He goes from criticizing the common views against white rappers and to his success making keen observations that his color helped him gain fame. Taking more control over the production (Dre produced only 3 tracks), Eminem makes lyrical assaults on many including George Bush, rap critics, pop stars, Kim, and his mother. After selling millions and millions of records, everyone wondered whether Eminem Show lived up to expectations. The Eminem Show is the retrospect of his career.
Marshall Mathers LP gave the world Em's personal side while mixed with comic and satirical content. Slim Shady LP introduced the world to Eminem, a crude, white maniac with exceptional rhyming skills. I found it was definitely worth my money. However, if you are easily upset or offended, this album may not be right for you. Some people say he disrespects women with his lyrics, but I'm a female and I'm not too offended. This aside, the rhymes are brilliant and deal with real-world issues like controversy, sexually transmitted diseases, the effects of drugs, politics, and fighting with ex-girlfriends. The lyrics are usual Eminem style, bringing lots of foul words and sexual concepts into the songs.
It's great that a rapper as popular as Eminem stays focused on his daughter, as well as his music and money. Hailie even has voice parts on a few tracks. The Eminem Show has lots of lyrics about Hailie, Eminem's daughter, and Kim, his now ex-wife. Always a friend of controversy, you'll find lots of that with this album - but in a meaningful and often eye-opening way. He lays down rhymes with lots of style and good beats.
And this way before the internet became the troll breeding ground it is today.The Eminem Show proves to be yet another good release by the controversial white rapper, Marshall Mathers, a.k.a. The more you dive into the album – especially all these years later – the more you realise that with ‘The Marshall Mathers LP’ Eminem became rap’s first troll. And the Dido-sampling song became a cultural phenomenon so much so that the word ‘stan’ was added to the Oxford Dictionary in 2017 as both a noun and verb to describe “an extremely or excessively enthusiastic and devoted fan”. It’s a direct response to some of his fans who had sent him disturbing letters indicating they had taken some of the content on his 1999 album ‘The Slim Shady LP’ seriously. On another ‘MMLP’ track, ‘Stan’, Eminem documents the extreme end of this relationship, corresponding with a crazed fan who becomes increasingly unhinged as the song progresses. With that song he addresses the sense of catharsis that he and other rappers offer their alienated, disenfranchised fans : ‘”They throw on a rap record, and they sit and they vibe / We’re nothing to you, but we’re the fuckin’ shit in their eyes.” You only have to listen to ‘Sing For The Moment’ from 2002’s ‘The Eminem Show’, to understand the intense kinship Em’s fans have with his music. The lyrics are shocking and upsetting, but at the time I gravitated towards the song’s general sense of anguish it was a cathartic outlet for my frustration. ‘Kim’, ‘MMLP’s most famous and problematic song, depicts Em fictitiously killing his ex-wife over a raging backdrop that samples Led Zeppelin’s ‘When The Levee Breaks’. The album gave me an excuse to scream the angst out of my soul. I have to admit, though, that as a younger man I was more focused on how the album felt like an antidepressant, a type of audio medication, one that offered me a break from the volatile upbringing I was forced to endure as a 17-year-old living with an alcoholic mother and, before he was kicked out of the house, a sometimes violent father. It’s easy to see why ‘The Marshall Mathers LP’ might be the most divisive album in music, and there’s no denying that some of its lyrical content is hurtful towards certain groups of people. Elsewhere, he makes jokes about the gay community (‘Bitch Please II’), and on ‘I’m Back’ he renders the shooters of the Columbine High School massacre as the real victims. In retrospect, there’s no justifying some of Eminem’s bile: one minute he’s poking fun at disabled actors (‘Who Knew’), and the next he’s branding girls as “nothing but a slut to me” (‘Kill You’). Spewing out shock and awe with unrelenting aggression at every turn, he left no-one out of his firing line. Eminem’s unapologetic temperament and twisted humour, which often came as he dipped in and out of his alter ego Slim Shady, saw him enter some very challenging territory across its 18-track offering. But while the album was wildly popular, it was also heavily criticised.
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