Listened to: MP3While now seen as a rapper who’s albums are riddled with personal confessions, in 1999 Eminem peaked into the popular culture as the merry prankster going by the alter ego Slim Shady, a manic man-child with a sophomoric sense of humor and a moral compass which ranges between Charles Manson and Alexander DeLarge of A Clockwork Orange. After his “debut” with The Slim Shady EP, Dr. Dre’s pale prodigy took to the studio to lay down his first full album.
It begins with a “Public Service Anouncement” denouncing anyone who takes the music literally, while maintaining that tongue-in-cheek attitude that courses through the veins of this whole album. This launches into the first official single ever released by the man who, in my opinion, is the artist of our generation for good or for bad, “My Name Is”. Mr. Mathers found a clever way to submit to the popular rap trend of repetitive lyrical identification by creating a hook so catchy you don’t mind. Lyrically immature in the most playful way, like that guy who tells dirty jokes in the middle school hallway, this song does exactly what he wants to do with his singles, create time capsules of the era they come to exist. Eminem’s ability to craft ever-unpredictable rhymes proves that he truly does have a fine grasp on the English language, despite what his “uneducated” personae would have him convey. Bawdy humor, unpredictable statements, and shocking attitude ever-present, on one track slim Shady proves to be the Moliere of our day.
The second track, “Guilty Conscience”, features his mentor Dr. Dre playing the angel-on-the-shoulder to Eminem’s temptation. You can choose to view this “duet” as either a social statement, an attempt to perform a public service, or just a way to further pad Eminem’s reputation as an over-the-top bad boy. The second verse’s reference to Kids lends credence to the second option, but overall I lean toward the third. Eminem spends this album trying to build an image in the same manner Alice Cooper did decades prior. A shock-rock attitude in hip-hop. Eminem clearly isn’t a real gangsta, he lacks the “street” experience of N.W.A., and instead waxes lyrically about being insane and murderous, on a track like “Brain Damage”, in such an over-the-top manner that any parent who chooses rather to ban the music than explain to their children the difference between endorsement of violence and pure fantasy deserves the breakdown their child eventually suffers when he hits the real world.
The album is the premiere of some of our favorite characters, like “Paul Rosenberg” and “Ken Kaniff”, and after the first, “Paul”, we see Marshall create a rap that feels like an homage to his elders, 2-Pac and Biggie, on the track “If I Had”, but even then he shows his flair for fitting rhymes and words in ways no one else would think to. Afterward, we get to one of his most controversial tracks, the song clearly depicted on the cover, “’97 Bonnie And Clyde”. Told through the voice of a father taking his daughter with him to throw his freshly murdered wife’s body into the ocean, this is the start of the infamous Kim song-cycle that would form over Eminem’s career, a barrage of attacks on his ex-wife that would appear on almost all of his albums to date. However, with Eminem’s playful lyrical delivery, most of us who have any sense can recognize the song as a revenge fantasy, similar believe it or not to the song “How To Kill A Man” from Bye, Bye Birdie. Yeah, in fact, that’s more graphic, as it shows a man get killed in several ways) but the version of the song I like more is the haunting cover as performed by Tori Amos on her album “Strange Little Girl”.
Those who criticize this track as disgusting seem to forget that this type of song is as old as American folk music. The murder ballad has been a staple of folk music for decades, most famously revived by Nick Cave on his album “Murder Ballads”, and unforgettably by Johnny Cash in songs like “Cocaine Blues” and the famous line “I shot a man in Reno just to watch him die”. So, you know, if you’re gonna attack Mr. Mathers, you better ban Johnny Cash too. Yeah “Bitch”, you’re disgusted by the modern day answer to “Mack The Knife”.
Eminem seems to predict the shit-storm headed his way on the song “Role Model”, and gets existential on a line often ignored: “How the hell can I be white? I don’t even exist.”. Eminem seems to understand that Slim Shady, and indeed Eminem, is a public persona, filling a niche, and that were he not the one to do so, someone else would. You can’t destroy the desire for anti-social, anti-moral entertainment. It releases aggression and provides a catharsis for those who would never commit the crimes described, the same reason games like Grand Theft Auto have sold so well. Did I want to grow up to be just like Eminem? No. But it got me and my whole generation’s aggression out, so we could live vicariously through his words and not have to grow up just like him, you dig?
After “Lounge”, the clear sign these guys were having a good time, we charge into “My Fault”, with the second reference to Harmony Korine’s Kids, when he asks who’s in the bed (“It’s me, Telly” is a reference to the protagonist of the film, Telly), and tends to examine the same theme, by telling the story of your average idiot at a party, reacting to a girl having a bad reaction to mushrooms. Every thing Eminem says to this girl you know has been said by some party-going asshole at one time or another. Hell, Eminem could have written Kids himself. And on that note, and Harmony and Eminem please collaborate?
After “Ken Kaniff”, we charge into my least favorite track on the album, “Cum On Everybody”. Any time I want to argue that Eminem is a poet, a social critic, or anything more than a little boy with a foul mouth and a record contract, the argument always ends with “Cum On Everybody”, at which point I lose my ability to defend it. Maybe Josh can do better than me. “Rock Bottom” samples “Summertime” from Monday’s album, and Eminem really lets it rip on these rhymes, his speed foreshadowing his delivery on his triumphant return this past year on that song with Drake, Kanye, and Lil’ Wayne, remembered not by it’s name but as “That song where Eminem raps with a bunch of other guys who can’t hold their own next to him.” “Rock Bottom” also foreshadows the flood of touching personal confessions that would appear on albums like The Marshall Mathers LP, The Eminem Show, and Relapse.
This is followed by “Just Don’t Give A Fuck”, which was the unofficial first single, though I’m glad they went with the clearly superior “My Name Is”. It’s not a terrible song, but it’s only ok. I’d much prefer the “I Just Don’t Give A Fuck” performed by 2-Pac, and yes, I did just discuss these two tracks comparatively as if they were art rather than complaining rants. I’m sorry, but there’s very little artistry to this track, and usually I skip this one over when I listen to it. “Soap” is a bizarre interlude that proves that “As The World Turns” really did get it’s title from a soap opera. It’s impossible to tell whether Eminem is rapping with conviction or a sense of humor, but either way this track is fun on the album, but not one I’d choose to listen to if I had to pick one track. By the end, the lyrics sound like a scene from Heavy Traffic more than a soap opera, but either way, I stop caring before the track ends.
Thankfully, the self-proclamation habit of rap actually saves the day, when after two sucky track, “I’m Shady” has a soft beat that makes this feel like he’s just freestyling, and gives the track a fresh feel sorely lacking on the last two. That freestyle feel also excuses some of the more sophomoric lyrics. “Bad Meets Evil” and “Still Don’t Give A Fuck”, the final two tracks on the album, are fine tracks, but they are the weaker bookend when compared to the first two tracks (not counting the “Public Service Announcement”).
While Infinite may have been his first album, I’m totally ok with ignoring it and pretending The Slim Shady LP is the triumphant debut of the man I believe to be the artist of the 00’s (care to argue? Seriously, I’ll defend it to the bitter end). While not as good as his follow-up The Marshall Mathers LP, this is as impressive as debut albums can get for a shock-rocker. Eminem established a whole unforgettable personae on this album, while crafting instant classics like “My Name Is” and “Guilty Conscience”, proving that you can make it in rap by not taking yourself seriously at all. I recommend this album highly, if for nothing else than to get a time capsule of the decade in which I came of age, and if you dislike songs about violence, or songs with obscene language, well…grow some balls. This album is a classic, and I’m pretty sure will stand the test of time. Or at least I hope so. The 50’s had Elvis, the 80’s had Michael Jackson, and we have our new king, Eminem. Long live the king.
-Mike
See you guys tomorrow for #498: Tres Hombres by ZZ Top. And welcome back Josh Paige.
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“I just drank a fifth of vodka… dare me to drive?”
In 1999, kids in America were listening to rap. Of course they were. No matter how hard parents tried to take it away, it was always there. Kids were always quietly playing Wu-Tang and Biggie in their walk-man, hiding in their bedrooms and silently being exposed to the hardcore gangster world. Parents had to be cautious of the music their kids were listening to, especially in the 90’s. It was that decade where rap would change forever. Parents were always aware of the infamous “Parental Advisory” label on the cover of the albums and knew exactly what came with it: explicit content… single-handedly the most crucial element in hip-hop, which the people loved and the parents loathed. Explicit content is what balances “good from bad,” “right from wrong,” basically proposing the question, “What are they really saying here with all this language?” Since the late 80’s, rap was exposed to foul language. We had N.W.A giving valuable morals such as “F*ck tha police.” Wu-Tang Clan showed us that they were nothin’ to f*ck wit and Public Enemy told us to fight the power. Rappers emerged and progressively became bigger and better and with that, became more offensive. Artists such as Biggie and 2Pac set the bar to a new level giving their audience a breakdown of the thug life and the realities of being shot at in the hood. Parents knew what to expect from rappers such as these. Parents were aware of what a bad influence these artists were. But what the parents never expected was that one single, bleached blonde white boy from Detroit would be more influential, more explicit and more offensive than any of them.
On February 23, 1999 “The Slim Shady LP” hit the shelves of every music related store in America and it was this moment that the world was officially introduced to Marshall Mathers, more widely known by his notorious alias “Eminem.” There are so many reasons why this first LP of his should be recognized, mostly because we’re introduced to a guy who looks like he came out of N’Sync but with a lot more anger issues, who goes on to talk about rape, mushrooms, murder and not giving a f*ck. The craziest part is he goes about addressing some of these issues in an almost comedic fashion, immediately pointing out what a sick bastard this guy really is. Through his realistic anger issues and his blunt yet relatable stories involving the real world, he does not hold back; not even one bit and through this unheard, brand new, much different approach to explicit content we get quite a taste of who “Slim Shady” truly is, right from the very first track.
From the opening “Public Service Announcement,” we get a true preview of what to expect from this album though no one, not even the hardcore Wu-Tang fans, was ready for kind of material lied ahead. We hear the comical tone in the voice of the announcer, giving a small introduction for what fits this album and Eminem perfectly,
“This a Public Service Announcement, brought to you in part by Slim Shady. The views and events expressed here are totally fucked and are not necessarily the views of anyone. However, the events and suggestions that appear on this album are not to be taken lightly. Children should not partake in the listening of this album with laces in their shoes. Slim Shady is not responsible for your actions. Upon purchasing this album, you have agreed not to try this at home. Anything else?” We hear a young Eminem’s voice for the first time, “Yeah… don't do drugs,” which leads right into the opening song which would immediately blow up and become his first hit.
“My Name Is” of course, represented the beginning of what would be Eminem’s future “joke tracks” which are basically the stupid songs, one from every album, which are extremely catchy, very funny and without a doubt, highly offensive in the best way possible. There is far too much to say about this song because it is so frightening how appropriate it fits as the very first song. Picture being a kid, popping this in your CD player for the very first time and hearing… “Hi kids! Do you like violence? Wanna see me stick Nine Inch Nails through each one of my eyelids?” while children are chanting “Yeah, Yeah!” while it continues, “Wanna copy me and do exactly like I did?Try 'cid and get f*cked up worse that my life is?” Wait… what did he just say? And if you think that’s bad, the next line picks it right up, “My brain's dead weight, I'm tryin’ to get my head straight But I can't figure out which Spice Girl I want to impregnate.” … I’m sorry… What? Did he really just say that? It is from this first verse of his very first opening song that proves this guy’s got balls. It would seriously be appropriate to copy and paste this entire song right now because from start to finish, it is filled with consistent non-stop rhymes where every line shocks you just a little bit more. Between openly talking about smoking a “fat pound of grass,” stapling his teacher’s nuts to a stack of paper, drinking a fifth of vodka and being dared to drive, there is no secret regarding this man’s insanity. But what makes this song so great is that it’s not just made for sh*ts and giggles. He’s balls out in your face, telling it like it is and he does not give a f*ck what anyone thinks about him; this, we would find out from him officially, thirteen tracks later. In fact, the line that puts this song and who he is in to full perspective is shortly stated with “I don't give a f*ck, God sent me to piss the world off!” The basic outcome of this whole song is… Damn!
The following song, “Guilty Conscience,” was another hit that shortly blew up. While still consisting of some witty lines, this is the first time we see Eminem take a more serious turn. Featuring his producer/rapper, straight outta Compton and N.W.A., Dr. Dre, Eminem takes on the idea of, obviously having a guilty conscience. The song is played out in such genius format, Dre being the angel on one shoulder while Eminem plays the devil on the other, as we see three victims being followed by their Jiminy Crickets. This is one of my personal favorite tracks from the album because it has such consistent flow while really sending out a message. The best part about the message is that people end up following what they want to do, as opposed to the “right” thing to do, point proven when Eminem and Dre succeed in convincing a man to murder his wife and the man she’s cheating on him with, included in the final verse my favorite line from Eminem, “F*ck slittin’ her throat, cut this b*tch’s head off!”… Damn Marshall, you scary. But thank you, for being honest. There’s a funny nod to Dr. Dre being the “angel” figure when Eminem calls him out for claiming he’s “Mr. AK, comin' straight outta Compton y'all better make way,” wondering how Dre can tell this man not to be violent. It’s mildly twisted how Eminem presents his morals.
The following few tracks continue the even flow of rhymes, jokes and twisted stories. The fourth track, “Brain Damage” is more of a sad story about a young Marshall being bullied in grade school and everyone believing he was just a crazy kid on drugs. It’s the first time we really feel bad for the guy. He never usually goes out of his way to make people feel his pain, but when he does you know he means it. This song isn’t the great example of that but either way you still feel it. The song is followed up by a short skit in which the first time we hear “Paul” (Rosenberg), for the first time. Rosenberg is Eminem’s manager and here we hear him on what sounds like an answering machine, very appropriately telling Slim to “tone it down a bit.” It’s odd hearing a complaint come from his manager because it’s not someone expected, which makes it funny. Little did we know that this small voicemail from Paul would be a tradition kept on every one of Eminem’s albums to lighten the mood. The sixth track, “If I Had,” is also a somewhat depressing song but unlike “Brain Damage,” it’s not so much pity we feel; it’s the pragmatism Em presents, putting the whole world into realistic perspective. He basically addresses the world as fake; friends are really enemies with disguises, money is the root of all evil; etc. But when it really comes down to it, if he had it his way, he would make the world an even more terrible place because he’s saying no matter what, he couldn’t make it better. With a million dollars, he’d buy a brewery and turn the planet into alcoholics; he wouldn’t have enough because he’d still be robbing armored trucks, and if he had one wish it would be to have a big enough ass for the whole world to kiss. As always, he’s realistic and straight to the point.
“97’ Bonnie & Clyde” was originally recorded in 1997 (obviously) and featured on an earlier EP produced by Dr. Dre, but restored just for this album. There are one too many things to say about this song, the first and most important being that of all of Eminem’s talk of rape, drugs and murder, this is one of the few songs that truly disturb me. This song is crucial to this album and what would be Eminem’s future career, because it consists of the two most important elements that would create a basis for his heart-filled, realistic lyrics for years to come. Those two elements are Kim and Hailie. We’re not gonna get into the back story since everyone should know it, but these two people would influence Eminem’s truest songs. Kim is, at the time, Marshall’s divorced wife he met in high school and Hailie is, at the time of the recording, their two-year-old daughter. “Bonnie & Clyde” is possibly one of the most twisted yet heart-felt songs Eminem has ever written, because not only is it about a car ride to “the beach” to dispose of his wife’s corpse, but it’s being told to his two-year-old daughter. Inspiring the album cover, with a woman’s pair of legs hanging out of the trunk of a car on a bridge, overlooking the ocean at night, this is without a doubt, one of the darkest songs I’ve ever heard. Without getting too much into it, it basically consists of Eminem explaining what happened to mommy, where they’re going, why they’re going, wrapped up with a repeated chorus, “Just the two of us.” There’s something about having a dead body in the trunk being told to your baby, momma’s “takin’ a little nap” and that smell must be from them “running over a skunk.” Every line is taking the event of the death of this little girl’s mother’s death and being put in a cute, childish format. Between the “boo-boo” on momma’s neck and the “ketchup” spilled on her shirt, there are too many reasons why this song is so twisted. To shed light on this little number, the song truly does express Marshall’s feelings and love for his, at the time, one and only baby daughter. To portray his ex-wife as dead and being told to their only daughter is quite the middle finger Eminem is giving to Kim. When attacked by the media for this song, the rapper defended himself by saying that his lyrics are for entertainment purposes only and are not to be taken seriously. This is the only the beginning of the love for Hailie, the hatred for Kim, and the anger of the public.
The next few tracks shed light on the album in their own, typical twisted ways. With the end of “Clyde,” we feel rather disturbed by Eminem and he obviously knew that by appropriately adding in the next skit, titled “B*tch,” basically consisting of some b*tch complaining to her friend over a phone call about how it’s the most disgusting thing she’s ever heard in her entire life… Well done, Eminem. You already know your audience very well. The following song “Role Model,” is somewhat comedic in its own way. The whole thing basically sums up a sarcastic message, “Don’t you wanna grow up to me just like me?” It is filled with a number of things; all the crazy sh*t Eminem does and would do just to prove how nuts and how much of a “role model” he really is. It is the exact opposite of politically correct; from breaking your legs till the bones poke through your skin to tying a rope around his penis and jumping from a tree, he basically gives a list of the things he does which happen to be exactly what one should not try at home. The music video consists of him mocking Houdini, being chained upside-down being lowered into a water-filled tank. Irony, much? The next skit “Lounge” is basically an introduction for the next song, as well as the second act of his album (yep, it’s only half way done). It consists of a group of guys who sound like they’re on something, or they’re at a drunk karaoke session, chanting out a familiar tune “I never meant to give you mushrooms girl, I never meant to bring you to my world, now you’re lying in that corner crying,” the perfect introduction and chorus for track eleven.
“My Fault” is more or less an apologetic story with a very comedic feel to it, and there’s really nothing more to it than the chorus. Like previewed in the skit beforehand, it presents a catchy tune, “I never meant to give you mushrooms girl, I never meant to bring you to my world, Now you sitting in the corner crying, And now it's my fault my fault.” Eminem is sorry for giving a girl mushrooms. Isn’t he sensitive? The next skit, “Ken Kaniff” is very much like “Paul” in the sense that it would be a recurring skit on other albums. The only difference is, Kaniff isn’t a manager, but more or less a perverted fan who prank calls Eminem, oddly enough sounding like the killer over the phone from “Scream,” saying obscene and disgusting things. It’s an obnoxious bit but just goes to show what kind of fans Eminem could have in the world. There is one funny reference here when Eminem picks up the phone and asks, “Who is this, Cage?,” regarding the accusations of copying the styles and subject matters of the underground rapper, Cage. Other “rappers” accused Eminem of copying their style when he blew up. Take Joseph Bruce, from “Insane Clown Posse,” for example. While promoting his EP, Marshall invited Bruce to his EP release party as a sign of reconciliation that he was not thieving anyone’s music, especially not from “rappers” such as Insane Clown Posse. But when Bruce refused to appear because Mathers had not agreed to ask him for permission to use the group's style, he took it as a personal offense and later did what he does best; attacked them through his music. Those fat bastard clowns are just jealous because their music sounds like something that came out of their ass.
“Cum on Everybody” is more or less Eminem’s fun version of “this is me; f*ck the world; I don’t give a f*ck,” more or less, what he’s trying to drill into our brains. It’s got the usual styles and lyrics that show he doesn’t care how offensive he is, even to those who are dead, especially found with the opening lines,” My favoite color is red, like the blood shed, from Kurt Cobain's head, when he shot himself dead”… damn Marshall.
“Rock Bottom” is a personal favorite of mine because the lyrics are so true. Not only are they true but they can relate to anybody. In life, everybody hits a “rock bottom” and Marshall understands that just like anyone else. This is his way of not saying “I have money; I’m bad; I’m crazy.” This is a redeeming number from his murder and drug-related songs. This is also this starting point of my favorite part of the album: The end of Act II. With Rock Bottom, he calls out the people who aren’t at that point and who can’t relate to him in the slightest, “This song is dedicated to all the happy people, All the happy people who have real nice lives, And who have no idea what it’s like to be broke as f*ck.” And with all these lyrics we know that’s exactly who he’s talking to. Every single line here expresses how broken he feels in the most heart-felt way possible. This song really captures who he strives to be and how painful life really is. In a way, this number is his “Get Rich or Die Tryin,’” which would appear six years later. It’s him telling it like it is, showing that he’s been poor; he’s been suicidal; he’s been depressed, just like any normal human being and he couldn’t be any more true with his chorus, “When this life makes you mad enough to kill, When you want something bad enough to steal, When you feel you have had it up to here, Cause you mad enough to scream but you sad enough to tear,” he knows what it’s like.
“Just Don’t Give A F*ck” is another personal favorite. What’s so great about this song is that he’s been sending this message all throughout the album, but if you’ve been offended by this attitude from the previous tracks, this one just sums it all up in about four minutes. Every line is just full of consistent flow that makes him sound untouchable. He literally puts himself into perfect perspective, “I'm doing acid, crack, smack, coke and smocking dope then, My name is Marshall Mathers I'm an alcoholic, I have a disease and they don't know what to call it.” It’s like he’s possessed with something that just erupts out of his system. He’s out to get anyone and everyone “Better hide your wallet cause I'm coming up quick to strip your cash, Bought a ticket to your concert just to come and whip your ass.” With this song, he just comes right out and says he doesn’t care who you are or where you’re from. This song is the perfect example of why people love him; why people hate him and why people love to hate him. Never have we seen such an attitude from rappers; from anyone and he puts his whole self into perspective that would make him infamous for his “just don’t give a f*ck” attitude.
His next skit, “Soap” is an introduction to his next big number. He mocks a TV soap opera with a conversation between two men talking about love and drama in the most stereotypical, cheesy way possible. In a way, it’s the perfect introduction to his next song because in the skit he’s presenting a form of life that is so unrealistic, as seen on soaps, but “As The World Turns” is about as close to the real life as Em gets. The song is very catchy and realistic as he starts off with the chorus, “I don't know why this world keep turning Round and Round, But I wish it would stop, and let me off right now.” He relates the world to a spinning ride he’s sick of and wants to get off of. In a way it’s filled with such pure genius that reminds me of the striking adoration adopted from the grotesque controversy regarding Andy Warhol’s “Campbell’s Soup Cans” bombard, which disaffected the urban living translation of preceding hip-hop artists which has swallowed my existence… Okay, I’ll stop now. The greatest part of this song is the end when he regards to him using his magic trick, and with the words “Go, go gadget d*ck” he “f*cked (a) “fat slut to death.” Pause… what??? It’s sick how comedic he comes off with that last bit too.
“I’m Shady” is a great way of wrapping up the shady part of “Slim Shady.” Basically, this song shows that if there’s one thing Eminem is, it is in fact, shady. Whether it’s terrorizing you with glocks or being the go-to guy for any drug needed, he proves that he’s the man. He presents being shady in a childish-like format referring to enjoying happy things, all going back to being the hero; your friend; when you need a minithin. Like he always does; like he’s been this whole album; he’s shady.
“Bad Meets Evil” is a story told in a western/cowboy style, featuring rapper, “Royce” regarding “Bad” and “Evil” as two people and what if they met and joined forces. Like, “Guilty Conscience,” Eminem and his fellow rapper represent two opposite ends of the spectrum. Where they don’t agree, all hell breaks loose and where they do, they’re a dangerous combination. It actually draws a nice line in Eminem’s career between him being “bad” and the people who call him “evil.” In the end, he’s not really evil… just a little bad. And that’s all he’s saying here. With talk of cowboys and saloons it sheds light on all the “evil” talk as if it were an old western tale. It’s definitely a good predecessor for the album’s finale.
“Still Don’t Give A F*ck” couldn’t be a better way to close the curtains. It takes everything funny and innocent in the worst way possible, presented in “My Name Is” and hits you hard with the follow-up to “Just Don’t Give A F*ck.” Where as in “Just Don’t” he gives his message in more of a funny way, “Still Don’t” is the serious side. This is another personal favorite, like I stated earlier, the end of the album is incredible and this song does the whole LP justice. Here we see Em going on and on, bigger and better, wrapping up everything hitting all his themes presented this whole time. He gives a final punch with his impounding message, like always best seen, in his chorus,
“For all the weed that I've smoked - yo this blunt's for you
To all the people I've offended - yeah f*ck you too!
To all the friends I used to have - yo I miss my past
But the rest of you assholes can kiss my ass!
For all the drugs that I've done - yo I'm still gon' do
To all the people I've offended - yeah f*ck you too!
For everytime I reminisce - yo I miss my past
But I still don't give a f*ck, y'all can kiss my ass!”
That’s it; right there. This entire album can’t be put better than those lines. The whole song represents those feelings. He wraps up this album with a final nod to “Brain Damage” with, “My worst day on this earth was my first birthday, Retarded? What did that nurse say? Brain damage? F*ck, I was born during the earthquake.” Bingo. Done.
And with that, I am sad to say, after this long-ass review, “Still Don’t Give A F*ck” is the finale of the “Slim Shady LP.” It’s a bittersweet song because he goes out in style but we know he’ll be back and better (which is exactly what happens in the next chapter), pretty much the perfect way to wrap up this album. Working our way from the opening “Public Service Announcement” to now, I don’t know how we came so far. It’s been a good journey through Dr. Dre interrogating an innocent man disguised as a conscience, to telling a baby girl her murdered mother is just taking a nap in the trunk, to apologizing for giving a girl mushrooms and ruining her day, to hitting rock bottom, Eminem and friends send off with their pleasant goodbyes. This album was so crucial, not just to hip-hop, but to Eminem and his career. It influenced a powerful, binding friendship between one of Compton’s finest, and it cost Marshall $10 million when sued by his own mother. Tisk tisk, Mrs. Mathers. Keep it up and you just might get your own song or two. After going platinum four times and selling over 9 million copies worldwide, how are you not gonna appreciate this album. It is by far one of the most influential and offensive albums ever and Marshall Mathers broke the ice by saying “F*ck You” to everybody. What’s in store for Marshall in the future? Possibly a career so big that everybody’s a Slim Shady on the inside? Possibly a fan so psychotic that he copies Eminem’s styles all the way to suicide? Possibly another song against his ex-wife, even more violent than the last? Maybe Eminem will just come out and tell everybody this is “The Way I am.” Find out, next time, on “The Marshall Mathers LP!” Seriously everybody, if you took the time to read this whole thing… Thank you so much.
The Slim Shady LP: 10/10
