#Why did everyone hate the slim shady lp

[lascldollars]

Why did everyone hate the slim shady lp

Scream, shout it out loud now, "FUCK YOU SLIM!"Ĭause my voice sounds wack when its done by him Ken Kaniff kid, got you screaming who's realĨ mile then, and now you live in BluefieldĪnother diss song that will rip your asshole You're a bitch with no clip in your gun, you ain't a felon What you? Cause then you know what I'm telling I saw you holding hands the other night with Dr. I shouldn't talk about your boyfriend like that, Slim Proof's getting jealous, so he signed to MaverickĪnd Timberlake too, now that Britney passed it Guess who's back, guess who's back, guess who's backĪ-tisket a-tasket, man I get my ass lickedīy little Slim baby, he's obsessed with f****ts One blonde-haired rapper likes it inside, likes it inside, likes it inside, yeeeaaaah One blonde-haired rapper likes it inside, likes it inside, likes it inside "Without You" - The Ken Kaniff Show - (Parodies "Without Me") Ĭause, I'm not saying it about Dre, you know what I mean, Eminem whatever "Ken Kaniff" - The Marshall Mathers LP " Curtains Close" - The Eminem Show - (Parodies "Without Me") Ken: You want me to fuckin' melt in your mouth and not in your hand? Melt in your ass, ya little cockboy? Ken: Yeah, you want me to lick your ass, Eminem? Ken: Ken Kaniff from Connecticut, little bitch. Ken: Ken Kaniff, from Connecticut (automated piece of shit). Operator: At the tone, please state your name. Give 'em a piece of my mind a piece of my ass. You can help Eminem Wiki by expanding it. This article has not been contracted with Shady Records. He is also on Twitter, and he is followed by Jonah Hill. In 2002, he got his own album, The Ken Kaniff Show, where it is confirmed that he is in fact, a pedophile. Outside of his roles within Eminem's skits and songs, he was given a place as one of the major characters on The Slim Shady Show, where he is portrayed as a skinny red-haired Caucasian in reality he is a dirty blond with a mustache that works for Krohn Media. Ken can later be heard on The Marshall Mathers LP 2 singing a parody of "Berzerk" in a bathroom at the end of "Wicked Ways" on the deluxe version and the end of "Evil Twin" on the standard edition album. He apparently accompanies his freestyle with a tap dance. On Relapse, he is also presented on the outro of the album in a skit at the end of the song "Underground," where he once again parodies songs from the album ( Relapse + Relapse: Refill songs "My Mom" and "We Made You") in a session of people struggling with some kind of dependency. On The Eminem Show, the character appears in a skit called "Curtains Close", where he steps up to an empty stage with no audience and parodies the intro of the song, "Without Me" in the microphone, changing the words to sound homosexual. He appears on the song, "Criminal," saying "amen" when Eminem tells him to give him an "amen". On The Slim Shady LP, Ken has his own skit in which he calls Eminem and proposes to him multiple gay practices in a hotel room on which Eminem just laughs and also Eminem mentions rapper Cage (with whom he had beef at the time) when he asks Ken, "Yo, who is this, Cage?" On Madd Rapper's album, "Tell 'Em Why U Madd" in 1999, he appears in intro of the 9th track of album, "Stir Crazy." He returns on The Marshall Mathers LP, once again in a skit named after him, where he receives fellatio by Shaggy and Jay - this skit is the, therefore, diss against the group, Insane Clown Posse. Ken is portrayed as having an expansive imagination coupled alongside a distinctly psychopathic mind state which rationalizes both pedophilia and an irrational hate for minor authority figures. The character, as he appears on The Marshall Mathers LP, has since been voiced exclusively by Eminem, while Aristotle's original version of Ken still exists as a bisexual, adult male still attending high school. However, a dispute between him and Eminem resulted in both artists severing ties. He was originally made and voiced by Aristotle on the skit "Ken Kaniff" on The Slim Shady LP. Ken Kaniff aka Ken Kenneth (Tony Maloney Rose) is a recurring character in skits and, initially, songs on Eminem's albums. You can help Eminem Wiki by organizing itĬriminal Charges: Child Molestation, Sexual Abuse Martial Status: Unknown (Most Likely Single) Children: 1 (Adopted & Fostered) Gender: Male

[joshuazev]

On an interview with Marshall Mathers:

JCY:  How’s it going, sir?

MM:  Sir?  It’s gonna be that type of interview?  

JCY:  I don’t even know, man.  Do I call you Marshall?  Do I call you Mr. Mathers?  Em?

MM:  You my mom?

JCY:  No.

MM:  You my teacher?

JCY:  No.

MM:  So call me Em.

JCY:  Ok.  Em.  One of the most popular discussions across urban male America is who are the greatest rappers of all time.  It usually consists of 2Pac, Biggie, Jay-Z, and you and in no particular order.  Many have argued that you might be the best.  How does that make you feel?

MM:  It’s an honor.  Those guys.  Those are legends.  They inspired me to be better and, you know, their work challenged me to be included in those conversations because I wanted to be the best.  

JCY:  Is “8 Mile” a pretty accurate representation of your beginnings or is it mostly a fictional account of your start?

MM:  There are similar aspects.  A lot of it was fictional, but it was definitely inspired by my life.  I worked closely with Scott Silver to make sure he was on the right track.  

JCY:  Could you have imagined those freestyles featured in the movie that you wrote being so iconic?  That movie came out in 2002.  I’m pretty sure everyone knew the words to every battle, especially the final one within a couple weeks of its release.

MM:  It is pretty dope how something I did in a movie became so memorable.

JCY:  For that movie and the soundtrack it featured what most critics hail as the greatest song you ever wrote and maybe that rap has ever produced, “Lose Yourself.”  That’s very subjective obviously, but what do you think of the song?  

MM:  Me personally I don’t consider that the best song I’ve ever written.  I think it got so much attention because of its attachment to the movie and that was great.  I’m proud that it was successful, but to me that was like the most mainstream rap song I had ever done.  So it was the most popular, but the best rap song of all time?  Naw.  Of course not.  Like I said, it’s not even the best song I’ve ever done.  

JCY:  Your trajectory has always been pretty fascinating to me and I think you might be one of the most misunderstood rappers, if not public figures that’s been alive during my life.  

MM:  It’s been wild.  I’m definitely not a media darling.

JCY:  You’re definitely no stranger to the public eye.  For a long time you and your wife were across all the tabloids and maybe more so than any rapper your lyrics were under heavy scrutiny, constantly.

MM:  It was a lot, man.  You know, my ex-wife and I were adults and I was a famous rapper, so of course I’m gonna have a lot of shit going on and people following me, paparazzi, but after a while it got to be too much.  I had to protect my daughter, you know, because she was becoming a focal point when she didn’t need to be.  She wasn’t getting any privacy.  It took me a while to realize that my negative attention was jeopardizing her life.  

JCY:  Have you enjoyed being somewhat of a recluse these past several years?  It seems like you’ve been happy to step out of the spotlight and live your life away from music.

MM:  I have.  It’s nice to get a chance to breathe, you know?  

JCY:  The first song of yours I can remember singing along to was “The Real Slim Shady.”  I must have been nine years old and I definitely had the edited version of your song.  

MM:  It’s funny.  My album was doing well, but that edited single was selling a lot, too.    

JCY:  It took a long time to understand a lot of the stuff you were saying on that track.

MM:  Like what?

JCY:  The references.  “Jaws all on the floor like Pam and Tommy just burst in the door” or “So I can sit next to Carson Daly and Fred Durst/and hear em argue over who she gave head to first”.  It’s just filled with those popular culture references.

MM:  That song was pretty corny.  

JCY:  Hey, c’mon man.  That’s my childhood you’re callin’ corny!

MM:  Alright, alright.  I take it back.

JCY:  Besides your true fans who already know, do you think there will ever be a time where more people discover your first album “Infinite”?  

MM:  I don’t know.  This new generation is so caught up in the now there might not be a time where that happens.

JCY:  That would be a damn shame.  That album is a classic that not enough people know about.

MM:  It might be my favorite.

JCY:  Really?!

MM:  Yeah.  I hear the hunger.  The sanity.  The skill.  The struggle.  The more popular I got the harder it was to duplicate.  

JCY:  So, that’s when Dre discovered you?  

MM:  Dre discovered me later, after I had already done “Slim Shady LP.”  Jimmy Iovine connected me with Dre.  

JCY:  Damn, that’s crazy.  How did you go from “Infinite” to “Slim Shady LP.”  That’s like going from Tylenol to Valium.  

MM:  It was a lot of frustration.  Anger.  I got evicted from my house.  I was broke.  My mom suing me.  Taking care of my daughter by myself.  A lot of shit going on.

JCY:  Did it’s reception surprise you?  Both from a sales standpoint and audience perspective?  

MM:  Not really.  I knew it was gonna do well once it had Dre’s name on it, but when all the stupid shit came out about me taking another man’s style.  That pissed me off.  I was offended.  There is no worse sin in rap music than to steal another man’s way of rapping or steal another man’s words.  I haven’t been in the same vicinity as a ghostwriter.    

JCY:  Uh…Aubrey, you might want to stop reading.

MM:  No comment.  

JCY:  “Slim Shady LP” was in many ways the birth of your style.  Playful, crazy, layered, genius.  It seemed after that album came out no one was safe in your music.  

MM:  It was also the birth of many lawsuits.  

JCY:  Comes with a territory, right?

MM:  I guess so.

JCY:  I think too many people get caught up in your words, but don’t get lost enough in your imagery.  The stories you tell, the characters, the decisions they make.  They’re unbelievable.  The rapping ability is ridiculous.  

MM:  It took a lot of fucking up.  Any master of his craft works hard.  Works to exhaustion.  I could probably fill a couple hundred recycling trucks with all the papers I threw out.  And I also keep everything.  Even the stuff I kept, there are scribbles and shit all over the pages.  

JCY:  So you release that album, you endear yourself to millions, you offend a million others and then you go to an even darker place, “Marshall Mathers LP”, which to me is undoubtedly in the conversation of greatest rap albums of all time.

MM:  Dre deserves a lot of credit.  He used what he saw on the album before and we were able to make something unique.  But that’s also when it seemed like everyone had an problem with me.  Canada.  Feminists.  Lesbians.  Gay people.  I couldn’t say anything about anyone.  

JCY:  Certain keywords, man.  Not to many people at the time were dropping “Cunt” and “Faggot” so loosely.

MM:  Where I  grew up that wasn’t a bad thing to say.  They were thrown around all the time.  I didn’t have a problem with anyone.  I still don’t.

JCY:  Top to bottom “Marshall Mathers” is flawless.  I’m guessing you know the term “stan” comes from your song, right?

MM:  Crazy.

JCY:  Dude, you really said, “My words are like a dagger with a jagged edge/which will stab you in the head/whether you’re a fag or les/or homosex, hermaph, or trans-a-vest/pants or dress, hate fags? the answers yes.”  I get it, you offended entire groups of people, but if we’re gonna talk about the artistry, that wordplay is unbelievable.  I know you didn’t write those words thinking whether or not you’d be setting a good or bad example, but how does your mind come up with something like that?  

MM:  Sometimes you just let your mind loose.  Let it go where it needs to go.  I couldn’t censor myself or filter myself for anyone; that would limit me.  Words are weapons.  I had a lot of hate.  

JCY:  Do you think all the backlash you received was a good thing or, like you said, did it limit you?  

MM:  I think it just added more fuel.  Gave me more to work with.  

JCY:  Aight man, I don’t want to make the next stuff personal, but what happened after “Eminem Show”?

MM:  What do you mean?

JCY:  It seemed like you were someone else.    

MM:  I was still me.  The subject matter was just changing.  My daughter was growing up.  I was having trouble sleeping.  The pills were adding up.  

JCY:  OK.  I want to say this as respectably as possible, but my opinion is that after “Eminem Show” you became a bad rapper.  Your delivery, which was one of your staples, became one-note like you were yelling all the time and it became obnoxious.  Your content wasn’t as good.  The production wasn’t as good.  Across the board it just was a bad turn.  I know you had some addiction issues at the time and more family stuff and I’m not here to badmouth that part of your life, but all things considered, I just couldn’t listen to you anymore.

MM:  Have you ever listened to yourself recorded?  Like listened to your own voice?

JCY:  Yeah, I hate it.  

MM:  Me, too.  I’ve heard myself from the beginning and I’ve heard myself at the end.  I still hate my voice.  I’ve heard from people like you, so I know that’s out there.  

JCY:  It’s crazy though!  People still fuck with you tough.  You’re a legend.  No matter how bad you may or may not be nowadays, nobody would dare talk shit about you or disrespect you.  That’s amazing to me.  Like I said at the beginning, those other three guys I mentioned.  You all can do no wrong.  

MM:  We’ll see.  Nothing lasts forever.  

JCY:  Bro, since “Eminem Show” you dropped “Encore”, “Relapse”, “Recovery”, and “MMLP2.”  There is nothing good about any of those albums.  

MM:  As long as I have the respect of my peers...

JCY:  So your first three main albums are unparalleled.  I will forever be grateful for them and I know it’s hard for you to judge yourself, but do you think those albums alone should certify your place as one of the greatest of all time.  

MM:  I don’t know.  

JCY:  The crazy thing is I think they do.  I don’t know why and I always wonder if the second half of your career at some point will taint your legacy, but you gave us some of the best music ever made.    

MM:  I don’t like comparing myself to anyone, but you know Bob Dylan.  

JCY:  Of course.

MM:  Everything he did up to a certain point in the late 70’s seemed to be out of body.  You couldn’t ask him about it, he was just making magic.  He couldn’t explain it.  Now he’s not the same anymore.  

JCY:  Are you saying that’s what happened to you?

MM:  Naw.  I’m just talking about Bob Dylan.

JCY:  OK.  Em, it’s been a pleasure.  

MM:  Thank you.  

JCY:  Don’t hesitate to do an anniversary tour or two of your first albums.

MM:  I’ll have to talk to my team.  

JCY:  Let me know.

MM:  Yup.

[planetaviation-blog]

Eminem Discusses

Although Eminem continues to work on Shady Records, which he co-founded 18 years ago with his manager, Paul Rosenberg, he has been keeping away from the music industry since the release of his album in 2013,  The Marshall Mathers LP 2,  that is , until October, when "The Storm," his freestyle on Donald Trump, was shown at the BET Hip-Hop Awards and immediately viralized. Now, at 45, Eminem is gearing up to release his ninth studio album, The  Revival . Prior to that, he spoke on the telephone from his studio in Detroit with his longtime friend and sincere supporter Elton John. ELTON JOHN: Hi, Marshall. EMINEM:  How are you, b *** a? JOHN: I'm fine, you old bastard. Are you in Detroit? EMINEM:  Yes. JOHN: You must be very excited about the release of the new album. Tell me about it. EMINEM: I've been working on this for over a year. You know how it is - you make music, and as you do the new ones, the old ones get old and you throw them away. The album is called  Revival . It is a reflection of where I am at the moment, but I also feel that what I have tried to do is to diversify. I tried to do a little for everyone. JOHN: You're very good at collaborations. We met at Grammy's when you asked me to perform "Stan." It was an incredible event for me that I will never forget. EMINEM: I'll never forget - and I was stoned. JOHN: Were you stoned? EMINEM:  Oh, I'm sure I was stoned when we met. JOHN: I did not know. I was mesmerized by you and your performance; She made the hairs on the back of my arms stand up. It was like seeing Mick Jagger for the first time. I really had not been exposed to that kind of rap in a live performance before, and it was electrifying. And when that shit got thrown at you-about you being homophobic-I just thought, "I do not agree with that. It's absurd. "I had to defend myself and defend him. This Grammy performance was the beginning of a lovely friendship and I'm grateful for it. EMINEM: Likewise. It was a crazy moment for me. I do not know if I was really stoned when we met, but it was exactly the beginning of my addiction. JOHN: You've been sober for a long time now. EMINEM: Yes, nine years. JOHN: Your first day of sobriety is in my diary. I'm so proud of you. I'm 27 years sober, and when you get sober, you see things in a different way. This makes your life much more manageable. It seems to have made all the difference - I can see that when I talk to you. EMINEM:  Being sober made me grow. I feel as if every year that I've been using, I was not growing as a person. JOHN:  Me too. If I had to go through this to be where I am now, then I am very, very grateful. But I just can not believe I did some of this shit. Anyway, talk about your life now. Every artist nowadays is on Instagram or Facebook, is taking selfies, is in the tabloids all the time, but you are not like that. You live a fairly simple life. You're not such a public person. People think they know everything about you, but they really do not know anything about you. EMINEM:  I studied Dre a lot. I do not know if you call it a mantra or anything, but he believes that if you never walk away, it's hard for someone to miss you. And I realize that some people see me walking away, "Oh, he's irrelevant now," but I feel that if I do not get off the scene, I get tired of myself. It has never been my goal to be in the limelight all the time. JOHN: People think of you as an aggressive person because of how you are when you talk about rap, but about that, I think you're a pretty shy person. Let's go back to the beginning, for  The Slim Shady LP  . Who was his great influence at that moment? EMINEM:  It had to be Dre. I remember one of the first times I traveled to Los Angeles. I met Dre and Jimmy at Interscope, and I felt so ridiculous and so exaggerated that it was happening. When Dre came in, it was like an out-of-body experience. Nothing in my life had gone well for me, but he put me in the Oakwood apartments and paid my rent to record with him. There was a time when I stayed up writing for 48 hours without stopping and ended up rhyming until six in the morning. I wanted to be prepared for Dre because I thought, "If I'm not prepared for all aspects, that's just going to be it for me." JOHN: That validation and encouragement from him must have meant the world to you. It is so important for a young artist to feel this about someone. That stimulated you in that race, did not it? EMINEM: Absolutely. The first time in the studio, we did three or four songs in six hours and with whatever beat he put, I had to rhyme for it or write something right there. From that day on, he began to show me things I did not know that I could do with my voice. We did a song called "Role Model," and it was like, "Do not you want to grow up to be like me?" And he kept going, "No, do it again. Do it again. "So I would do it again and again until finally I was screaming, and he would say," Yes, there you are. That's it." JOHN: You two are still close, right? EMINEM: Yes. JOHN: You do not forget people like that. Sometimes it's fate - like when I met Bernie completely by accident. Going back to what you said earlier about the disappearance, it's like what Prince did. It's like what Springsteen or Dylan does. They never really disappear, people are always interested in what they do. EMINEM:  Absolutely. There are ups and downs, I did not have a perfect career. I've released some albums, looking back, I'm not very proud, but there are also many things that I'm very proud of. JOHN: That's just part of being an artist; You can not write great things all the time, because if you do, then you would be inhuman. The human side of people is that sometimes they fail. EMINEM: You're not going to hit it every time, which is why, when I record an album, I probably get close to 50 songs. Every song I record has to improve. If it is not better than the last song I did, it will usually take a few more months, and then it will be put in a booze, and then there will be another song I do, and then, often the album does not go. JOHN: I always tell people, "If you do not understand hip-hop, you just have to see this being recorded." When you're in the studio - and I saw you record, I've been watching Kanye West and A Tribe Called Quest - is a completely different game. I get upset when people offend, because I can absolutely see the musicality in that. Nowadays, when I listen to songs from hip-hop artists, I listen to the production. It's surprising how great the productions have become. EMINEM: With every song, all the elements have to work. First, the hit has to be excellent - you start there. You start with the music, and the ideas follow. Then you start thinking about rhymes, and then you record it, and sometimes - this happens to me a lot - it's not as good as it came into my head when I first wrote. JOHN: It's so frustrating when that happens. I hate that! EMINEM: Yes, because I get excited, and then I understand and I listen to it, and I'm like, "Oh my God, that sucks." JOHN: Do you listen to hip-hop today? EMINEM: I listen practically everything that appears. JOHN: Who do you think is doing great things right now? EMINEM: J. Cole. Travis Scott. Kendrick is great. My friend Royce's 5'9 "is amazing. Joyner Lucas is really good. Tech N9ne as well. JOHN: I love your things, too. Let's talk about "The Storm", which is an example of someone who actually leaves the couch and says something and spreads around the world. What you said was pretty much what most musicians, I suppose - besides some artists in the country - were probably thinking. You seemed to need to put that out. EMINEM: It's something I'm definitely very passionate about. If I'm not in love with it, I can not write. I can not pretend. JOHN: Let me ask, were you totally out of the cannon or did you write all that and memorize it? EMINEM: I wrote. The original idea was for me to go to the BET Awards and do it on stage. I went home that day and wrote it all, but at the last minute, the plans changed and we filmed in Detroit. JOHN: I think it worked better this way. EMINEM: One of the things we were trying to imitate was the cover of "You're Gonna Get Yours," Public Enemy. I do not know if anyone could see it, but this is the feeling of how we were following. My main concern was to try to convey the message and memorize all the words. I have a hard time memorizing things. I'm always in the process of writing a new song, so trying to learn a new one takes a while. JOHN: Were the people who were with you heard before you started filming? EMINEM: No, no one heard her. JOHN:  It had to be said. I've been to America since 1970, and it's like my second home, but I've never felt such a divided country. I did not think I would get to that point, and it breaks my heart. EMINEM: It was about having the right to face oppression. I mean, that's exactly what the people of the military and the people who have given their lives for this country are fighting so that everyone can have a voice and protest against injustice and speak against the shit that is wrong. We are not trying to disrespect the military, we are not trying to disrespect the flag, we are not trying to disrespect our country. But shit is happening that we want to make you know. We have a president who does not care about everyone in our country; he is not the president of all of us, he is the president of some of us. He knows what he's doing. JOHN: All he does is deliberate. EMINEM:  As long as he has his base, he does not care about anyone else in America. But guess what? There are more of us than there are of them. I still feel America is the best country to live in. That's my opinion. But we have problems that we need to work on and we need to do better. JOHN: I know you've done some festivals this year. Are you going on tour for this album next year? EMINEM:  I'm not sure. We usually do mini tours. JOHN: Do you like to travel? EMINEM:  It used to be difficult. Early in my career when I was more in sharp mode, I was doing two or three shows a day. It was difficult because you begin to feel that you have no life. That being said, I really enjoy doing the shows. JOHN: It's the trip that's the worst. And being away from home. EMINEM: Yes. This is also difficult. JOHN: What's the best advice you've ever had and who was it? EMINEM: I would have to say Dre again. In fact, he gave me some advice. When I first started with Aftermath, we had a lot of discussions about how I wanted to bring my D12 group and put them right away. Dre said, "You need to build your house before you can let your friends in," and that made a lot of sense to me. Going back in time, the wait was probably better because eventually we had Shady Records and we managed to sign them. He also used to say, "It can be in bad taste as long as it does not have bad taste." JOHN: I do not know Dre - I've met him once or twice - but he's a bit like Obi-Wan Kenobi, am I right? EMINEM: Yes! I also remembered some of the advice Rick Rubin gave me. We were talking about a song or something, and he said, "I really do not consider myself smart enough to know what everyone is going to think, so I just do what seems right to me." JOHN: Releasing a song is like giving birth to a child. And when people suggest something in that song that I may not agree with, like changing the chorus or putting the chorus somewhere else, I get so upset. But then I think about it, because it does not make sense to have another band member unless you listen to them. And it's so infuriating, but usually they're right, you know? EMINEM: Oh, it's definitely Paul. JOHN: Paul Rosenberg? EMINEM: Yes, my manager. He and I came to this during the creation of each album, and sometimes we're on the same page and sometimes we're not. However, he is generally right. It's hard when you've spent so much time writing and recording, putting on the vocals, getting the rhythm right, making everything look right - you've spent a crazy week trying to make it look perfect and someone comes and drops it. JOHN: You're so lucky to have someone like that. EMINEM: Absolutely - because, like I said, he usually ends up being right. When I played "Not Afraid" for the first time, he did not like it very much. So we had a conversation a few days later, and he was like, "Do you think this needs a bridge?" And I was like, "I knew you'd say that." JOHN: An excellent editor is the most valuable thing you can have as an artist because, as you said, sometimes you get too close to something. I think beyond your talent, that's why you have the career you have - because you have great people behind you. EMINEM: Absolutely. JOHN: When this album comes out, people will want to hear it. It is a tribute to his longevity as an artist, his intelligence, his musical luster and lyrical. I'm so glad you exist in the world, and I'm so proud of you. You've worked so hard on yourself, and no one deserves it more than you, Marshall, and I've loved you so much from the bottom of the line to the end, okay? EMINEM: Thank you, Elton. I love you too. 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