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Good Evening, ladies and gentlemen.

This is ePro with the new EJ. Perhaps,

you have already noticed that this issue
is special and complements the one that
was released for MTBMB. We call it EJ
#34 Side B. It’s packed with exclusive hi-
res images and photos that you’ve never
seen before. They will make your heart
skip a beat. Or ten.

So, sit back, relax and enjoy our reviews

for Music To Be Murdered By — Side A &
Side B… The coroner is on his way.

@epronews @eminem.pro

VISIT @Eminem_Pro @eproteam

HTTP://EJ.GS
 INTERVIEW REQUEST
Hello Marshall!
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Best regards, ePro team.
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CONSCIOUS
MADNESS
GOES ON
On December 18, Eminem re-
leased the Deluxe edition of his
11th studio album “Music to Be
Murdered By”, 16 new tracks on
the Side B disc.
As it has become a habit in re-
cent years, Eminem’s new album
surprised everyone. “Uncle Alfred
heard you screaming for more...
enjoy Side B”, Eminem wrote
precisely at midnight, informing
about his latest release.
In his recent interview, Eminem
explained why he only drops
surprise albums now and why
he does not want to promote his
releases to the public. The reason
is simple – it’s the audience and its
unfounded expectations that Emi-
nem does not wish to provoke.
“I don’t know this to be true, but
I feel like when I’m talking about
the album that’s coming out, if I
give people the notice and they
started seeing the tracklist or
they know it’s coming, I feel like
my best shot in avoiding some
of that is to just drop it”, said Em
on-air on his Shade45 radio on
December 31. “Instead of people
thinking like, “If you don’t have a
song about this then I ain’t fuck-
ing with it. If he’s got a song with
this person I ain’t fucking with it”.
And it kind of gives everybody too
much time to think about it and
their expectations of what they
think it should be – and I’ll never
meet that. That’s kind of a theory I
based it off since, I think, “Revival”.
In the lead-up to M2BMB release,
though, the air was thick with an-
ticipation of new material. For sev-
eral days the Internet was virtually
filled with hints and Easter-eggs
dropped by actors from Shady
circles and producers with whom
Em had recently worked. All of
them published the photos of
Alfred Hitchcock who had inspired
the first part of Eminem’s album.
All this teasing was likely planned
by Eminem’s team as an album
promo campaign of sorts.
In the February interview with
KXNG Crooked, Em said that Hitch-
cock motives had been woven into
the album’s fabric even tighter and
more tracks had been planned for
release. “There was actually some
stuff that didn’t make it on there
that I was trying to get on there,
but we couldn’t really work it out
with the sample claim. But I had it
even more intertwined than it was,
and we had to, you know, pick and
choose the best pieces to put on
there”.
A PLEASURE
DOING
BUSINESS
WITH YOU
AGAIN,
NEPHEW
Having heard “Music to Be Murdered By –
Side B”, many listeners noticed that Eminem
paid homage to Alfred Hitchcock better than
most filmmakers could ever do when using
the Alfred’s Theme. “The beats are top-notch
with Em’s ultimate penmanship and his take
on the mic. It’s more enjoyable than the previ-
ous side of his album,” - a Twitter user stated.
“You appear to be a rather talented young
man, Marshall”, - the official Twitter account
of the Estate of Alfred Hitchcock reacted to
this tweet.
The same way as on the first MTBMB disc,
Eminem uses Hitchcock’s voice sample from
“Alfred Hitchcock Television Theme” for the
opening skit. The Hitchcock theme is evi-
dent throughout the entire album. On “Black
Magic”, the first song on the album and the
ninth collaboration between Eminem and
Skylar Grey, Em samples woman shrieking
and shovel sounds. It adds to the Hitchcok’s
atmosphere and at the same time ties the
track to the first disc, where the first song
“Premonition (Intro)” starts with the same
shovel sounds while shrieking links to a
woman’s voice on “Godzilla”.
In this article, I will often refer to Eminem’s
New Year’s Eve interview on Shade45 where
he shared many interesting details about
“Music to be Murdered By: Side B”. One of
them is an explanation of why he values his
creative collaboration with Skylar Grey so
high:
“Let me say this. And I know I tell this to her
all the time. I’ve had the privilege of working
around a lot of fucking talents. It’s still crazy
to me sometimes when I’m working with Dre,
and I’m looking at Dre like, “You’re fucking Dr.
Dre”. The Skylar is one of.., she’s definitely…,
she has to be…, I don’t know how to say that!
“Top 5 of the most talented people I’ve ever
worked with”? But I’ve worked with so many
talented people. But the rate of speed that she
works at… A) being able to write it, and b)
being able to sing it and to sing it that power-
ful… She’s an amazing talent. She wears a lot
of different hats. She’s able to approach songs
from the angles that I didn’t see coming.
And also hit notes that I’m like, “What the
fuck?! I didn’t expect it to go there!” And then
it’s like, it was weird to me, and then the
second time I hear it – I love it. She’s amazing,
and her talent level is off the charts”.
It explains why Marshall keeps working with
Skylar but does not explain why he opens
“Music to be Murdered By: Side B” with
“Black Magic”. The real explanation is that
he wanted to make a narrative connection
between both album sides:
“I was trying to give a reason why you heard
the female dying at the beginning of the last
record. It was to tie that in conceptually but
it’s left to interpretation whether it’s an actual
female or it’s the rhyme and the rhyme is try-
ing to kill me, or I’m trying to kill the rhyme
and when I wake up, like it’s all a dream, so
it’s the lines are blurred. It’s open to interpre-
tation, but it ties in with the original skit in
the beginning”.
“Black Magic” is virtually bursting with dark-
ness and heartache. It begins with a melodic
and gentle hook by Skylar. This track is her
second contribution for the MTBMB album.
Skylar says that she makes many tracks for
Eminem and Em told her that he could not
put her on every song on the album. Well, it’s
a pity! After all, these two work in perfect
harmony in all their collaborations. I hope
one day Eminem will come up with an idea to
make an entire album together with Skylar.
(A man can dream.)
“Black Magic” has it all: love, and violence,
and murder, and black magic itself. With all
these components, the song perfectly empha-
sises the tone of the entire album. Marshall
raps about relationships; this is one of those
topics he always touches on his records.
There is always a track where he talks about
some strange relationship, maybe even his
own, with a girl. And this time, their relation-
ship might be the most bizarre, because the girl
has supernatural powers. She puts a spell on the
protagonist, and their affair torments them both,
but no one can release them, free them from the
spell. On the track, Em compares this relationship
to walking over hot coals, emphasising that the
protagonist is ready to fight for his love and go to
great lengths for her.
The track starts with the statement that they are
“an unlikely pair” and talks about how the pro-
tagonist wants to make her love him. Towards the
end of the track, he goes into a fight with the girl
over her cheating on him and stabs her to death.
Describing this murder in detail and accompany-
ing this story with shrieking, the sound of stab-
bing and smashing plates, Eminem reinforces the
Hitchcock theme while also making a reference to
his dark 2017 track “Framed” and blaming drugs
for what the protagonist did.
Think I just wanted to see what her insides look
like / As I pop another five Vic’s / That’s what this
high’s like / Look down, there’s mud on my Nikes
/ Shovel at my side, blood on my mic / Now wake
up to Music To Be Murdered By like
The track’s ending sets the theme for the entire
album: “Side A” was the music to be murdered by,
the “Side B” songs will cover the sound of shovels
that bury your bodies.
Before I check the mic (Check, check, one, two) / I
give it a extra swipe with a Lysol disinfectant wipe
(Good evening) / Coronavirus in effect tonight
/ Antiseptics on deck, I got every type (Yeah) /
I throw on my tux, then I (Yeah) give zero fucks,
then I (Yeah) / Act like a jockstrap (Uh), cup my
nuts, then I (Yeah) / Check my ball hair (What?),
make sure it’s all there (Yeah) / Then call the
pallbearer (Yeah) / It’s Music to Bе Murdered By
again, why stop?
It seems like Marshall found the upsides in the
quarantine caused by the COVID-19 pandemic as
he stayed put in the studio, creating new tracks
for M2BMB. Eminem starts “Alfred’s Theme”
(written after the first part of the album was
released) by checking the microphone and wiping
it down with disinfectant wipes — hello, we have
Covid raging here! Apparently, for Eminem, whom
the public perceives as a hermit not leaving his
secret lair, self-isolation might have been easy. He
seems meticulous and attentive to detail not only
in rap, and it helps him with the quarantine life.
I’m talkin’ smack like heroin, the mic’s a syringe
On “Alfred’s Theme” Eminem also boasts of his
outstanding rap skills and lyrical ability, declar-
ing himself the best rapper of 2020, and also raps
about the consequences of coming to fame.
With the line “But I’m back with so many knots,
I need a chiropractor (Damn)” he also reminds
everyone that MBTMB has become one of the
bestsellers this year. “They call me dog because
I’m barking (Bar king, bark, bark, barking)”. The
highlight of this sequence is the line “You hy-
perextend on me, this game’s life, it depends /
Like adult diapers for men”, where Em says that
without him the rap genre would simply die out
and become irrelevant. It is a kind of a jab at hat-
ers who keep screeching that Em is “no longer
relevant”. There is also a reference to being a
father figure for the new generation of rappers
(“Son ’em, get the Coppertone, I’m at the Stop and
Go coppin’ the Mop and Glo”).
Eminem also uses the metaphor of good wine
that only gets better and more expensive when
mature “It’s sour grapes, I still whine, I’m the best
seller (Cellar)”.
Bitch, it’s 2020, you still ain’t seein’ me (Haha)
So call me Santa Claus (Santa Claus)
’Cause at the present (Yeah), I out-rap ’em all
(Wrap ’em all), I’m at the mall
Social media critics caught it when Em dropped
the line “This chicken hit my phone, she said,
“Chirp, chirp”, saying that any armchair critic
glued to their screen can chirp whatever they
want without facing the consequences. Em turns
on his social media haters again later on the
album, as for instance on “These Demons”: “Hat-
ers are funny, man (Haha) / It’s like, you’re gonna
hate it no matter what it is…”
“Alfred’s Theme” is also essential for creating the
over-encompassing Hitchcock atmosphere of the
album — its beat is sampled from the theme song
of the TV show “Alfred Hitchcock Presents”, which
used Gounod’s “Funeral March of a Marionette”.
In the track’s ending, Eminem declares that he
is “buddies with Alfred” and compares himself
to the serial killer Jeffrey Dahmer. To make the
blows hit the listener harder, he employs the
image of Jabba the Hutt — the iconic “Star Wars”
character — comparing it to a human scrotum
(incorporating “nuts” as both a term for a men-
tally unstable person and slang for the testicles):
Yeah, and I’m buddies with Alfred, we about to /
Disembowel them, gut ’em and scalp ’em, yeah /
This is ’bout to be the bloodiest outcome / ’Cause
we gon’ make you bleed with every cut from this
album / So I’m choppin’ ’em up like Dahmer / The
nut job with the nuts that are bigger than Jabba
the Hutt.
 I KEEP
DROPPIN’
On “Tone Deaf”, Em keeps showing off his
skills and criticising the rap industry. The
very track title is already a swing at modern
mumble rappers who cannot ride the beat.
Interestingly, the track was created together
with Eminem’s longtime collaborator —
Luis Resto, who had a hand in making the
main hit of Em’s career — “Lose Yourself”.

Marshall starts “Tone Deaf” with a small

performance over a funny beat, and refers
to his alter ego Slim Shady as the narrator,
pretending that he cannot hear the person
over the phone and grilling the people who
call him irrelevant and obsolete... The real
Slim Shady is here, please stand up! The
track is filled with all sorts of innuendos of
Slim’s powerful imagination.

The “Tone Deaf” chorus with Shady’s perky

vocals mocks the critics — he simply does
not hear them, and he is not going to stop
even when his hair turns grey despite the
criticism of his recent albums... This is what
happens in reality. Em just comes back at
the end of the year with the new 16-tracks
long “Side B” CD.
 )
S (U H )
E AH
V E RS S (YE AT?)
K TH E ARSE E (WH
A C H E RVIC
ATT WITH E
N E D U RS
H E K Y O
M E, T PAC M AT
GA AR D I’
R AP E Y AL,
H E AV E R
ET GR UN
I SE NTO A OU R F
NI EY
TU R ST LIK
JU
 On the third “Tone Deaf” verse,
Eminem
decided to demonstrate the bes
t of his
skills and seemingly rhyme ora
nge with
banana. Yes, he can rhyme any
thing! But
it boils down to a joke and Em
doesn’t
really expect them to rhyme but
merges
them in the word “Bornana” wit
h an
exaggerated annunciation. Em
then com-
pares himself to the Scandinav
ian god
Thor, who in Norse mythology
destroyed
an army of giants, implying tha
t he can
easily defeat this new generation
of
mumble rappers.

In the track’s ending, Eminem

informs
his enemies that Shady is ready
to defeat
anyone willing to fight him. How
ever,
they should remember what has
hap-
pened to former contenders wh
o dared
to challenge him.

My enemies, I’m a chimney, give

me the
smoke, opps / And R.I.P. to King
Von, and
it don’t stop, and I know not / Wh
at the
fuck you say? I told y’all, it ain’t
me, it’s
my alter ego’s fault / But if y’al
l wanna
cancel me, no prob / I’ll tell you
the
same thing I told Paul (Woo)

I’M EMPTYIN’ MY
BOOK OF RHYMES
If on “Alfred’s Theme” and “Tone Deaf ”
Em was showing off his rap skills, jok-
ing around and basically had fun, then
on “Book of Rhymes” recorded with DJ
Premier, he takes us through his cogni-
tive process of turning the initial spark
of an idea into rhymes and punchlines,
references and Easter eggs, intricate
combinations and clever wordplay.

By the way, Eminem has dreamt of

working with DJ Premier since the mo-
ment they met. He said so during his
New Year’s Eve special on Shade45. For
Marshall, that was not only the appre-
ciation of Premier’s skills, but also the
recognition of his contribution to the
hip hop culture. To finally have him on
“Book of Rhymes” was a dream come
true for Eminem:
 MR. MATHER S IS KILLIN’ THIS SHIT, VILLAINO
US WIT WITH SCANT LESS
SYLLAB LES RIP THE PLANET, BIB LICAL SHIT
’S FINNA HIT THE FAN
ANYBODY WAN NA GO TIT FOR TAT’S GON
NA GET HIT WITH THAT
THE N THE AMYGDALA HIPP OCAMPUS IS
GON NA TRIGGER THE
IGNORAMUS TO THIN K OF THE MOST RIDI
CULOUS SHIT TO SPIT THE N
PIT IT AGAINST THESE PITI FUL RAPPER S
INSI DIOUS, THESE IDIOTS WITTIEST SHIT
AGAINST ME SHIT TY AS
MC HAM MER’S GET YOU R WHOLE SQUAD,
SEN D A TASK FOR CE IN
IF YOU WANT IT, YOU’RE ’BOUT TO GET WHA
T YOU ASKED FOR THE N
PUT YOU R HELMET ON, STR AP YOU R CHI
N
YOU’RE ’BOUT TO GET YOU A CRASH COU
RSE IN
“I’ve been wanting to do some shit with
Premiere. I just had the idea of what he
could scratch. And just having him scratch
on the record — that’s so dope! He gets a
feature credit on there. Premiere is Premiere.
There’s a lot of DJ’s that might not get a
feature in credit. You got Premiere on your
shit scratching — he’s gonna get a fucking
featuring credit. That’s one of the best parts
about it. I want to make sure you know who
I’m talking about at the end of the song. His
impact on hip-hop and everything from Gang
Starr to… You know, when we do a lot of
cyphers Premiere’s usually there providing
the beat. And I’ve always been cool with him.
Ever since I met him, I’ve always in the back
of my mind like, “Man, I wish I had some-
thing with him to attach”. Because he’s the
fucking OG”.
Let’s get back to M2BMB. On the “Book of
Rhymes” chorus, Eminem samples the lines
from his collaboration with Lil Wayne “Drop
the World” where he compares his rhymes
with the ammo that he has stacked through-
out the years of his career. It seems like their
time has come.
Haven’t used all the tricks I have, so like
my balls, I’m in my bag (My bag) / Get a
littlе teste when I’m mad (I’m mad), sick of
wrеstling this iPad (iPad)
When Eminem comes up with a new rhyme,
he is absolutely focused on the task to come
up with something new that he has never
used before. He is always rhyming, and he
does not need much to kickstart the process:
I get obsessed with reading everything / And
let it get the best of me ’til I snap (‘Til I snap)
/ But I need to get off the Internet (Get off
the Internet) / I need to get on the mic (Get
on the mic) / You need to get off the Internet
(Internet) / You need to get you a life / Why
you waste time just to comment on shit?
(Comment on shit) / Especially shit you don’t
like (Shit you don’t like)
Eminem once again hits his armchair critics
back, this time with a bigger gun, and states
that he reads a lot of stuff on social media
and cannot understand why they waste their
time commenting on shit they don’t even
like, and by shit, he means his music. So, it’s
time to Em to get off the Internet and get on
the mic, as he has much to share in the rap
game yet.
I get to remind all the haters (Remind all the
haters) / who shitted on me when I’m on my
way up (I’m on my way) / My floor is y’all
fool’s ceilings / If I was you, I would step or
find yourself twisted / That’s how you’ll wind
up like spiral stairs
Eminem proceeds to playfully compare
the floor of his skills with the ceiling of his
opponents’ abilities and reminds his haters
that projectile vomiting shit out of their guts
won’t help them because they will be blown
out by his superiority the second, they decide
to open their mouths. And if punchy rhymes
are too difficult for you to comprehend,
then Eminem can summon to the surface of
the thin slush inside your head the vague
memory of Ja Rule’s career that he destroyed.
It’s Music to Be Murdered By, so Bon Iver
can swallow a fuckin’ Ja Rule bobblehead /
And die slow like Alzheimer’s (Ha-ha) / Lone
sniper, I hold a microphone like a loaded
rifle / My dome’s brighter, all I spit from my
skull’s fire / All that’s missing’s a motorcycle
with the chrome wires, spoke tires / And y’all
are flow biters, so I don’t gotta / Explain why
they call me your ghostwriter
In the end of the first “Book of Rhymes”
verse, Eminem executes a flawless strike at
his haters and the rappers who hire ghost-
writers to write their tracks. He basically
calls himself the ghostwriter doing his job
perfectly, and uses the Marvel character
Ghost Rider as a metaphor. Rhymes pour
from Eminem’s skull that has been “spit-
ting fire” for the third decade of his career,
for fans and critics to dig in and tear into
catchphrases, analyse and study. His verses
become info bombs and breaking news.
Further down the line, Em admits that he
cannot use all his rap tricks because there
are too many of them. His rap superiority is
unattainable to his rivals who challenge Emi-
nem’s status as the “Rap God”. To prove the
point, he explains how his brain, phenomenal
memory and body chemistry work to achieve
this result. In other words, Em says that you
shouldn’t even try to start a rap war with
him. The outcome is obvious.
And as the final blow for those with the thickest
skulls, Eminem flips one of the most often repeated
accusations that his haters use — that he is just a
guest in the rap game. On “Book of Rhymes”, Em de-
clares that he had destroyed the game way before his
opponents even arrived there. So now they can only
relax and enjoy his hospitality:
Destroyed the game before you came, enjoy your stay
/ Before it’s gone away, but the more you claim that
you’re gonna point and aim
Modern rap wannabes are just imitators (see the
army of lame Lil Wayne’s clones). They cannot offer
Don’t even tell me you never wanted Em to do
a Covid-themed track? Of course, he mentioned
coronavirus earlier on the collaboration with Kid
Cudi in July 2020 and right on this album on “Alfred’s
Theme”, but it was “Gnat” that focused on the main
issue of 2020 — the coronavirus pandemic.
“Gnat” is an ode to 2020 and the disappointment it
brought to the world. The track became the third
promo single for the entire MTBMB project (“Dark-
ness” and “Godzilla” are the two others) and had a
music video directed by Cole Bennett who also shot
visuals for “Godzilla” in Spring 2020.
On “Gnat”, Em has a go at the COVID topic. He even
made a visual pun on the infection’s origins, biting
the head off a bat in his video - a hyperbolised meta-
phor of patient zero.
Em compares himself to the coronavirus, stating that
his flow is viral just as much. That’s an excellent ref-
erence to his high popularity online and how fast all
his bars and lines spread through the Internet where
everybody discusses or criticises them. There is also
a clever wordplay on social distancing as a pandemic
prevention method and an unbreachable gap in skills
and talent between him and his opponents.
They say these bars are like COVID
You get ’em right off the bat
Infected with SARS and Corona
Like you took a bite off of that
And it goes from martian to human
That’s how the virus attacks
They come at me with machine guns
Like trying to fight off a gnat
On “Gnat”, Em offers an interesting metaphor of the
response the humanity has given to the COVID-19
pandemic. Marshall compares the virus to a pestilent
insect, and COVID protective measures – face masks,
anything exciting or original and are not intelligent
enough to generate ideas and write cool rhymes.
“Your shit is pointless, same as a scoreless game”, Em
tells them.
In the final bars on “Book of Rhymes”, Em compares
himself to a dangerous, destructive weapon to il-
lustrate his power in the rap industry. Of course,
dear critic, things you hear on this track can make
you drop fire from your arse. However, it’s alright.
That was the initial intention of the genius. Legend-
ary DJ Premier sends this track off with his perfect
scratches.
BARS ARE
LIKE COVID
quarantines, lockdowns etc. - to machine guns use-
less against an uncontainable force.
The signs of the new pandemic reality – face masks,
14-day quarantine, social distancing, disinfectants,
COVID symptoms – of course, all of it and more
has found its place on the track, cleverly packed in
punchlines and jabs at his haters.
If by some lucky chance you missed 2020 with all
its shit, you can rely on Marshall Mathers to deliver
you a detailed account of events, at least as far as the
pandemic is concerned.
On “Gnat”, Em offers an interesting metaphor of the
response the humanity has given to the COVID-19
pandemic. Marshall compares the virus to a pestilent
insect, and COVID protective measures – face masks,
quarantines, lockdowns etc. - to machine guns use-
less against an uncontainable force.
The signs of the new pandemic reality – face masks,
14-day quarantine, social distancing, disinfectants,
COVID symptoms – of course, all of it and more
has found its place on the track, cleverly packed in
punchlines and jabs at his haters.
If by some lucky chance you missed 2020 with all
its shit, you can rely on Marshall Mathers to deliver
you a detailed account of events, at least as far as the
pandemic is concerned.
 LONG SOCIAL
DISTANCE
RELATIONSHIP
Romantic relationship as an M2BMB topic deserves
special attention. “Black Magic” is not the only song
on the album that delves into this subject. Another
track that takes a closer look at romance is “Guns
Blazing” where Marshall reunites with his mentor
Dr. Dre.
They trade bars and snap at their respective part-
ners. Dre directs the verse towards his wife Ni-
cole Young with whom he is going through a dirty
separation marred with financial scandals and court
battles over his billion-worth estate. On his verse,
Eminem raps about his multiple failed relationships
with women, specifically talking about one of them,
named Michelle. Also, there are some lines on Em’s
second verse that can be addressed either to Kim or
Dre’s wife, out of solidarity with the friend.
“She Loves Me” is one more track where Eminem
raps about a relationship. Here Em is complaining
about a girl who “loves” him for what he has, not
for what he is. She mainly cares about his fame and
wealth.
The chorus plays on an old fortune-telling game, in
which one picks petals off a flower. However, Em
modernised the lines adding there the option of lov-
ing what he has got. There is no winning in this game
for Eminem because the girl loves him for all the
wrong reasons.
Em declares this result with laughter on the final
chorus, when having gone through all petals and
options during the song he concludes: “She loves me
not”
She loves me (She loves me), she loves me not
For who I am (She loves me), but what I got
But she loves me, she loves me not
She loves me (Yeah, one more time)
I said, ’cause she loves me (She loves me),
She loves me not
For who I am (She loves me), but what I got
But she loves me, she loves me not (Haha)
She loves me
The “She Loves Me” outro uses Em’s classic “I’m just
playin’” trick. He used it before on such tracks as
“White America”, “Kill You”, “So Much Better”, “Kick
Off (Freestyle)” and “Killshot” (you must remem-
ber that Diddy pun). This is his reliable device that
allows Eminem to say whatever he wants to say,
framing it as a joke. Now Em flips the scheme and
after seemingly negating with his “I’m just playin’”
everything he just said, he adds “I ain’t got no foos-
ball table”, leaving us to believe that only that part
was a joke, and everything else was true.
As a rule, Em’s songs about romance seem to be
made in jest, yet they carry the gravity of experience.
We do not know the whole story, and, likely, we nev-
er will. This is none of our business and has nothing
to do with music. I remember how Eminem snubbed
a Vulture journalist when he tried to pry on Mar-
shall’s private matters back in 2017. To the question
“Do you date?” Eminem responded with “It’s tough.
Since my divorce I’ve had a few dates and nothing’s
panned out in a way that I wanted to make it public.
Dating’s just not where I’m at lately” and dead-
panned about meeting people on Tinder and Grindr.
When the interviewer asked him “Is fame lonely for
you?”, Em wrapped it with a rapid “Am I lonely? No,
I’m good. Thanks for asking though”. In 2020 many
relationships were damaged. Being isolated with
somebody or being isolated away from someone
might erode personal bonds. Being apprehensive of
people after the long isolation and being overly cau-
tious about the virus can do similar damage.
Perhaps, what Em raps on these tracks about the re-
lationship is partly informed by his own dating his-
tory, and he adds all these jokes to throw us off his
trail. For instance, the puns that he is only interested
in sex instead of a more meaningful emotional con-
nection. Nobody knows how 2020 and its isolation
trend have affected Eminem. Enjoy the entertain-
ment and mind your own business.

On the Side B, Eminem once again proves that
he raps whatever he wants regardless of critics
and Internet noise. Em was heavily criticised for
including on “Kick Off” and “Unaccommodat-
ing” references to the suicide bombing attack
at Manchester Arena in 2017 during Ariana
Grande’s show that resulted in 23 fatalities
and over 800 injuries. On “Favorite Bitch”,
he does it again topping it up with refer-
ences to the Boston Marathon bombing in
2013 and drawing a comparison between
these deadly and awful events and himself,
in terms of the devastation he inflicts upon the
opponents.
On “Favorite Bitch”, Eminem collaborates with
Ty Dolla $ign. The “bitch” here stands for hip hop
and together with Ty Dolla $ign Eminem reflects
on their past, their failures, their success and how
the music industry does not treat them right.
One of the hidden gems on the track is the line
“Always hated my smile” at the beginning of the
second verse that fits into the lore that Eminem
never smiles. The following lines elaborate on
that, adding that his mother told him that he pro-
voked his school bullies to beat him up because of
his smile, because he was “ugly”.
Ain’t nothin’ you say could ever trump (Nah), mic,
pencil get killed (Yeah) / If you’re hypersensitive, I
wasn’t referencin’ the vice president, chill (Chill)
At times Eminem’s imagination played him and
brought the Secret Service to investigate him.
Once those were the lines on “We As Americans”
(“Fuck money! I don’t rap for dead presidents /
I’d rather see the president dead / It’s never been
said, but I set precedents”) were the word “dead”
was censored on his album “Encore”. The other
time that was “Framed” from his incredible 2017
album “Revival” (fuck you to everyone who thinks
it’s bad), where Slim Shady locked Ivanka Trump
in the trunk (“But dog, how the fuck is Ivanka
Trump in the trunk of my car?”). This line led to
the visit of Secret Service agents who had some
questions to ask. They did not start formal inves-
tigations but inspired the lines on “Ringer” from
2018 album “Kamikaze”, where Em explained to
all obtuse agents that he did not mean any physi-
cal harm to the president and if he was linked
to terrorist then “only when it comes to ink and
lyricists”. This time on “Gnat” Em uses a wordplay
NO TABOOS
that sounds like “Mike Pence’ll get killed” and
immediately claims that it is a coincidence and he
does not reference the former vice president on
his verse.
Another M2BMB track that breaks all taboos is
“These Demons” recorded with a Dallas artist MAJ.
Yeah, you know what? (Loud Pack) / Haters are
funny, man (Haha) / It’s like, you’re gonna hate it
no matter what it is / Yet you still click on it (Zom-
bie on the track), huh, yeah
“These Demons” kicks off with another jab at
haters who are never satisfied no matter what
Em says, so there is no point in trying to restrain
yourself. The track is packed with references
to celebrities, pop culture, and current events.
Marshall mixes the COVID-19 pandemic, the civil
unrest in the US and protests that started after
George Floyd’s death to express his frustration at
the disappointment at what 2020 became to the
world.
From calling out his haters for their hypocrisy and
some of his fans for their inconsistency, Em dives
headfirst into the kaleidoscope of bizarre topics
provided by his imagination.
Em raps about O. J. Simpson who allegedly
stubbed his wife and her friend to death. He pays
homage to his icon LL Cool J, he ironically com-
pares the fight against racism with the pandemic
struggles of missing a haircut.
Black people dyin’, they want equal rights
White people wanna get haircuts (Haha)
He throws in a riddle of law enforcement that is
not law-abiding. He disses Mariah Carey again.
Calls out dirty media and radio stations that ex-
ploit his name to get more visitors and views.
There are no taboos, he raps what he wants and…
You don’t like me? You can bite my little white
wee-wee / And I repeat, you can bite my little
white wee-wee long as I L-I-V-E
…
…
So you can eat shit, but I might be the shit
So when I say “Eat shit,” I mean me
 ODE
A LM
R VIV
#SU
THEY WOKE
A GIANT UP
Almost at the very end of the record, Marshall takes the
listener to a real Klondike, which hides some of the most
ruthless lines, namedrops and a selection of important
topics. Habitually, he uses his new tracks to reflect on the
events and conflicts in the world around.
“Zeus”, one of the deepest and most fiery tracks on “Side
B”, has become a real audience favourite. Here Eminem
shares his grief for Black Americans who have been vic-
tims of police brutality, admits a past mistake in the situ-
ation with Rihanna and Chris Brown, and even responds
to a diss.
Beginning “Zeus” with a jab at Machine Gun Kelly, Em
says that he “loves conflict” on a subconscious level, as if
hinting at his inner monster — his alter ego, Slim Shady.
As if reminding that he decided to keep him locked down
and only occasionally open his cell door hatch. There is
a reason why Eminem mentions conflicts, “Zeus” is filled
with them to the brim, and these are not only personal
Em’s conflicts but also the conflicts of our society.
Marshall has always been particularly sensitive to social
injustice in the United States. As police violence and
institutional racism have become an even more press-
ing issue over the past decade, Eminem continues to
raise these issues in his songs. On Zeus, Marshall named
several victims of police violence:
And all that we want is racial equality / R.I.P. Laquan Mc-
Donald, Trayvon, and Breonna / Atatiana, Rayshard, and
Dominique / Eric Garner and Rodney King / No, we can’t
get along ’til these white motherfuckin’ cops / Who keep
murderin’ Blacks are off the streets (Off the streets)
This litany follows the lane Marshall opened on his
recent collaboration with Kid Cudi “The Adventures of
Moon Man and Slim Shady” where he shared anger about
the deaths of George Floyd and Ahmaud Arbery.
One of the most unexpected references on “Zeus” was
Eminem’s apology to Rihanna. The unreleased song
“Things Get Worse”, which was leaked earlier this year,
is the reason for his remorse. In this song, written from
Em’s alter ego, Slim Shady, who does not adhere to any
social norms, he commented on the case of Chris Brown
being physically abusive towards Rihanna and sided with
the perpetrator.
This song was not intended for public consumption, and
yet it became available, causing distress to many who
did not want to see Marshall encourage violence against
women.
Rihanna did not make any comments; however, we know
that Marshall felt uncomfortable about the incident and
did what he considered important — publicly apologised
for this song. The amount of self-consciousness revealed
in these lines is admirable, and hopefully, Rihanna will
appreciate it.
But, me, long as I breathe, promise to be honest
And wholeheartedly, apologies, Rihanna
For that song that leaked, I’m sorry, Ri
It wasn’t meant to cause you grief
Regardless, it was wrong of me
Another memorable moment and at the same time a
reflection on the past was Em’s response to Snoop Dogg.
On “Zeus” Eminem penned perhaps the most respectful
and diplomatic diss in history. This diss was prompted
by Snoop’s recent remarks, who did not recognise Mar-
shall’s skills and attributed his success to Dr. Dre. Em
was silent for a long time about this, but “Zeus” revealed
that he felt betrayed, mainly because he considered
Snoop Dogg one of his friends, one of his camp.
And, as far as squashin’ beef, I’m used to people knockin’
me / But, just not in my camp / And diplomatic as I’m
tryna be / Last thing I need is Snoop doggin’ me / Man,
Dogg, you was like a (Yeah) damn god to me / Nah, not
really (Haha) / I had “dog” backwards
On Shade45’s New Year’s Eve special, Marshall explained
what in Snoop Dogg’s words felt off:
“A couple of months ago he was doing an interview with
the Breakfast Club. Somehow my name got brought up
and he was saying things about, you know, I’m not in his
top 10… And everything he said, by the way, was fine
up to the point… I’m not in his top 10 because there are
some rappers from the 90s that I can’t fuck with. And
him saying Dre made the best version of me – absolutely.
Why would I have a problem with that? Would I be here
without Dre? Fuck no, I wouldn’t. The rappers he men-
tioned from the 90s – Krs-One, Big Daddy Kane, G Rap –
I’ve never said I could fuck with them.
Everything was good until… You know, I think it was
more about the tone he was using. That caught me off
guard because I was like, “Yo, where is this coming from?
I just saw you! What the fuck?!” It threw me for a loop.
Again, I could probably get past the whole tone and ev-
erything but it was the last statement that he said:
“Far as his music – I can live without it”. I can live without
that shit. Now you’re being disrespectful. It just caught
me off guard. I was not ready for that.
People started hitting me up about it.
Asking, “What you gonna do?” And I
didn’t know what to do about it first.
It confused me because I’m like, “Bro,
we are on the same team. What the
fuck!” And I’ve never in my career, my
entire career, ever said a disrespect-
ful word about Snoop Dogg. I mean,
what the fuck. His impact on hip-hop,
I can’t front on that. Everyone is en-
titled to their opinion. My top 10, top 5
can’t be the same as his. How can I be
mad at that? I was not mad about the
opinion, it was after that. The very last
statement was like “Oh, what the fuck.
Damn, dawg, really?!” I said what I said,
I addressed that. I said what needed to
be said”.

Regardless of how strong Eminem

felt, he responded to Snoop diplo-
matically and respectfully.
Interestingly, the track’s title and the
hook liken Eminem to the Greek god
Zeus, who lives on sky-high Mount
Olympus. When his authority is ques-
tioned, Em returns to Earth to slap his
haters and opponents down. This set-
up references one of Eminem’s most
successful tracks - “Rap God”.

I be on my own (Yeah), head up in

the clouds like Zeus / When they say,
“You ain’t the GOAT”, I come down
like, “Who?” / But I got my head in
the clouds like Zeus / Swear I can see
the game from a bird’s-eye view, ayy
/ Bitch, you talkin’ to a rap god, ayy /
Girl, you talkin’ to a monsta, ayy / You
could give your whole damn life to the
music thing / They gon’ turn around
like they don’t love you
EMINEM CANCELS
CANCEL CULTURE
Another interesting topic that Em touches on in the
second part of MTBMB is “cancel culture”.

This theme is introduced at the very beginning of

the album — on “Tone Deaf”, when Eminem mocks
his critics, who call him washed and irrelevant.
There, Marshall mentions internet culture and
people who feel they have power over artists and
can dictate them what to do.

I won’t stop even when my hair turns grey (I’m

tone-deaf) / ’Cause they won’t stop until they can-
cel me (Yeah, yeah)

Comin to the end of the album, Em again touches on

this topic on “Zeus” in the line “Who dyin ‘to cancel
my ass like Aunt Jemima syrup”. This is a reference
to the rebranding of Aunt Jemima pancake and
syrup products caused by the BLM movement. The
once-popular and beloved by millions of consum-
ers product is undergoing the change because of
the portrait of a Black woman on the label. Eminem
compares himself to the beloved yet the controver-
sial character of Aunt Jemima. Just as she has been
associated with pancakes and syrup for 130 years,
Em symbolises hip hop now; he is one of the most
recognised rap artists, the one who cares for the rap
culture immensely.

On each of his albums, on many of his tracks, Emi-

nem frequently references hip hop veterans, their
albums and tracks, introducing modern listeners to
their legacy and the hip hop history. A prime exam-
ple of this concern for the genre is the t-shirts that
he wears on stage in front of the army of thousands
of fans, t-shirts with the album cover prints of his
rap idols.
And despite his widely recognised
achievements, his guardianship of the
rap game, armchair critics attack him and
try to “cancel” his legacy.

In his recent Shade45 interview, Marshal

elaborated on the topic:

For me, it’s literally like every other day I’m can-
celled for whatever the fuck it was. It’s funny be-
cause I see the same people or sites that bitched
about things back then that I said and then going
back now and saying “Why can’t he be that again?”
What the fuck?! When I was that, you had a problem
with that too. I understand some of this shit, but
for the most part, for people who just sit online and
feel like they need to bitch about whatever it is to
feel like they’re a part of something... With cancel
culture, it’s like no one ever really gets cancelled
though. When people start saying “Cancel!” - okay,
well, this rapper’s still here, this rapper’s still here
or this person in general, you don’t have to be a
rapper. I don’t know man. I feel like people need to
fucking grow a pair.

On the “Zeus” third verse, Eminem metaphorically

looks at the rap game from the top of Olympus that
he stormed back in 1999. He has over 100 million
of his records sold and somehow understands how
it works. Marshall reflects on the music industry’s
dynamic world, on countless breakthrough debuts
he has seen quickly fading into oblivion. He knows
that sooner or later, the same people who are now
trying to erase his legacy from the hip hop history
will turn on anyone as soon as sales go a little down
(Marshall mentions Drake here to make a point).
And the higher you fly, the harder you fall.

I’ve seen them come and go / I’ve seen the hugest

(Hugest) debuts (‘Buts) / I’ve had a great view to
see the (See the) game through (Through) / And,
Drake, they’re gonna turn on you (You) one day too
(Too) / And the more you win, the sooner (Sooner)
they do / They’ll be calling you a trash bin
 Meanwhile, all shots at Eminem, all harsh criticism,
all jabs feel hypocritical — there is a reason people
try to create animosity with Em. All his opponents
simply dream that he would answer them on wax

T RY I N T O or release a whole diss track because it will draw

LIKE
attention to them, usually more than they can ever

T
attract on their own. You don’t have to look far,

F A G N A remember Lil Pump’s latest clout chasing attempt

FIGHT OF
by insulting Eminem. But Mr. Little Pimp only suc-
ceeded in becoming a laughing stock for Eminem’s
fans, friends and colleagues.

There are the lines on “Higher”:

You see my finger (What?), you see my thumb

(What?) / You see my fist, fuck a peace pipe, I’m
(What?) / Here for the smoke but it’s not the weed
I want (What?) / With this beat I brung for the
beef I’ve come (Woo) / But you better bring it if
you wanna reply from / ’Cause for you to be lyri-
cally inclined, it’d be a steep climb up / That’ll be an
uphill battle / But I’m up like your feet in a recliner /
And I think I’m about to go out on a limb like a tree
climber / Time to push my ceiling higher…

Em doesn’t mind sparring lyrically with someone

who can write a worthy diss on him, but he’s not
going to waste time on the smoke blowers who want
their 15 minutes of fame. Therefore, if Em does not
answer you, then you are simply not worthy of his
answer. But if he, nevertheless, answers, he will do it
with ease.
 THERE IS
NOTHING
LEFT TO
PROVE
You know, I’ve been around for a while now
Not sure if I have much left to prove
Yeah I do, haha
“Higher” is a bottom line to all the displays of
power and rap skill flexing Eminem perform in
front of his opponents and haters. Now Em looks
at his career from the outside. At the very begin-
ning, he says that he has been in the rap game for
a very long time, and laughs at the fact that he still
needs to prove something.
He has been on top for over two decades; he
makes waves every time he drops a record or
makes a public appearance. Still, Em is expected
to prove something. And yet if it’s his new al-
bum — then the sales are remarkable; if this is a
“scandal” — then it is always the loudest; if this
is a show — then it is sold out and packed with
thousands of adoring fans from all over the world.
What can I say, even the word “Stan” is officially
included in the dictionary to describe a devoted
fan.
I look at me now, I’m thinkin, “Damn”
How proud of me I am
What I did is nothin ‘to sneeze at
Even if your allergies are bad
I’m up in a balcony in France
I look around, I see the fans
How they surround me in the stands
Probably could drown in a sea of hands
They’re hollerin ‘, “Shady” (“Shady”)
Yelling it out to me and that’s what
I mean when I say
That one day someway, somehow,
if I get the chance to get a crowd
I’d flip it around and have a crowd
give me the chants
(I’ve done it all, man)
But in actuality, I haven’t, yet
On “Higher”, Em declares “Damn ‘How proud of
me I am’.” And then again, he talks about inflated
expectations, when everyone, including fans, de-
mands something from Eminem, something they
want. But he has already done it.
“Higher” is like an ode to Eminem’s fame, or
rather, a story about how life is after fame comes.
However, soon on “Zeus” Em raps how the pride
he takes in success turns into the uncertainty
about the future. On “Higher”, Marshall uses the
metaphor of “an overcrowded hospital waiting
room” to describe the inflated expectations of
his new releases from fans and critics, and at the
same time compares his dedication and loyalty to
the rap game to this “waiting room”.
Reminds me of how an overcrowded hospital
waiting room’ll get / What I mean is maybe I have
more patience (patients) than I’m able to admit
Of many songs where he touched the topic of
high expectations, the most striking example is
my favourite “Walk On Water” from the album
“Revival”. But on “Higher” Em emphasises that he
is grateful for his fame, for being able to get out of
poverty. Yet despite the wealth and fame, he is still
the same person who rose from nothing.
Marshall is immensely grateful to music and rap,
and on “Higher” he raps that it was music that
saved his life and that he doesn’t know how to
do anything but wielding a pen, a notebook and
a mic. His love of music taught him how to defeat
any enemy with ink and rhyme.
 THE DARK
HORSE
Eminem is the real black horse of rap (he says just
that on the second verse of “Gnat”), perhaps one of
the most recognised and successful rap artists of
our time. Coming back with the new CD “Side B”,
recorded in a playful and roguish style, with black
humour undertones and in sometimes old school
sound, Marshall once again emphasised the inten-
tion he had made clear on the first part of MTBMB
-—he is not going to back down.

On Side B, he clearly shows that there are no top-

ics, personalities or events that are off-limit for
him. He can rhyme about everything.

Wait a minute, bitch, let me lie here (Uh)

20/20 hindsight in my side mirror
Every year, you drop the ball like Times Square

When Em raps about the disaster that 2020 was,

he looks back at the rappers trying to take his
throne and see that they are on a par with that
year’s misery and failures. The least success en-
joyed by Eminem’s album is still unattainable for
the majority of artists. And all the spiteful noise
about Eminem’s “irrelevance” or that “no one
listens to him anymore” simply turns into nothing
when it comes to Marshall’s new releases.

After the arrival of MTBMB Deluxe edition, the

record soared 196 positions on the Billboard 200,
breaking the record set by Bob Dylan in 1970. Bob Bitch, I’m number five
Dylan’s “Self Portrait” debuted at No. 200 in July
1970 and leapt up to No.7 on its second week. (What?) Minus four
For 50 years that was the biggest distance that an (Haha)Yeah, I’m a
album was able to travel up in one week. Now it is
exceeded by Eminem’s new album. (What?), I’m a (What?),
I’m a (Killer)... Yeah
While ill-wishers are trying to erase Eminem’s
achievements and legacy, disregard his classics and
rewrite the hip hop history, he once again returns
and reminds everyone...

Conscious madness goes on...

PERFECT COMBINATION
OF EM AND SLIM:
CONSCIOUS MADNESS
What distinguishes a winner from
a loser? The leader from the follow-
ers? Talent? Maybe. Luck? Sometimes.
Work ethic? Almost always. But there
is one feature inherent to all success-
ful people - the ability to get up and
move forward after failure, or in Mar-
shall’s case, after what many consider
failure.
Revival showed the world that Emi-
nem has matured and wants to share
his wisdom and life experience. Ka-
mikaze showed that he was not quite
ready to let go of his furious and ag-
gressive alter ego. MTBMB, in turn, is
an act of a leader, an act of a winner.
As R. Kipling said:
If you can bear to hear the truth you’ve
spoken / Twisted by knaves to make a
trap for fools, / Or watch the things you
gave your life to, broken,
And stoop and build’em up with worn-
out tools.
Em’s tools aren’t so worn out, and
once again he has revealed their
sharpness to everyone. The third
album in such a short period of time,
and not only does his pen never run
out of ink, it seems the ink is just get-
ting brighter with every new stroke.
Once again Eminem dives deep into
personal issues. This time, however, he
does not draw a line between his dif-
ferent shades of personality, this time
they are all bound together in synergy.
This, in my opinion, makes the album
interesting for a much broader audi-
ence.
Marshall talks about mass shootings
and the gun control problem, drug
addiction, personal family issues, and
other pertinent topics. The good old
Slim is present throughout the album.
Sometimes going over the top, pro-
voking people to pick up on some old
scandals. Somewhere along the lines,
he becomes today’s mature version of
himself. What unites all of the facets of
his amazing personality is the enor-
mous skill of a true lyricist and his
punching delivery.
Bringing together established and
emerging artists (the list of guests
on the album is impressive), Em has
molded a work of art with the potency
to change our perception and con-
sciousness, and of course, an undeni-
able potency to entertain. The cunning
Mr. Mathers does not intend to lose
ground, he not only remains relevant
but also ahead of the game, anticipat-
ing coming trends. He speaks in a lan-
guage of shock-value and suspense, as
always using irony, satire, sometimes
going too far, but always remaining
true to himself.
Eminem is an inner voice that I would
love to have and guide me. A voice that
can ask me inconvenient questions,
make taboo jokes, tell me a scary
story, and, in the end, make me think
about topics that usually I would try to
avoid.
And yes, even having such a voice, I
would still choose to listen to Emi-
nem’s new album, because taking
aside the social, political and psycho-
logical depths of his work, there’s still
damn good music to listen to, making
you laugh, with subtle and smart lyrics
from the master himself, accompanied
by impressive collaborations.
EMINEM’S
ALBUM REVIEW: BEWARE
IF YOU ARE STILL ALIVE!
I’ve known that something’s been cooking…
There’s a certain aura and quiet twinkling in the
sky at night when Shady’s locked up in his studio
working. Plus my left ear starts to fucking itch
before I go to sleep. And I dream about voices
whispering while rhyming at the same time in the
darkness… All this starts like maybe 1 to 2 weeks
before the album drops. So I was waiting… But,
hell, I wasn’t expecting a frag grenade album like
this. And I thought Kamikaze was a slaughter…
Alright, ain’t gonna keep you waiting, let’s get mur-
dered by music, and I’ll try to guide you through it
as best as I can.
PLAY THIS TUNE, IT’S YOUR
EULOGY, IT’S YOUR FUNERAL,
PREPARE TO DIE
Aaaggghhh… Those soothing sounds of a shovel
smashing… Now that’s something to put an end to
my left-ear itch!
Eminem is a lyrical warlord, an insane master-
mind-of-syllables maniac and an artist that treats
hip-hop’s technicality as one of the cornerstones of
the art and the MC’s most valuable quality. But he
also went through and continues to go through so
much shit that Eminem’s minute of agony probably
amounts to a whole life span of struggles of an av-
erage white male. He’s got some wisdom to share.
That’s why when you say that he’s got nothing to
say, you get this intro track in return:
They said I’m lyrically amazing / But I have nothing
to say / But then when I put out Revival and I had
something to say / They said that they hated, they
awake me / I lose the rage, I’m too tame / I get it
back, they say I’m too angry
...
Fans keep on pulling me one way / Haters pull me
in another / They said I’m just a whiner, I sound like
a baby / I dish it out but can’t take it / But I take
it, dish it back out / And they get all bent out of
shape / This shit’s almost comical
Marshall’s just painting his picture. He’s
welcoming you into a part of his world
with every album. If you don’t like
what you see, just get the fuck out.
He puts in so much into his lines
and delivers more quality with one
album than modern-day artists
deliver throughout their careers.
If you’re saying that Eminem has
nothing to say, then that just
means that lots of shit went
over your fucking head. Sorry,
I mean to offend. Sic.
Any Revival haters in the
house? I personally love the
album, as it’s quite personal
and reflective. If you don’t
like it, then you can shove
some medicine up your ass-
holes, and listen:
 I sell like four mill when I put out a bad album
Revival flopped, came back and I scared the crap out ‘em
But Rolling Stone stars, I get two and a half outta
Five, and I’ll laugh out loud
‘Cause that’s what they gave bad back in the day
Which actually made me not feel as bad now, ‘cause
If it happened to James
It can happen to Shady
And for anyone who thinks Shady ain’t as ill
as he was back in the day, here’s what I always
wanted to say in response but now I can just
quote it:
Instead of us being credited for longevity /
And being able to keep it up for this long at
this level, we / Get told we’ll never be what we
were / Bitch, if I was as half as good as I was /
I’m still twice as good as you’ll ever be / Only
way that you’re ahead of me’s alphabetically
Fuuuugghhhhh… This intro ain’t no longer
than a verse and we’ve slaughtered have the
population already. Feels like an alien inva-
sion. And what do they do after the first wave
hits? Right. Targeted extermination. Prepare
yourselves.
LET’S GO UN A CCOMMO
DATING
Yeah, that’s what we doing, Young M.A
Bet that’s what Marshall asked Young before
they went to record the song, haha. The song
is hella entertaining, I like the hook especially.
Look out, cause,
Here comes Saddam Hussein, Ayatollah Kho-
meini / Where’s Osama been? I been laden
lately / Look at how I’m behaving me, they
want me gone away / They wanna JonBenet
me (Fuck you), I’m unaccommodating
After I write this article I wanna go on some
ccommodating myself actually. Ahahaha.. Egh,
well, All jokes aside, I also found some lyrical
gems here as well.
I’m moving on but you know your scruples are
gone when you’re born with Lucifer’s horns
/ And you’re from the school of Notorious, /
Puba, Cube and The Poor Righteous Teachers
tutored my students / Showed them all the
blueprint and formula / But it seems like the
more they studied my music, the more they re-
mind me of eyeballs / I’m watching my pupils
get cornier
That’s right. We’re all watching Marshall’s pu-
pils as they get cornier. You never get enough
of these multidimensional punchlines. And as
for the pupils, get back to the drawing board,
motherfuckers! Start taking some notes or
something!
This is fucking Marshall, so
For you to go against me, it’s simply insane,
you will die / That’s why they call me Kami-
kaze, it’s plain suicide
I ain’t on a plane right now, so I ain’t worried,
how bout you? Damn, I just love devouring his
lyrics.
PRAY YOU SEE TOMORROW
LIL’ BOY, YOU GON’ LEARN
Marshall’s lyrics are like a very concentrated
liquid solution. Concentrated with multisyl-
labic rhymes, complex punchlines, but also
meaningful storytelling. This song is very con-
centrated with that last component. Royce 5’9
also adds meaningful substance to this compo-
sition. So it’s like a premium blend of Bad and
Evil on the track.
Eminem goes on telling his story from child-
hood to present day and ends on a high note
describing his current position in the game:
I’m a God to you, y’all better worship the water
/ I walk on / Or y’all gonna meet your Wa-
terloo / I get to flippin’ the mic’ as a murder
weapon / I’m poppin’ an extra clip, then cock
and shoot, then I’m popping / Do not let me
catch you slippin’ / I will pop up and I’ll take a
spot from you / I’ll get to doing what a leaky
faucet do / But I ain’t talkin’ drip when I say
that I’ll get the drop on you / Singin’ fuck all
of you in Autotune / I am too volatile and too
grizzly to bear / Yeah, shit is gettin’ to where I
can barely even sit in a chair / I bust my ass for
this shit and I swear / It ain’t even worth diss-
ing someone so offbeat / That they can’t even
figure out where their words / Should hit the
kick and the snare
Those last couple of lines I fucking loved. I just
hope that those Lil boys gon’ hear and gon’
learn.
HOW DO YOU DO,
LADIES AND GENTLEMEN?
Why wasn’t Alfred Hitchcock mentioned as
a guest artist on the album? I bet it would
score us some fans of the ill-famed filmmaker.
Anyhow, his presence just adds to the overall
nervewracking atmosphere. The beats on the
album are out of this world and a couple of
my friends even told me they remind them of
the golden era of Eminem Show. I guess this
is to do with a certain doctor at work. Alfred
Hitchcock certainly adds an indelible touch
and serves well as Shady’s new skit character. I
admit he’s a lot different from Ken Kanniff and
way more moody, but the horrorcore seems to
be more amusing than frightening.
THIS BEAT’S TAKIN’ “THIS COULD NEVER WORK,”
ME BACK TO MY IS WHAT WE SAID AT FIRST
D12 DAYS Eminem goes into relationship issues once again
on this track. This time it’s from a different per-
Sometimes you feel like you know so much about
spective than Recovery’s “Love the Way You Lie”
Marshall, all you can hear is the same story told
though. There’s no such thing as pure black and
using different wording and a whole package
white in this world. This applies to unfaithful-
of new punchlines and metaphors. But on this
ness as well. Marshall tries to portray how people
album, I feel like I’ve found so many new and
could be stuck in a relationship that’s not going
interesting details from his past. “Those Kinda
anywhere, and how having something on the side
Nights” is a tribute to his whiling out days with
could have more true love than anything.
D12 when they would go to clubs after shows to
pick up girls. But it ain’t just some trashy song. As
You’re laying there with him, thinking ‘bout me /
always Eminem goes humorous, sarcastic, witty
He’s asleep, you say, “Let’s meet around three” /
and wordy about telling the story.
You went to leave the house, he caught you sneak-
ing out, now he’s freaking out / You thought he
This beat keeps takin’ me back like my ex does
was sleepin’ soundly, woah / You say you’re going
/ Only ‘cause how good the sex was / Hit up the
for a drive, you don’t question him / When he
next club, met Alexa / But she was so extra, called
stumbles in, like, “Where the fuck you’ve been?”
her etcetera / Had her like “Oh, my God, my whole
/ Then you pump his ear with what he wants to
inbox filled with your songs, I mow my lawn to
hear / Tell him you love him, yeah, wipe each
‘em” / I said “Oh, my God, you know my songs,
other’s tears / But it’s been a couple years since
that’s totally awesome, I’m Marshall, what’s goin’
we been doin’ dirt / You or my girl, don’t wanna
on?” (Haha) / Seriously though, jokes aside, how
see either of you get hurt / But now the lines are
you doin’? You straight? / She said “No, I’m bi” /
getting super blurred / Can’t tell if I’m cheating
She said “Are you drunk?”, I said “No, I’m high” /
on her with you or cheating on you with her / But
I’m checkin’ out the chick, she said “So am I”
really, nobody’s at fault, can’t help who you love
I just go into hysterical laughter when I hear this.
And I love how he plays with Long John Silver in
The way he writes and the way he performs it
this part. Lyrical gems:
as he spits through the mic. This is like poetry
in motion at its finest. And it’s the best piece of
We’re laying here with them, thinking ‘bout us /
comical entertainment. Damn, I would suggest
‘Cause now when we get home, we get jealous /
Marshall going into comedy after he’s done with
Of each other being someone else’s / Call us Long
his rap career.
John Silver’s ‘cause we selfish
And in this album, for some particular reason
Is it “sell fish” or “cell fish”? Sometimes I can’t
[sic], the best is always left for last in the songs:
even tell anymore what’s intentional and what’s
not in his rhymes.
Roll up the car windows / Monte Carlo in park,
bumpin’ Bizarre’s demo / Gettin head in the
bucket, marshmello / Yeah, I never in the club FROM RAP GOD TO GODZILLA
met a woman worth knowin’ / But if your ho’in /
Opposite attract, / I’m someone, you’re a no one / Eminem’s stomping on civilians in this track,
I’m high and your bi / I’m comin’, you’re goin not just lyrically, but with fire-blazing fast killer
wordplay that surpasses Rap God’s performance
I ain’t even gonna go into details about what’s and sets another world record. I almost pictured
going on here lyrically. This is syllable-genius Godzilla from the 1998 film while listening to this
slaughtering of beats without wasting a word at massacre.
its finest. If you need some deeper explanation,
go dig up some dirt on Genius.
 Trigger happy, pack heat, but it’s black ink / Evil
half of the Bad Meets Evil, that means take a
back seat / Take it back to Fat Petes with a maxi,
single / Look at my rap sheets, what attracts
these people / Is my gangster, bitch, like Apache
with a catchy jingle / I stack chips, you barely got
a half-eaten Cheeto / Fill ‘em with the venom and
eliminate ‘em / Other words, I Minute Maid ‘em
/ I don’t want to hurt ‘em, but I did ‘em in a fit
of rage / I’m murderin’ again, nobody will evade
him / Finna kill ‘em and dump all the fuckin’
bodies in the lake / Obliterating everything, in-
cinerate and renegade ‘em / And I make anybody
who want it with the pen afraid / But don’t
nobody want it, but they’re gonna get it anyway
/ ‘Cause I’m beginnin’ to feel like I’m mentally ill
/ I’m Atilla, kill or be killed, I’m a killer, be the va-
nilla gorilla / You’re bringin’ the killer within me
out of me / You don’t want to be the enemy of the
demon who went in me / Or being the recievin’
enemy, what stupidity it’d be / Every bit of me is
the epitome of a spitter / When I’m in the vicin-
ity, motherfucker, you better duck / Or you finna
be dead the minute you run into me / A hundred
percent of you is a fifth of a percent of me / I’m
‘bout to fuckin’ finish you bitch, I’m unfadable /
You wanna battle, / I’m available, I’m blowin’ up
like an inflatable / I’m undebatable, I’m unavoid-
able, I’m unevadable / I’m on the toilet bowl, I
got a trailer full / Of money and I’m paid in full
/ I’m not afraid to pull the— / Man, stop / Look
what I’m plannin’, haha

Deeammmnnn boy, please don’t stop. Don’t be

afraid to pull whatever yous was gonna pull…
Shiiiitttt ...
I DON’T WANNA BE ALONE IN
THE DARKNESS
Here I am, alone again / Can’t get out of this
hole I’m in / It’s like the walls are closin’ in /
You can’t help me, no one can / I can feel these
curtains closin’ / I go to open ‘em / But some-
thing pulls ‘em closed again
This will probably be my favorite song off the
album. It’s personal like it was left off Revival
and impersonal, speaking on touching issues
of society. Comparing one experience and
emotions with another. All bound together in
the darkness. It’s a perfect cocktail. A venom-
ous cocktail contained with pain and rage and
desperation.
I would argue that this song is a new version
of Stan, except instead of two people commu-
nicating by facsimile, it’s two people commu-
nicating within one single experience of going
through pain. The Vegas shooter and Eminem
are one and he tries to crawl into his skin and
understand his emotion through this song.
I keep pacin’ this room valium / Then chase it
with booze, one little taste it’ll do / Maybe I’ll
take it and snooze, then tear up the stage in
a few / Fuck the Colt 45, I’ma need somethin’
stronger / If I pop any caps, it better be off of
vodka / Round after round after round, I’m
gettin’ loaded / That’s a lot of shots, huh?
Eminem’s getting loaded with booze, preparing
for a show, while the Vegas shooter is getting
loaded with his ammo. A true poet at work
here. I was perplexed as I was listening…
That’s when you know you’re schizo / (Hello
darkness, my old friend) / ‘Cause I keep peakin’
out the curtain from the hotel / The music is
so loud, but it’s almost as though / I don’t hear
no sound, I should get ready for the show now
/ Wait is this the whole crowd? I thought this
shit was sold out / (Hello darkness, my old
friend) / But it’s only the opening act, it’s early,
don’t overreact / Then something told me relax
and just hope for the show to be packed / Don’t
wanna hit the stage before they fill each row to
the max / ‘Cause that’d be totally wacked, you
can’t murder a show nobody’s at / But what if
nobody shows? / Panic mode ‘bout to snap and
go motherfuckin’ wacko at any second / ‘Bout
to cancel the show, just as fans below rush the
entrance
I love this part. It shows to us that Eminem is a
person, just like anyone of us, and he’s nervous
before a show. He’s afraid he won’t get that
same reaction from a crowd. He’s afraid that
he’s fading out. He’s an artist and he always
wants to perform the best he can. Give it all out
on the stage. Murder a show. But how can you
murder a show nobody’s at? It’s almost unbe-
lievable that an artist of his caliber would be
going through such thoughts. But this is true.
This is the true Marshall.
Plan is a go to wreck shit, cameras in all
directions / The press is about to go ape shit
bananas on all the networks / Commando with
extra clips, I got ammo for all the hecklers /
I’m armed to the teeth, another valium fall off
the bed / Fall off the bed, hit the ground and
crawl to the dresser / Alcohol on my breath as
/ I reach for the scope / I’m blackin’ out, I’m all
out of meds / With them benzodiazepines gone
/ Now it’s just magazines sprawled out on the
floor / Fuck the media, I’m goin’ all out, this is
war / (Hello darkness, my old friend)
These are the last hours before the show and
before the shooting. Tension’s beginning to
spiral. Eminem continues getting loaded with
meds and alcohol while the Vegas shooter
reaches for his scope. Fuck the media, they’re
going all out, this is war!
With People start to show up, time to start the
show up / It’s 10:05 PM and the curtain starts
to go up / And I’m already sweatin’ but I’m
locked and loaded / For rapid fire spittin’ for
all the concert-goers / Scopes for sniper vision,
surprise from out of nowhere / As I slide the
clip in from inside the hotel / Leanin’ out the
window, going Kaiser Sosay / Finger on the
trigger, but I’m a licensed owner / With no
prior convictions, so loss, the sky’s the limit /
So my supplies infinite, strapped like I’m a sol-
dier / Got ‘em hopping over walls and climbing
fences / Some of them John Travolta, staying
alive by inches / Cops are knockin’, oh, fuck,
thought I blocked the entrance
Here we see Eminem firing at his show with
firearms from small to large caliber, assault to
sniper rifles to heavy machine guns, you can
almost see him jumping on stage and spewing
fire from his mouth through the microphone.
He’s killin but some of them John Travolta,
staying alive by inches, while the Vegas shooter
finishes them all off and leaves a scene of
bloody massacre.
And after it’s all said and done…
Fing Guess show time is over no suicide note
/ Just a note for target distance / But if you’d
like to know the reason why I did this / You’ll
never find a motive, truth is I have no idea / I
am just as stumped, no signs of mental illness
/ Just tryin’ to show ya the reason why we’re
so fucked / ‘Cause by the time it’s over, won’t
make the slightest difference / (Hello darkness,
my old friend)
Nobody knows our true motives but ourselves.
But sometimes even we struggle to figure it
out. The true motives of the Vegas shooter
are gone with him to the grave. But I think
this song gives you a bright picture of what he
might have been going through.
I don’t wanna be alone in the darkness /
I don’t wanna be alone in the darkness any-
more…
NO COMING BACK FROM
WHERE I’M GOING…
DIG WITH THE BLADE UP
This is my second favorite track. Naghh. It ain’t
even second. They go in line. And it’s hard to
put in words what emotions you are filled with
while you’re listening, but I’ll try. This one’s
another golden gem.
Call me the Grim Reaper, sleep is my cousin /
You dead to me now and I’ma be the last face
you see / ‘Fore you die cussin’
At first, you don’t know who he’s talking to, but
that’s the beauty of it all.
Like around six thousand times since I was a
kid / As a child, picked on, clowned / Count-
less times I’ve been outed / Gotta remind
myself of it every now and then (Yeah) / So
the route I went’s self-empowerment / In a
hole, taught myself how to get out of it / And
balance it with talents, wit / ‘Cause life is like
a penny / (Life is like a penny) / ‘Cause it’s
only one percent / Who overcome the shit /
They’ve underwent
You would think he told this story over and
over again throughout his career, but this time
he is not telling it to you.
Okay, so while Macklemore was keeping his
room nice and neat (Yeah) / I was getting my
ass beat twice a week (What?) / Looking for a
place for the night where I could sleep
Flippin’ sofa cushions over just tryin’ to see /
If I could find some change and scrape up for
a bite to eat / If Denaun and me find a couple
dimes a piece / Twenty five cents each’d get us
a bag of chips / We’d be glad to get that even
we if we had to split / We’d do backward flips,
looking back at it / I think that would fit with
the definition of not having shit
The way he tells the story is so vivid, you
almost feel like you’re reliving it together with
him. This only happens when you are deal-
ing with a true artist. Like Rakim once told in
an interview, he grew up listening to Jazz and
Blues music, and a lot of didn’t have no words,
but you could feel and see it. You could smell
the grass, you could imagine a silent night or
the loud neighbors across the street, or your
mom’s best dish cooking on the stove. Rakim
would then say that his motivation would be to
create the same experience using words. This
is what we see in this song.
Should I feel upset? You were dead to me ‘fore
you died / Me? Tear no shed / Should I have
made a mural at your funeral? / Had your cof-
fin draped with a hero’s flag? / Where the fuck
you were at / When De’Angelo done hurt me
real bad at the Rio Grande? / Never met your
grandkids, fucking coward / Only gut you had
was from your stomach fat / I couldn’t see your
ass gonna Heaven / So I’m asking for a pass
to go to Hell / So I can whip your fucking ass /
I hate that I’ll never get to say “I hate you” to
your face / No coming back from where I’m go-
ing / Sky is dark, my soul is black, hand on the
shovel / Dig with the blade up, and then I step
on the metal / Vendetta to settle, tell the Devil
/ I’m leaving Heaven Yeah…
Now you see why he was painting it so vivid.
This whole storytelling is meant for his father.
This is Marshall finally saying all he wanted to
say. This is him finally letting it out fully. And
this is him letting it go:
You know, I should dig your motherfucking ass
up / Just to spit in your fucking face / Holding
my baby pictures up like you’re proud of me /
Fuck you, bitch / You know what? Maybe if I
had had you / I wouldn’t have went through
half the shit I went through, so I blame you /
Or maybe I should say, “Thank you” / ‘Cause I
wouldn’t have been me / So I’ma let it go now,
rest in peace / Cocksucker / See you in Hell.
FINAL KILLSHOT AT
THE GRAVE
We can see Marshall putting the last nail in
the coffin for a lot of characters throughout
the album. Here’s what I most liked about the
entertaining “Yah Yah” track:

I’m a sight to see, but you can see from the

ring / I’m wearing / Me and this game, we got
married already / Had the prenup ready, fuck,
all that’s ever seen her belly / She barely was
three months pregnant / Bitch had to give me
a baby, we named it Machine Gun Kelly

And as you could see from MGK’s pathetic

reaction to these lines on social media, they
hurt pretty bad. Now, Machine Gun Kelly is no
longer named after a murderous gangster. He’s
named after a premature birth-giving act: as
soon as he sprayed fast outta mom’s belly, they
called him Machine Gun Kelly.

MY NAME IS MARSH AND,

I’M OUT THIS WORLD
Sorry, it’s getting fucking late and I’ve still
haven’t gone on some ccommodating, so Ima
skip some tracks and try to end this on a high
note. I leaving some space for you to do some
grave digging of your own. Let’s move on,
cause

My name is Marsh and, I’m out this world (This

world) / S on my chest (Superman) like it’s
plural (It’s lit) / Call me extra, extra terrestrial
/ Extra, extra, extra terrestrial

I fucking love this chorus. :) Put it on repeat. :)

Daaaeeemnnn… where should I start?

My girl’s cheatin’, I’m kickin’ that fuckin’ bitch

to the curb / But the word “fuckin’” ain’t meant
to be a descriptive word / The type of bitch she
is ain’t no adjective, it’s a verb / Ho thinks her
snatch is magical but that’s how she attracts
men / And who traps ‘em and attack similar
to an actual arachnid / Or a vaginal tarantula
or black widow / In fact it’ll be nothing to
throw that lil’ Bitch / With a capital B at the
back window out the black Cadillac limo like
a whack demo / When I’m strapped, when I
spit rapid, like a ratchet / I have wit, Been fire
bitch, I can’t outrap Reynolds

There aint a fucking descriptive word of how

he’s masterful with these slurs. This portion
shows exactly how he’s good with alliteration
and consonance. It makes his wordplay seem
like he’s juggling 50 objects at the same time
when you hear him spit.
This whole track reminds me of the Relapse Sometimes you just flying too low for Shady’s
album… This is Slim Shady in his purest form: radar. Yeah, and these words are not just the
final nail in a coffin, this is the final stone to
Checked in at the Royal Garden / To chill and Marshall’s Necropolis.
avoid my problems / Until paranoia caused
me to feel like I’m going bonkers / For real,
think my toilet’s talkin’ / I spilled like, like forty
THIS CONCLUDES OUR
bottles of pills / Think your boy is startin’ to DANSE MACABRE
feel like a spoiled carton of milk … / A pad and
pen’ll be great, but a napkin’ll do / Return of Final words. The album is a work of art, its po-
the whack sicko / Head spinnin’ like Invisibl etry in motion, and it’s written, composed and
Skratch Piklz / Yeah, Shady’s back, see the bat presented in such a way that you can almost
signal / It’s time to go bat shit, like you acci- mistake it for prose. I was just as fascinated
dentally ate a Louisville slugger and crapped it listening to Music to Be Murdered By as I am
/ I’d like to introduce myself / Hi there, bitch... when I’m reading a 600-page novel. It’s that
much dense with content. Fuck all of you who
FROM NO APOLOGIES TO think that reading develops more intelligence
than listening to music. The medium of telling
NO REGRETS: NOTHING’S stories has been evolving throughout history.
CHANGED From our ancestors telling tales while sitting
and glancing at the fire to Shakespeare’s trag-
edies like Hamlet and Othello, to motion pic-
This reminds me of that track from “The
tures plunging us into a whirlwind of emotions
Re-Up” album called No Apologies. It was my
when we see the actors perform on screen.
favorite track off that album, and this just takes
me back to the good old days and the not so
Eminem has become the medium of overcom-
good old days for Shady.
ing struggle against all odds and of the eternal
fight for your dreams and beliefs. In Music to
Yeah, they miss the old me / I think they want
Be Murdered By we see the incarnation of a
me to OD on codeine / They want my life in tur-
murderous MC, ripping and tearing apart his
moil like in ‘03 / They want front row seats, I
adversaries in healthy competition. For that is
give ‘em nosebleeds / They want me imploding,
forever been the essence of Hip-Hop - competi-
exploding, self-loathing, eroding / I’m scream-
tion. Whether it’s through freestyle battling, or
ing at ‘em with no regrets and I’m hulking /
just constantly retaining the throne at the top
I’m rippin’ out of my clothing / I had to go see
of the game.
the doc like Kool Moe Dee (Yeah) / Never took
much to convince Dre / Never been swayed by
This concludes our danse macabre / Portions
color or skin shades / Since day one, Hellraiser
of the proceeding were recorded / As for the
with twin blades of a sensei / Givin’ up, no
rest of it, I’m very much afraid it was all in
comprende (Woo) / Tin brain, prolly fucked
your mind / I don’t intend to indulge in any
in the membrane / Slim Sha- minds of a God, I
post-mortem / If you haven’t been murdered,
been insane
I can only say / Better luck next time / If you
have been, goodnight wherever you are.
Yeah the rage and the hate, and the vengeful
emotion always makes a powerful song. That’s
If this won’t get the best hip-hop album of the
why we love vintage shady so much. But I love
year, I see no future for modern hip-hop.
the new Shady as well. He did not get old, he
And yeah, beware if you are still alive, cause I
just evolved.
bet there’s more music to be murdered by.
They talk about my daughters hopin’ I fly off of
the handle / ‘Cause my first thought is to tram-
ple and write a thousand bars / But sometimes
it’s like dropping’ an anvil on a house of cards

“
/ Or Godzilla squashin’ a crouton with combat
boots on / Or droppin’ a goddamn nuke bomb
on top of an ant hill / (I’m screamin’ out no BETTER LUCK NEXT
regrets) Can’t do it, nah
TIME, GOODNIGHT
WHEREVER YOU ARE
 CREDITS:
EDITOR-IN-CHIEF
Igor Basenko

EXECUTIVE EDITORS
NK
Kirill Bursov
Alexey Zakharenkov
Katerina Malik

COVER & ISSUE DESIGN

Igor Basenko
Olga Olegovna

SPECIAL THANKS TO
Marshall Mathers
Alla Yusupova
A.K.
Universal Music Group
Shady Records
Mike Saputo
ARTICLES
SIDE B: Igor Basenko (p.:
6-32)
SIDE A: Katerina Malik (p.:
36-37), Alexey Zakharenkov
(p.: 38-48)

PHOTOS
Danny Clinch: MTBMB Album
Shot (p.: 1, 3-4, 11-23, 31, 33,
35, 38-39 42-45, 48-49)
Jeremy Deputat: Eminem Abu
Dabi Live Shot (p.: 5)
Jeremy Deputat: Godzilla
Photoshot (p.: 24-29)

YOUTUBE SPONSORS
Jeremey R
Stephanie Bohan Ugalde
Krystal Robbins
Abdulaziz Al-Farhoud
Craig Diodati
Jenna Nadebaum
TipToe
CLT Girl82
thykathnasnika

@epronews

@Eminem_Pro

@eminem.pro

@eproteam

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