). On White Gold’s chorus, he sings from the perspective of Slim and how Em needs him and wants him to stay. This is his latest attempt to put his problems behind him and it is something he has continuously tried before.
But he has failed to fully accomplish that goal and it could seem that way still. Slim Shady goes from body bag to casket on the cover of the deluxe. The titular character is also now wearing a Jason Voorhees mask on in his casket. If you know anything about the iconic horror movie villain, you know that he is almost unkillable. Maybe it is just for this bonus track version and Slim is gone for good going forward. But we will just have to wait and see until the next Eminem project.
B****, you ain’t about head (What?), about face (Woo) Little white, middle-age, upper-middle-class With a glass of wine and your cigarette B****, get off the internet (Yeah) You ain’t even fed your kids dinner yet (Haha, still) Parental discretion, mental aggression, my head’s a Smith & Wesson
Eminem and MGK have been oil and water for a decade. They’ve trash-talked each other in interviews, and dropped memorable diss tracks. Eminem is widely considered to be the winner of the battle, but he usually comes out on top of lyrical contests (Mariah Carey notwithstanding). Eminem and MGK have not mended fences since their beef peaked in 2018. Which is why Em’s decision to address the beef, along with several others, was so surprising. The rapper is really trying to reckon with the past on The Death of Slim Shady.
Eminem name drops all over the new album. “Guilty Conscience 2” is perhaps the most intriguing example of name dropping, though. Instead of insult them, Em decides to hold a mirror up to himself. He argues, in the form of both Em and his alter ego, Slim Shady, whether he was in the wrong to engage in beef. He names Nick Cannon, Christopher Reeve, and even Will Smith, but the one that was most surprising was MGK. “God, you piece of sh*t, that does it (Uh-oh, wait),” Em raps. “Yeah, b*tch, this is for him (What?). Christopher, MGK, Nick, and for Limp Bizkit and them.”
The adlibs are meant to be Slim Shady, while Eminem wrestles control of the song and his narrative. He’s come to the conclusion that he doesn’t want to beef anymore. At least, with the names he mentioned (he seems to have a problem with Caitlin Jenner elsewhere on the album). MGK stands out, though, because he gets a second reference on the song. “Guilty Conscience 2” ends with Eminem killing the Slim Shady persona and fulfilling the album’s title. In doing so, he uses the name of the diss song that he released against MGK. “Last hoorah, I bid you goodbye. Murder suicide,” Eminem spits. “Killshot, booyaka, c*ck sucker. Coup de grâce, motherf*cker.”
MGK has voiced frustration with Eminem in the aftermath of their beef. He told USA Today that his music wasn’t taken as seriously in the wake of “Killshot.” “[Hotel Diablo] was coming off the tail-end of that infamous beef,” he noted. “So no one wanted to give it the time of day.” MGK has rebounded as a pop punk star, and Eminem has seemingly moved on from the vitriol to a healthier place. Hopefully the two of them can keep the past in the past.
Eminem’s new album The Death Of Slim Shady finally arrived today, and unsurprisingly, it features various jabs at several of his celebrity peers. He went after Diddy for his abuse allegations, called Ja Rule a “midget,” and much more. He even slammed conservative commentator Candace Owens on “Lucifer,” criticizing her political views and ending the verse by suggesting he wants to sleep with her.
“And Candace O, I ain’t mad at her / I aint gon’ throw the fact b*tch forgot she was Black back at her / Laugh at her, like them crackers / She’s backin’ after / Her back is turnin’, a cute MAGA hat with her ‘White Lives Matter’ shirt,” he rhymes. “Or save this MAGA dirt bag in a skirt / Just opened the biggest worms on the planet earth / Call her Grand Wizard, Klandace or Grand Dragon / Like the National Anthem, I won’t stand for the tramp.”
Now, Owens has sat down with The TMZ Podcast to share her take on the verse. As expected, she’s not impressed. “I could not have laughed harder,” she said of her reaction to the lyrics. “I just think it is so lame, like he has now cemented himself as a lame person… He’s just so desperate to show Black people that he’s real.” As for Eminem’s comment about planning to “get in her pants,” she says she’s definitely not interested. She adds that she might have been flattered if she were in college when she was listening to his music. At this point, however, she says it just seems “sad.”
Owens ended her statement by complimenting Eminem’s daughter, also suggesting that it might be time for the rapper to “just go ahead and be a grandpa.” What do you think of Eminem dissing Candace Owens on his new album, The Death Of Slim Shady? What about her response? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
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.
Today, Eminem finally unleashed The Death Of Slim Shady, and fans are already hard at work dissecting the new 20-track project. So far, it’s earned mixed reactions from listeners. While some are calling him out for being “corny,” others appreciate some of the more emotional moments of the album. Many are also taking note of some topical references to the “PC police,” “woke BS,” and more.
On his track “Trouble,” for example, he seemingly references the viral “Gen Z is trying to cancel Eminem” meme. “You gonna cancel me, yeah? Gen-Z me, bruh?” he spits. Of course, this has prompted a bit of a debate in Pop Base‘s comments section. Users are now arguing that the rapper can’t be canceled, insisting that nobody is trying to cancel him, or suggesting that this was merely an attempt to get Gen Z to interact with the project and prove a point.
This is far from the only provocative line from The Death Of Slim Shady, however. Eminem also takes shots at Kanye West, Ja Rule, and more on his latest release. He even goes after Diddy and his countless allegations on “Antichrist,” referencing security footage of him assaulting his ex Cassie that surfaced online earlier this year. “Next idiot ask me is getting his a** beat worse than Diddy did [muted] / But on the real, though / She prolly ran out the room with his f***ing dildo / He try to field goal punt her, she said to chill / Now put it back in my a** and get the steel toe,” he raps.
What do you think of Eminem seemingly referencing the viral “Gen Z is trying to cancel Eminem” meme on The Death Of Slim Shady? What’s your favorite track from the new album so far? Share your thoughts in the comments section down below, and keep an eye on HNHH for more updates.
Eminem’s been at this rap thing for a very long time — and unfortunately, over the past few years, he’s started to show his age. While still as technically proficient as ever, the battle rap veteran has also seen his musical output over the last half-decade or so stultify, with only his most loyal fans appreciating his efforts at being “the best rapper” and not making “the best albums,” as he once put it.
And so, his latest, The Death Of Slim Shady, might not be everyone’s cup of tea, but there is something interesting here. On the album’s opening track, “Renaissance,” Em does something that’s become rare for him, depending on who you ask: He makes a great point. In a diverting excursion “inside the mind of a hater,” the 51-year-old notes, “I don’t see no fans, all I see’s a bunch of complainers.” Over the course of the song, he expands on this concept, illustrating his true worry: That fans caught up in nitpicking their favorite rappers won’t appreciate what they’ve got ’til it’s gone.
Lord knows, rap fans love complaining about a perceived dearth of care and craftsmanship when it comes to the art of rhyme. It seems every decade, there’s a new subgenre of rap to rail against: When I was coming up, it was “ringtone rap.” More recently, “mumble rap” has been the target of so many criticisms, while elders of the rap game, from Kool Moe Dee to Joe Budden, have always decried the rise of each successive wave of youngsters who rejected tradition, rewrote the rules of rhyme, or otherwise broke from established norms of hip-hop.
Yet, while doing so, they seemingly overlook so many of the contemporary rappers who seemingly deliver exactly what they want. When rap critics deplored the culture’s slide into criminality in the ’90s in efforts to feed the hunger for “thug” imagery, so-called “conscious rappers” like Common, De La Soul, and A Tribe Called Quest were ridiculed — if not outright ignored — by the mainstream. When “jiggy rap” ruled the airwaves, B-boy traditionalists like Mos Def and Talib Kweli toiled away on the underground circuit — the same circuit that spawned Eminem himself.
Even Kendrick Lamar, who Em name-checks in his “Renaissance” verse (“‘Kendrick’s album was cool, but it didn’t have any bangers’,” says the mind of the hater), has pointed this out in his own discography. On “Hood Politics,” from his 2015 album To Pimp A Butterfly, Kendrick raps, “Everybody want to talk about who this and who that / Who the realest and who wack, or who white or who black / Critics want to mention that they miss when hip-hop was rappin’ / Motherf*cker, if you did, then Killer Mike’d be platinum,” acknowledging how the Atlanta rapper’s commercial reception rarely lived up to his critical acclaim.
On “Renaissance,” Em drives the point home, name-checking a slew of other alternative or underground ’90s rap acts, along with some of the better-known ones to illustrate how quickly time sweeps away artifacts that aren’t appreciated enough to be preserved. Wise Intelligent and Cella Dwellas are two acts with impeccable reputations for potent, well-crafted rhymes, but the height of either act’s commercial reception was Cella Dwellas’ 1996 debut Realms ‘n Reality, which only peaked at 160 on the Billboard 200. They haven’t put out anything since. Wise Intelligent’s last album was released in 2018, and truthfully, researching for this piece was my first time hearing about it.
Em also calls out Big Daddy Kane, who was once regarded one of the foremost lyricists in all of hip-hop, a pioneer who helped advance the technique used in rap by light years ahead of where it was when he first debuted in 1986. Yet, by 1994 — less than 10 years later — he was being treated as an also-ran, with the lukewarm reception of his sixth album Daddy’s Home prompting him to take a long break from releasing music. He still raps, making occasional guest appearances on projects from the long (long, long, long) list of rappers he’s inspired — including Little Brother, MF DOOM, Rapsody, The Roots, and more. But he hasn’t made a new album since 1998’s Veteranz’ Day, and he’s largely considered a relic of the Golden Era, not a titan of the culture like proteges Jay-Z, Eminem, and Black Thought.
Uproxx’s Elliott Wilson called 2024 the best year in hip-hop, hands down. Putting A Boogie Wit Da Hoodie at No. 5 on his best albums list and overlooking albums from LA County natives like Schoolboy Q and Vince Staples notwithstanding, I agree. So, apparently, does Eminem, who goes out of his way to give a nod to J. Cole’s Might Delete Later. But with all these great rappers making great albums, rap fans seem caught up in their disappointment about projects they don’t like or that fell short, or in the contextual circumstances of those albums, like dismissing J. Cole for bowing out of the Kendrick Lamar/Drake beef.
Eminem harps on the past on his latest album to warn us what could happen in the future. Rap fans who’ve wanted lyrics to return to the spotlight have had a smorgasbord in 2024, but if they keep overlooking the good, they’ll only be left with the bad. At that point, they’ll have no one to blame but themselves.
At one point in time, Eminem was the big bad wolf of hip-hop. To this day, the “Tobey” rapper doesn’t care who he offends or lyrically shoots at. But Eminem does have one soft spot, and it’s for his daughter, Hailie Jade.
Eminem seems to be excited to bury his alter ego, as seen in his latest album’s title, The Death Of Slim Shady (Coup De Grâce). But there is another homecoming service atop his mind. On his song, “Temporary” featuring Skylar Grey, Eminem provides Hailie Jade with encouraging instruction on how to heal once he passes in real life.
“A lot of people ask me, am I afraid of death,” he says as the track opens. “The truth is, I think what scares me the most is not being able to say all the things I wanna say to you when I’m no longer here. So this song is for Hailie, for when that day comes.”
Throughout the track, Eminem sprinkled in throwback home audio clips of him and Hailie Jade. He playfully asks, “Where’s Hailie? Where’s she at?”
The eager then-toddler replied: “This ain’t Hailie, it’s a monster!”
Eminem fast forwards to present day to give his daughter of instructions for how to deal with his death: “Hailie Jade, I wrote you this song / To help you cope with life now that I’m gone. How should I start? Just wanna say look after Alaina, Stevie, and Uncle Nate / And sweetie, be strong.”
Listen to “Temporary” below.
The Death Of Slim Shady (Coup De Grâce) is out now via Shady/Aftermath/Interscope. Find more information here.
Today, Eminem finally unveiled his eagerly anticipated new album, The Death Of Slim Shady. So far, the project has elicited all kinds of reactions, and many are impressed with how much the Detroit MC tapped into his emotional side. On one track featuring Skylar Grey, for example, he sends a heartfelt message to his eldest daughter Hailie Jade. It features somber vocals from Grey and recordings from Hailie Jade’s childhood. Needless to say, it’s a tear-jerker.
The song, titled “Temporary,” is intended for the 28-year-old to listen to once her father passes away and includes advice on getting through the difficult loss and moving forward. “Look after Alaina, Stevie and Uncle Nate/ And sweetie, be strong, I know I was your rock,” he rhymes. “And I still am, saying goodbye is just not/ Ever easy, why you crying? Just stop.”
At the end of the song, Em admits that it was the “hardest thing” he’s ever written, and fans can see why. They’re sharing their reactions to the emotional track on X in the form of GIFs and memes, and agree that it’s one of the more memorable moments from The Death Of Slim Shady. This isn’t the only tear-inducing song on the album, however.
Eminem also gets deep on “Somebody Save Me” featuring Jelly Roll, which sees him reflect on past mistakes and how they impacted his relationship with his family. He apologizes to his daughters for missing milestones in their lives, and shares dreams of walking both of them down the aisle, which he accomplished over the past year.
Social Media Reacts To “Temporary”
What do you think of Eminem’s new album, The Death Of Slim Shady? What about “Temporary,” a heartfelt track dedicated to his eldest daughter? Share your thoughts in the comments section, and keep an eye on HNHH for more updates. Check out some social media users’ reactions to the emotional track down below.
Eminem’s new album The Death Of Slim Shady (Coup De Grâce) is finally here, and it’s every bit as divisive and vibrant as we all came to expect. Not only does he keep up with a lot of his creative flows and lyrical flips, but he also plays with some different production styles and fully dives into a more conceptual project. Some fans are very impressed with how the more emotional moments on the album played out, whereas others aren’t as big of a fan. Either way, the Detroit MC definitely gave fans a lot to digest and discuss with this new project, and it’s his most artistically compelling work in a while.
However, Eminem’s definitely not here for your criticism, as the opening track “Renaissance” reveals. “Now let’s travel inside the mind of a hater / ‘Cause I don’t see no fans, all I see’s a bunch of complainers/ ‘Kendrick’s album was cool, but it didn’t have any bangers’ / ‘Wayne’s album or Ye’s, couldn’t tell you which one was lamer’ / ‘Joyner’s album was corny, Shady’s new s**t is way worse’ / 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,’” he raps on the cut.
Elsewhere, on tracks like “Fuel” with JID, Eminem takes aim at Diddy and other foes. “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,” he spits. Check out some reactions to The Death Of Slim Shady down below.
Stans React To The Death Of Slim Shady
Eminem rapping to Hailie when he’s dead with Skylar Grey on the hook and old VHS recordings playing in the background? pic.twitter.com/KfHUG5UBXk
If you didn’t grow up with old Eminem, being a kid/teenager when Slim Shady LP and Marshall Mathers LP dropped, you just won’t understand why we all love this album. This hits nostalgia in all the right places for us. #Eminem#TheDeathOfSlimShady
Meanwhile, other tracks on the album include attacks against Kanye West and Ja Rule, tributes to Hailey, reflections on his provocative obsessions, and a whole lot more. Eminem definitely expanded his point of view with The Death Of Slim Shady. There’s something a bit different about his very overt but very satirical controversy here, even if it isn’t by much. Even if you don’t love it, you’d be a fool not to engage in its discussion.
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