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sabspoetic · 2 months ago

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P. Diddy Scandal: celebrities trying to warn us.

There are so many theories I believe on lyrics that might be laughable for some of y’all, but I don’t care, I want to share them with you.

So, first of all, let’s start with Eminem’s song “Fuel” which came out a few months ago with his latest album “The Death of Slim Shady”.

“I’m like a R-A-P-E-R (yeah), Got so many S-As (S-As), S-As (huh), Wait, he didn’t just spell the word ‘Rapper’ and leave out a P, did he? (Yep),”

I believe that this is a reference to Sean ‘P. Diddy’ Combs, after he was charged with racketeering and sex trafficking. It makes sense, just look; Eminem cunningly morphs "essay" into "SA" an acronym frequently used online for sexual assault. Moreover, dropping a P from "rapper" gives you "raper". Also note that "P, did he? " resonates remarkably like "P. Diddy."

Now, I want to move on Justin Bieber. Since his complicated relationship with P. Diddy is really difficult and gut wrenching story, I won’t discus it here.

Everyone thought his song “Yummy” was innocent and all until now. The clip makes sense. So, the music video starts with Justin walking through some creepy hallways. He walks into a dining hall and first thing we see is a group of little kids playing instruments in front of the mic, but in the end we hear the high pitched sound that a mic makes when someone drags it and those kids are nowhere in sight. Throughout the video, we see grown, rich people eating with absolutely zero respect, if I can word it like this, and in the end of the video there’s also a plate with young Justin Bieber with the text ‘Yummy’ underneath, which, I believe, is a reference to older people in the industry using young Justin as their doll. In the video there’s also this one scene, where two women dressed in white dance next to him.

I, being my usual self, also caught on this little thing in his song “Baby”. When he’s singing “Baby, baby, baby oh” it could have been a reference to ��baby oil’ but that’s probably the stupidest thing you’ll ever hear, just me being delusional.

I want to talk about Kanye West as well. In his song “Famous” we see mannequins lying on the big white bed from Diddy’s White Parties, which suspiciously looks like Taylor Swift, Donald Trump, Kim Kardashian and some more. Kanye also said once "They tryna suppress me because they can't control me, they can control Shaq, they can control LeBron James, they can control Jay-Z and Beyonce. But they can't control me.

I don't care about who you are but l'm not taking advice from nobody except God, he's the only person I serve. My mum is not here, she was sacrificed, Michael Jordan, what about him? Dr Dre and his son,

In Hollywood, a lot of people come up missen and it feels like it might be a lot of that in order to control, traumatize. They first monetize you then traumatize you. But God loves me, they wanted to hit me too, first try to steal from me with Adidas...

And this truth is gonna be hurting, none of y'all MeekMill, none of y'all puffy none of these names, none of these people that had to listen to y'all, their dealings. I never kill nobody, I'm the person that never killed nobody and that means I can say whatever I want and not go to jail.”

People started calling him crazy for this, but he also said “I just tell the truth, and telling the truth is crazy in a world full of lies. That’s simply it.”

His interview, the one when he says “If I ever go missing and come back, it’s not me,” went viral. After that he took a seven week break and came back with a totally different face. You don’t just go missing and come back out of nowhere, suddenly looking different and dressing different. I don’t know about you, but I believe that the real Kanye is dead and that’s just a clone.

The next song I’m going to yap about is “She Knows” by J Cole, which has been banned for some reason on YouTube in USA.

The theory suggests that title of this song is a subtle nod to Beyonce’s last name "Knowles," and accuses the rapper of being complicit in alleged crimes involving Diddy and Jay-Z.

A specific part of the song is referencing the deaths of Aaliyah, Left Eye, and Michael Jackson in the first bridge:

"Only bad thing 'bout a star is they burn up. Rest in peace to Aaliyah, Rest in peace to Left Eye, Michael Jackson, I'll see ya, Just as soon as I die."

For those who don't know, these three are some of the people who knew about Diddy’s horrible doings.

Apparently, Diddy sent people out to kill them or he would just pay their doctors to give them the wrong medication to make them die because they knew too much about what he did. And pay attention to this line "I’ll see ya, Just as soon as I die". In my opinion, J Cole thinks he's gonna die next cuz he knows too much too…

There’s also a theory about Beyonce, that she would torture or something like that if another female artist would win a Grammy.

Many celebrities thanked Beyonce on stage, and doesn’t it look suspicious? And back then, Beyonce was more popular then Taylor Swift, and when Taylor won a Grammy Kayne West jumped on the stage and said Beyonce deserved it better, and he did it in order to save Taylor and it worked. Many people say it’s delusional, but just think for a second; why Beyonce and not any other artist? If any female artist thanked someone completely different, it’s Beyonce. Why? Why not someone other?

She has the most Grammys. Beyonce has thirty-fucking-two Grammys, do you know how much that is?!? The whole family together has 57 Grammys, because Jay-Z has 24 and their daughter Blue Ivy has one too for appearing in her mother’s music video!! If this is not crazy, y’all are crazy for sure.

There’s also a SIA’s old tweet that says: "Baby, everything your own nice cat eats. Kangaroo is dead, nowhere and purple penguins every day. My egg.” The first letters say ‘Beyonce kidnapped me’. However, I don’t know whether or not it’s fake, I won’t start proving this is real.

I can’t not say something about Michael Jackson’s last phone call. When he said “Not the government, it’s bigger than the government. They are a group of people,” that was what he meant.

Oh, and for the people who believe in the magic of numbers, P. Diddy, Beyonce and Jay-Z were born in 4th of something, and Aaliyah, Left Eye and MJ died at 25th of something.

I don’t know what y’all believe or not, but I do believe all of these.

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wonderfulworldofmichaelford · 5 months ago

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Michael Before Midnight: "Houdini" by Eminem

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Eminem is one of the most controversial rappers of all time, and this reputation isn’t entirely undeserved. I mean, the man has an entire song that’s just six straight minutes of him acting out violently murdering his ex. Uncontroversial artists do not make songs like that. But I think people do give him a lot of shit and really try to underplay his genuine talent too, mainly because of how a lot of his work just hasn’t aged great.

You have to understand the time and place Em rose out of. The 90s was all about being nasty and politically incorrect, and the rap scene reflected that. The rise of gangster rap had guys talking about how cool the thug life was, and there were all sorts of vulgar tunes being cranked out (“Pregnant Pussy” is from the 90s, if that tells you anything). As a white boy in a cutthroat industry where black men are the kings being taken under the wing of the man who produced “Fuck tha Police,” Marshall Mathers really wasn’t gonna do anything other than assimilate into the culture of the time to survive. And it worked; he’s pretty much the only white rapper besides maybe the Beastie Boys who has kept a long and generally well-liked career. He played by the rules, made sure to acknowledge his place, kept his ego in check outside his songs, collaborated with the right people, and boom! Rap has its token white boy.

But the edgy violent white boy schtick that made Slim Shady so funny and… “endearing” back in the day is not really something people like in 2024. Since the 90s, edgy white boys like the Slim character have shot up schools, sexually assaulted women and gotten away with it, openly supported fascism, and whined about queer people and black people being in Star Wars. No one fucking likes a Slim because they’ve been ruining our world for a while now, so this character who was once a beloved aspect of Em’s career just doesn’t sit right with the people of today. Add onto the fact that he’s a middle aged man, and he can’t just be doing the same crap all these years later without looking like the cringiest man alive, a rapping Elon Musk. With all that, and the fact his upcoming album is called The Death of Slim Shady, you’d think maybe he’d drop a single to showcase how he’s evolved over his career, how his sobriety and fatherhood have changed him, and how the Slim persona is well and truly in the past.

Instead he released “Houdini.”

For better or for worse, this is a return to that classic late 90s/early 2000s Slim style, with everything that implies. Get ready for lots of references, offensive jokes, and more, cuz I’m going line by line to talk about the content of Slim Shady’s final comeback. And while I am going to analyze some of the lamer and more questionable jokes, I want to make it clear that I understand the Slim character is satirical and whatever. I'm not fucking dumb, and I've been listening to Eminem for 24 years now. Being satire is not an excuse to be unfunny.

After an ominous skit where Em’s manager Paul Rosenberg tells him he’s own his own for this album, we have an intro to kick the song off:

Guess who’s back, back again? Shady’s back, tell a friend Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? Guess who’s back? (Da-da-da, da, da, da, da, da, da) (Da-da-da, da, da, da, da)

As should be obvious to anyone with a passing knowledge of Eminem, this is a reuse of the intro of his classic “Without Me.” This is a double-edged sword; on the one hand, it is a fun little callback to his earlier career and helps once more establish that he’s bringing it like he did back then. But on the other hand, you’re reminding the audience of one of your best songs right off off the bat, so if this one doesn’t live up to that, you’re in for a world of hurt.

Now’s also a good time to mention that the song heavily samples “Abracadabra” by the Steve Miller Band. From what I’ve gathered, a lot of people find that song unbelievably corny… but that’s why I love it. And I mean, the song’s called “Houdini,” so why not sample the massive smash hit song that’s named after the famous magic words? Again, for me at least, sampling a song I already love means you’re gonna have to really kick it into high gear to make me want to listen to yours over what you’re sampling. There’s about a million songs that sample “When the Levee Breaks,” but how many of those do you think I’m putting on over Led Zeppelin, y’know?

Well, look what the stork brung (What?) Little baby devil with the forked tongue And it's stickin' out, yeah, like a sore thumb (Bleh) With a forehead that it grew horns from (Look) Still a white jerk (It's him), pullin' up in a Chrysler to the cypher With the Vics, Percs and a Bud Light shirt Lyrical technician (Yeah), an electrician (Yeah) Y'all light work (Haha) And I don't gotta play pretend, it's you I make believe (What?) And you know I'm here to stay 'cause me (Why?) If I was to ever take a leave (What?) It would be aspirin' to break a feve' (Yeah)

So far it’s been pretty solid. It’s pretty clear Em’s still got it, great flow, delivery, subtle nods to his past work, boasts about his skills, talking about how he started from the bottom… It’s nothing really groundbreaking, but it’s at least continuing the idea that Slim is back, baby! I sure hope he doesn’t derail his momentum in the next couple of lines with a stupid, cringeworthy jab at a woman who literally never did anything to him!

If I was to ask for Megan Thee (What?) Stallion if she would collab with me Would I really have a shot at a feat? (Haha) I don't know, but I'm glad to be back like

So a little context here, for those not in the know: In 2022, rapper Megan Thee Stallion accused fellow rapper Tory Lanez of shooting at her feet and saying, “Dance, bitch, dance” like he’s a comic book mobster. The case was taken to court, where Lanez was found guilty and then sentenced to up to 22 years in jail. Now, the two have shouted out each other before—Em interpolataed the hook of Megan’s song “Body” in 2021’s “Killer (Remix),” while Megan referenced “The Real Slim Shady” on her feature on Lil Nas X’s “DOLLA SIN SLIME”--but I’m not really sure the two are close to the point where it’s cool for Em to jokingly reference the time some psychopath acted like a Batman villain to her. The fact Megan’s 2024 diss track “Hiss” referenced Mariah Carey’s “Obsessed,” which was about Eminem, does make me side-eye this bar.

But hey, one corny, cringey joke is whatever. Let’s see how the rest of the song goes:

Abra-abracadabra (And for my last trick) I'm 'bout to reach in my bag, bruh (Like) Abra-abracadabra (And for my last trick, poof) Just like that and I'm back, bro

So this is the chorus, and I have to say it’s incredibly lazy and boring. It’s just an Eminem-themed parody of the original chorus, and it’s not especially interesting. That being said, by token of being a chorus of a song I already like just with lyrical alterations, I don’t think it’s bad either. I just expect a little more cleverness from Eminem.

Now, back in the days of old me (When?) Right around the time I became a dope fiend (Oh) Ate some codeine as a way of coping (Mm) Taste of opiates, case of O.E. Turned me into smiley face emoji (Woo)

Here, now we’re back on track! Em is reflecting on his old self and talking about his drug-addled early career! Surely he’ll stay the course here and dig deep into his manic persona that was partly created by his addictions, and not veer off into alt-right talking points and child abuse jokes!

My shit may not be age-appropriate But I will hit an eight-year-old in the face with a participation trophy 'Cause I have zero doubts That this whole world's 'bout To turn into some girl scouts That censorship bureau's out to (Shut me down) So when I started this verse It did start off lighthearted at first (Hmm) But it feels like I'm targeted

Hoo boy, we’re whining about how “sensitive” the world is becoming and how censorship is coming to get you! Eminem is going full boomer now. But hey, maybe he has a point! You can’t sing songs where you violently murder the mother of your child and then abduct said child anymore, because of woke. You can’t rap about mass shootings right after they happen either, also because of woke. Whatever, grandpa. Let’s see if you have anything of actual substance.

Mind-bogglin' how my profit has skyrocketed Look what I pocketed Yeah, the shit is just like y'all had been light joggin', and I've been runnin' at full speed And that's why I'm ahead like my noggin', and I'm the fight y'all get in When you debate who the best, but opps, I'm white chalkin' when I step up to that mic, cock it then "Oh my God, it's him! Not again!"

Just some pre-chorus boasting topped off with a throwback to his song “As the World Turns.” It doesn’t completely erase the bad taste of his whiny boomerisms out of your mouth, but it’s at least something.

Sometimes, I wonder what the old me'd say (If what?) If he could see the way shit is today (Look at this shit, man) He'd probably say that everything is gay (Like happy) What's my name? What's my name? (Slim Shady)

Em’s had a long, troubled reputation with queerness. He came under a lot of fire for homophobia back in the day, but then his friendship with Elton John happened. There’s also his brief appearance in the Seth Rogen movie The Interview, where he plays himself as a closeted gay man. Even still, he’s often used queerness as jokes in his songs, mainly as an attempt to emasculate his opponents (something he even did to an actual queer rapper, Tyler the Creator). As a bisexual man myself, I do find it tasteless in general, but in the context of this song I thing it’s ok. Like yeah, the homophobic crackhead Slim Shady persona would call the world we live in gay. The line still feels a little weird, though; is the Slim persona actually singing this song, or is this Em reflecting on the Slim persona? It kind of muddies the water, and makes it hard to figure just how seriously we’re supposed to be taking everything here.

So how many little kids still wanna act like me? (Haha) I'm a bigger prick than cacti be (Yeah) And that's why these (What?) Words sting just like you were being attacked by bees (Bzz) In the coupe, leaning back my seat (What?) Bumpin' R. Kelly's favorite group (Uh), the black guy (Guy) pees (Pees, haha) In my Air Max 90s White Ts, walkin' parental advisory

Verse three starts off pretty good! The R. Kelly joke is extremely juvenile and crass, but that’s the sort of thing I enjoy from Slim. It may be low-hanging fruit, but that’s the fruit you wanna grab the most. Now what wacky sort of humor is Slim going to bring to this verse next? Surely he won’t make some incredibly stupid and corny joke that isn’t funny in the slightest and derails the whole song!

My transgender cat's Siamese (Why?) Identifies as black, but acts Chinese (Haha)

According to Genius, this line might actually be a reference to a Dave Chapelle bit from 2019’s Sticks & Stones. If that’s the case, I really don’t need to say much more. There’s no way to read this line in anything other than the worst possible light.

Like a motherfuckin' Hacky Sack, I treat (What?) The whole world 'cause I got it at my feet (Yeah) How can I explain to you (What?) That even myself I'm a danger to? (Yeah) I hop on tracks like a kangaroo And say a few things or two to anger you

So he does openly admit he says fucked up stuff to get a rise out of people. Going in to the song, I knew this. The guy’s a provocateur, it’s what he does, and the Slim persona has always been about being as flagrantly offensive as possible. But the thing is, even the stuff here I’m taking issue with doesn’t make me mad; I’m more disappointed than anything, really. Like he has to know that times have changed and people really aren’t all in on this sort of humor anymore, right? What is the point of bringing Slim back to a world that has evolved beyond him, even if to finally kill him off? If that’s what he wanted to do he could do it without trying to showcase the dated humor. This is the musical equivalent of watching an 80s sex comedy like Porky’s or Revenge of the Nerds. Like maybe it was funny way back when, but looking back at it through a modern lens it’s just really gross and unpleasant and full of terrible messages.

But fuck that, if I think that shit, I'ma say that shit Cancel me, what? Okay, that's it Go ahead, Paul, quit, snake-ass prick You male cross dresser (Haha), fake-ass bitch And I'll probably get shit for that (Watch) But you can all suck my dick, in fact Fuck them, fuck Dre, fuck Jimmy, fuck me, fuck you Fuck my own kids, they're brats (Fuck 'em) They can screw off (Yeah), them and you all (Uh) You too, Paul (Punk), got two balls Big as RuPaul's (Woah) What you thought you saw ain't what you saw (Nah) 'Cause you're never gon' see me Caught sleepin' and see the kidnappin' never did happen Like Sherri Papini, Harry Houdini I vanish into the thin air as I'm leavin' like

The rest of the final verse, save for another tired shot at cancel culture, is fine. I might even say it’s a bit funny; I like him taking at shot at Dre, himself, everyone he’s worked with, his own kids… That part is where it is really obvious the whole thing is tongue-in-cheek, because he is by all accounts a good and loving dad. Making fun of RuPaul and Papini are fine in my book too.

So I’ve been pretty critical of this song and rather unamused by a lot of its jokes. This must mean I hate it, right? Well… no. I can’t say I love it, but I really don’t think this is awful. Trust me, I’ve heard awful Eminem and this isn’t it. “Just Lose It” and “We Made You” are light years ahead of this song in terms of awfulness. On top of that, this is also the first single off of an album that’s all about killing Slim—I don’t really have the full context. For all I know, this could be part of an overarching concept of the album, Slim’s last ride before his inevitable death, and in that regard this is definitely a perfect modern take on the classic Slim Shady song, warts and all. We just live in a world where his kind of humor doesn’t age badly, it just ends up dead on arrival more often than not.

If nothing else, it still showcases Eminem has great flow, great wit, clever writing… and that’s what he should stick to instead of making tired, unfunny boomer jokes about cancel culture and queer people just to rile people up. Hopefully that’s what the rest of the album will be like when it drops. I doubt I’m going to review every single song on it since I’m no Todd in the Shadows and my musical knowledge is very casual, but maybe I’ll give my opinions. Until that time, though, I think I’ll just listen to “Venom” again.

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#Michael Before Midnight #review #song review #Eminem #Houdini #Marshall Mathers #Slim Shady #rap #Youtube

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dustedmagazine · 10 months ago

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Slept Ons: 2023

Reverend Kristin Michael Hayter

If you write for Dusted, you listen to music all the time and you try, at least within your general area of interest, to stay current with what’s current. Ask any of our significant others, and they’ll say we listen to too much music, to which we inevitably reply “What’s that, this ‘too much’ you speak of?” We listen to music while we’re eating, while we’re working, while we’re exercising, while we’re driving from one place to another, even while we’re brushing our teeth sometimes; though, admittedly, the sound quality is not that great in the bathroom.

Even so, we miss things. Here, in what has become an annual tradition, we revisit some of the albums that slipped away in one fashion or another, the ones that we kept putting off until it was too late, the ones we somehow didn’t catch wind of until well into January, the ones we discovered tardily on other people’s lists and year-end podcasts and radio shows. So here are our late finds, a favorite or two each that we never got the chance to write about. Fortunately, unlike bread and fresh fruit and bunches of cilantro, albums don’t go bad if you let them sit for a while.

Die Enttäuschung und Alexander Von Schlippenbach — Monk’s Casino Live At Au Topsi Pohl (Two Nineteen)

This record wasn’t so much slept on as patiently sleuthed. Die Enttäuschung, the long-running German quartet (their name translates as The Disappointment, an appellation that says more about their sense of humor than the quality of their ever-buoyant reimagining of bebop and early free jazz) started selling it at gigs in the spring of 2023. I bided my time, and when I made it to Berlin last fall, scoring a copy was on my agenda. To this day, the record and the internet are near strangers; while you can buy it from Bandcamp, there’s no download, streaming or videos. So, you’ll have to just take it from me that Die Enttäuschung’s reunion with now-octogenarian pianist Alexander von Schlippenbach will take wrinkles off your brow. The first time that these musicians recorded together as Monk’s Casino, back in 2005, they performed every one of Thelonious Monk’s compositions over three CDs; pith was essential. The repertoire hasn’t changed this time, but the approach is looser. Crammed into the intimate confines of the now-shuttered Au Topsi Pohl just as Omicron started ruining parties, the five musicians goose the tempos, spike the solos with impertinence, and veer around Monk’s sharp angles with a combination of intimate familiarity and belt-busting abandon.

Bill Meyer

Reverend Kristin Michael Hayter — SAVED! (Perpetual Flame Ministries)

Not slept on so much as avoided— and why, at this point I am not entirely sure. When I saw Kristin Hayter perform under her previous Lingua Ignota moniker back in December of 2022, she opened with a set of devotional songs on piano, a variety of metallic objects set and chains draped across the instrument’s interior string works. It was extraordinary, and SAVED! features the same basic set of raw, austere elements: that prepared piano, Hayter’s remarkable voice and the problematics of faith. The avoidance may stem from my own fraught relations to the sort of grim Protestantism Hayter reimagines; I spend some time around fire-and-brimstone Baptism as a child, and it left a mark on me. She wove some of that language and those textures into the excellent Lingua Ignota record Sinner Get Ready, but there they were much more symbolic, and largely couched in specific fundamentalisms (Amish and Mennonite) that distanced them somewhat. The sounds and spiritual gestures on SAVED! are a good deal more familiar to me, and they haunt. Likely the haunting is the point. Certainly “All of My Friends Are Going to Hell” and “I Know His Blood Can Make Me Whole” smolder and then burn with varieties of hellfire I have smelled before. One can also hear those songs more metaphorically, and “I Will Be with You Always” (the best thing on the record) is replete with images and intensities that call to multiple levels of meaning, simultaneously and sublimely. SAVED! is a hard record for me to listen to, and that’s why I have come, somewhat belatedly, to prize it so highly.

Jonathan Shaw

Illusion of Safety — Pastoral (Korm Plastics)

Daniel Burke has been carefully and consistently nurturing his Illusion of Safety project for 40 years, and I’ve been embarrassingly ignorant of the output until now. Burke released multiple audio artifacts in 2023, including a 40th anniversary ten-cassette box set, so choosing a single album to write about for the Slept On column was a daunting undertaking. Pastoral is unique in that it shows off a more delicate and expansive side of the Illusion of Safety oeuvre. It’s also one of the few music-focused objects that the stalwart Korm Plastics label has released in years; the imprint focuses on the written word these days. Sonically, Burke has established a series of vignettes that follow a similar pattern. The music flows from short, sharp attacks into lengthy sustained quietude. Burke unleashes his jarring, frantic salvos both percussively and synthetically, and these brief but unsettling periods morph into slowly churning drone swarms. Given that this is just one example of Burke’s sonic vernacular, I’m excited to hear more. Thankfully, when it comes to Illusion of Safety, I’ve been a veritable Rip Van Winkle.

Bryon Hayes

Malla — Fresko (Solina)

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So slept on was Malla Malmivaara’s second solo album that even the normally reliable Beehype missed it, but even if you did happen to notice its inclusion on my midyear list, overstating how well-crafted and immersive Fresko’s dance-pop tracks are is hard to do. It makes sense given she’s better known for her acting career, but Malla’s been in the Finnish music game for a long time, too — first in the short-lived mid-aughts house trio Elisabeth Underground, then as herself with 2019’s “Sabrina” single (which got a Jori Hulkkonen remix, a guy who once redid M83) that ended up paving the way for her self-titled 2021 debut full-length. Despite using similar synth arpeggios and a healthy dose of vocal reverb as she did on Malla, Fresko is a little bit darker, moodier, more down in it. Lead single “Moi” (“hi” in English) tells the tale, its perfectly crafted video full of young Rolf Ekroth models doing things like looking impossibly cool in ridiculous outfits and having fashion shows with ATVs in snowy back alley Helsinki parking lots are a perfect marriage of audio and video, images and a melody burned in my brain the moment I saw it. It is very much a dance record flush with tech-house tweaks and no grander artistic ambitions, but Malla’s barely crested 40; now that she’s pledged more time to her music career, it’s entirely possible Fresko is but a warmup for something bolder — and even if it’s not, you could do much worse than a third album full of body movers like this. Hi is right.

Patrick Masterson

Kevin Richard Martin – Black (Intercranial)

Ostensibly a eulogy to Amy Winehouse, Kevin Richard Martin’s Black is a deeply humane expression of isolation, loss and grief. Built from the ground up, the bass deep and warm, swathes of glacial arpeggiated synths and beats that hint at the club. Notes echo and ripple away to create silhouettes of solitude, a tangible manifestation of absence. Despite the deep weight of his music, Martin imbues Black with an incredible delicacy. His abstract architecture allows the mind to roam and the listener to connect with emotional truths. It’s the balance Martin finds between the particular and universal that gives Black it’s power. In the strutting bassline of “Camden Crawling” smeared with narco/alcoholic fuzz, the looming threat of “Blake’s Shadow” and the bleary saxophone in “Belgrade Meltdown” there are the faintest echoes of Winehouse’s sound which emerge from the depths of Martin’s echo chambers. A work of terrible sadness, great beauty, empathy and comfort.

Andrew Forell

Derek Monypeny — Cibola (2182 Recording Company)

Cibola eased into the world as 2022 turned into 2023, but it took me nearly a year to get to it. Monypeny is a confirmed westerner, having lived in Arizona, Oregon, and (currently) the California desert, and an awareness of both the wrongfulness and the good fortune of living in that neck of the woods infuses Cibola, which is named for one of the American southwest’s legendary cities of gold (helpful hint; if you ever encounter a conquistador looking for gold, tell them it’s somewhere else). Monypeny alternates between guitar, shahi baaja, and on electric autoharp the LP’s seven tracks, and Kevin Corcoran contributes time-stopping metal percussion to one of them. The music likewise toggles between stark evocations of space and swirling submersions into nether states. In either mode, Monypeny effectively suggests the gorgeous immensity and pitiless history of the land around him.

Bill Meyer

The Sundae Painters — S-T (Flying Nun)

One minute, The Sundae Painters are churning wild screes of noisy guitar, the next they construct airy psychedelic pop songs of a rare unstudied grace. The band is a super group of sorts — Paul Kean and Kaye Woodward of the Bats, Alex Bathgate of the Tall Dwarfs and the late Hamish Kilgour of the Clean — convening in loose-limbed, joyful mayhem in songs that glisten and shimmer and roar. “Hollow Way” roils thick, muddy textures of drone up from the bottom, the slippery bent notes of sitar (that’s Bathgate) and Woodward’s diaphanous vocals floating free of a visceral murk. “Aversion” lets unhinged guitar shards fly over the thump of grounding drums as Kilgour chants inscrutable poetry. The two HAP tracks, I and II, stretch out in locked-in, psychotropic grooves, relentless forward motion somehow dissolving into an endless ecstatic now. This full-length, sadly the only one we’ll ever have from the Sundae Painters now that Kilgour is gone, is as good as anything that its esteemed participants ever did in their more famous bands, and that’s saying a lot.

Jennifer Kelly

U SCO — Catchin’ Heat (Self Released)

Here’s the extent of what I currently know: Someone I have on Facebook posted a link to it as one of his favorite records of the year, and someone I don’t know responded that they bought a copy of the cassette before the first track even finished. U SCO are Jon Scheid (bass), Ryan Miller (guitar), and Phil Cleary (Drums) and they are from and/or based in Portland Oregon. According to Discogs and Bandcamp Catchin’ Heat is the first thing they’ve released since 2016. That’s it! I started listened to this with the same box-checking, due diligence energy I tend to have for the dozen or so records I hear about one way or another after I’ve already done my year-end writing; most of them, every year, I don’t even make it through one play (the fatigue has fully set in by this point in the process). But sure enough before the end of that first track, I knew this was going to have to be the record I slept on. It’s perfectly structured, with extra-long, absolute blowouts beginning and ending the record, the second and second-last tracks being the two shortest and the only moments of relative calm, and the middle two making up a strong core that both brings in some elements not found elsewhere on Catchin’ Heat (the vocals on “trrrem”) and is just the most straightforward version of the absolute burners U SCO can clearly summon up on command (“woe dimension”). As great and arresting as that opening track is, though, the closing “abyssal hymn” might be the real highlight here, bringing in clarinet and saxophone to add a whole new layer of skronk to what they’re cooking. I’ve listened to this record about 10 times in a couple of days, and they deserve to sell out of that run of cassettes.

Ian Mathers

#dusted magazine #yearend 2023 #slept ons #Die Enttäuschung und Alexander Von Schlippenbach #bill meyer #Reverend Kristin Michael Hayter #jonathan shaw #illusion of safety #bryon hayes #malla #patrick masterson #kevin richard martin #andrew forell #derek monypeny #jennifer kelly #the sundae painters #Ian mathers #U SCO

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texaschainsawmascara · 10 months ago

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Eminem - Kamikaze (2018) / Beastie Boys - Licensed to Ill (1986)

Eminem - Music to Be Murdered By (2020) / Alfred Hitchcock Presents Music to be Murdered By (1958)

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ask-the-3rr0rs · 3 months ago

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"Guess who's back, Back again."

#Michael Mathers #Shady the Undertaker #U.B.F.T.#my art #3rr0r's art #blog art

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ded-and-gonne · 2 years ago

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Faceclaim: SLM MacGregor Mathers (David Tennant)

Faceclaim: The Ghost of Giles Corey

tantalized?

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laurawaldorf · 1 month ago

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Heyyy☺️

Just saw that u are gonna start writing for Eminem so i do have a request 🥹

where the reader is yonger then him like prob in 2005 shes 18 or so and shes a famous singer songwriter (her style being like billie eilish and lana dal ray) and like theres two different versions one where he writes a diss and during an award show she disses him back and like they later resolve their issues or so and something like them ending up recording in the same building and then them hooking up or another version being eminem loves her songs and they record in the same building so he asks to collab and them ending up together and they go through a fight and like she gets a call from his daughters ( coz they get along ) that he’s overdosed and her helping him through that phase and u can write more about how their relationship evolves like her being a huge support to himand hus daughters and them getting married ( or u could add him first not wanting to get married coz of kim but coming to his senses) then him mentioning her in his someone save me song about how much shes been there for him

Just so u know this is a random pitch u can either write somewhat the whole thing or just something like this idea 🥹

U can add anything or change a bit, thanks ☺️

꯭•:◦ 𝗜𝗙𝗛𝗬.

⠀⠀────────────────────

| 𝗣𝗔𝗜𝗥𝗜𝗡𝗚: Marshall Mathers III (Eminem) x Fem!Reader.

| 𝗚𝗘𝗡𝗥𝗘: Enemies to Lovers and slightly smut.

| 𝗪𝗔𝗥𝗡𝗜𝗡𝗚𝗦: Slighty smut, flirting, making out.

| 𝗥𝗘𝗤𝗨𝗘𝗦𝗧𝗘𝗗: yes.

| 𝗦𝗢𝗡𝗚 𝗜𝗡𝗦𝗣𝗜𝗥𝗔𝗧𝗜𝗢𝗡: My Strange Addiction — Billie Eilish.

( heey, i just wanna thanks for being my first request! i hope you like it. 🤍 )

⠀⠀────────────────────

— Fuck. — It's the first word out of your mouth when you sees your musical rival sitting in the second row next to you at the 2005 VMAs Award.

It was your first MTV event after the release of your first album which was a global success, which gained you an absurd popularity in the pop industry, people knew you wherever you went, celebrities begged for a collab with your participation due to your soft voice and mesmerizing…However, your talent didn't just attract good things, it also attracted negative comments that were something common in an artist's life and a diss coming from the most controversial and well-known rapper of the 2000s, Marshall Mathers, or better known by his alter- ego, Slim Shady.

You discreetly judged Marshall by his look, seeing him smile with that cunning smile while talking to his mentor, Dr Dre. For a moment, your eyes met in quick eye contact, which made you shrug your shoulders and quickly look away as you took hurried steps towards your row, which was one in front, unlike the boy, who responded to the eye contact with a challenging and some sarcastic comments.

You felt the blonde's gaze in your direction, burning your back as if it were a touch, the boy's sharp gaze went through your body as if it were a knife, he knew you had heard the diss, and you knew he was going to use it. that as a weapon.

⠀⠀────────────────────

It didn't take long for the “Best Hip-Hop Video” category to begin, suspense hung in the air until the presenter finally decided to deliver the result: — Just Lose It, Eminem! — The presenter shouted excitedly, his mouth curving into a smile as he held the prize.

The event was filled with screams and applause from celebrities and fans who participated, Marshall got up and walked to the main stage to get his trophy. Discreetly, you sighed deeply, internally wondering how they left that song not only with diss for you but also for Michael Jackson to win, you couldn't say anything, just roll your eyes and cross your arms.

Eminem stood behind the microphone, holding his award in his hands as he thanked the presenter and waved to his fans who screamed for his presence. He got a little closer to the microphone until he started dictating his speech:

— Yo, this is crazy...I don't have a speech with me so I'll just say what comes to mind, I want to thank Dr Dre, my mentor who helped me during the Encore album process, I also want to thank the people at Shady Record and Paul Rosenberg. — Marshall said, letting his blue orbs meet yours. — I'm really happy for the award, but I see that there aren't many people happy about my achievement because of the diss, Right Y/N?

A provocative smile formed on the boy's lips when he mentioned your name, you could hear comments and laughter coming from other participants in the event, unlike you, who adjusted your performance and crossed your legs, your fists clenching every time your gaze fell on that one stupid smile he had on his face, doing everything he could to get to you as if to test your patience. The rest of the night went well, unlike the exchanges of barbs that became news in the media and the looks exuding hatred between the two when they saw each other at the MTV after-party.

⠀⠀────────────────────

After a few weeks, you and your team were invited to start a new album project at a renowned studio in Los Angeles, your excitement was radiant as your mind reasoned and processed several snippets of lyrics and a response to Marshall's diss. However, his excitement quickly disappeared when he saw the same boy in the hallway, making him snort and a disinterested and hateful look form on his face. The rapper noticed a look of anger burning his back, making him turn his head with a look of distrust and mockery until his eyes fell on you, and soon that same sarcastic smile formed on his lips.

Your team made sure the two of you didn't run into each other in the hallways to avoid causing an argument, but it was difficult when Eminem came into your studio just to tease you.

After a long album production session, the moonlight finally fell over the sky, leaving you alone in the room just working on some last details on the first demo of your song. Your concentration and focus was broken by three soft knocks on the oak door, and soon a creak came, revealing Marshall.

— Alone? Even your team doesn't support you anymore? — Eminem asked in an ironic tone, leaning against the doorframe with his arms crossed.

The rapper's voice made you shiver with anger, turning your head slowly towards him with an irritated expression and a raised eyebrow. —What the fuck do you want? Isn't it enough to piss me off at the entire VMAs now here too? — You responded with a grunt, removing your headphones as you stood up from his chair.

The rapper's teasing laugh drifted through the studio, stepping forward towards you.

—Are you angry? Did you forget that this is my building and you are inside one of my studios? Or didn't your team tell you that? — The boy responded with the same intensity, his eyes burning your skin.

Your ego was being hurt in that indirect fight, so your pride spoke over you.

You also took a step forward and crossed your arms, looking up at him in an intense gaze.

— I don't care if this studio is yours or not, you've been bothering me all day, are you lacking attention or what? — Your posture was confident, maintaining her eye contact with him.

Only a smirk left Eminem's lips, as he curved his body slightly towards him with his pupils dilated.

— If I managed to make you angry, it's because I caught your attention, right? — He replied, with a quick attack in a mocking and slightly rude tone. Your eyes widened and a small blush formed on yor cheeks, taking a step back slowly, which made the boy's ego even bigger.

— What is that? Where's all that courage you had until now? — He asked, taking another step forward and closing the space between you.

You couldn't deny it, he wasn't ugly, he never was, but his words made you very angry... but that anger was mixing with a kind of desire, a desire that you could see in his eyes.

And Marshall noticed this, with a confident and arrogant smile on his lips, he put his hand on her waist and gently brought her closer. Bringing your face closer. Your mind screamed for you to stop, but you couldn't deny the chemistry going on between the two of you, his blue eyes were like a magnet of attraction, the more you looked, the more you wanted. And then, her face slowly approached his, closing the space of centimeters between them in a fiery kiss, hot and full of desire, desire and anger, her arms entwined around his neck while Marshall's hands caressed her waist and went down to her breasts, caressing the spot as he deepened the kiss. Your hands scratched his back lightly as you murmured between the kiss:

— I fucking hate you.

#eminem x reader #slim shady #marshall mathers #eminem #fanfic

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trendfilmsetter · 6 months ago

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Apple Music’s ‘100 Best Albums of All Time’ list:

#1. Lauryn Hill — The Miseducation of Lauryn Hill

#2. Michael Jackson — Thriller

#3. The Beatles — Abbey Road

#4. Prince & The Revolution — Purple Rain

#5. Frank Ocean — Blonde

#6. Stevie Wonder — Songs in the Key of Life

#7. Kendrick Lamar — good kid, m.A.A.d city

#8. Amy Winehouse — Back to Black

#9. Nirvana — Nevermind

#10. Beyoncé — Lemonade

#11. Fleetwood Mac — Rumours

#12. Radiohead — OK Computer

#13. Jay-Z — The Blueprint

#14. Bob Dylan — Highway 61 Revisited

#15. Adele — 21

#16. Joni Mitchell — Blue

#17. Marvin Gaye — What’s Going On

#18. Taylor Swift — 1989 (Taylor’s Version)

#19. Dr. Dre — The Chronic

#20. The Beach Boys — Pet Sounds

#21. The Beatles — Revolver

#22. Bruce Springsteen — Born to Run

#23. Daft Punk — Discovery

#24. David Bowie — The Rise and Fall of Ziggy Stardust and the Spiders From Mars

#25. Miles Davis — Kind of Blue

#26. Kanye West — My Beautiful Dark Twisted Fantasy

#27. Led Zeppelin — Led Zeppelin II

#28. Pink Floyd — The Dark Side of the Moon

#29. A Tribe Called Quest — The Low End Theory

#30. Billie Eilish — WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?

#31. Alanis Morissette — Jagged Little Pill

#32. The Notorious B.I.G. — Ready to Die

#33. Radiohead — Kid A

#34. Public Enemy — It Takes a Nation of Millions to Hold Us Back

#35. The Clash — London Calling

#36. Beyoncé — BEYONCÉ

#37. Wu-Tang Clan — Enter the Wu-Tang (36 Chambers)

#38. Carole King — Tapestry

#39. Nas — Illmatic

#40. Aretha Franklin — I Never Loved a Man the Way I Love You

#41. OutKast — Aquemini

#42. Janet Jackson — Control

#43. Talking Heads — Remain in Light

#44. Stevie Wonder — Innervisions

#45. Björk — Homogenic

#46. Bob Marley & The Wailers — Exodus

#47. Drake — Take Care

#48. Beastie Boys — Paul’s Boutique

#49. U2 — The Joshua Tree

#50. Kate Bush — Hounds of Love

#51. Prince — Sign O’ the Times

#52. Guns N' Roses — Appetite for Destruction

#53. The Rolling Stones — Exile on Main St.

#54. John Coltrane — A Love Supreme

#55. Rihanna — ANTI

#56. The Cure — Disintegration

#57. D’Angelo — Voodoo

#58. Oasis — (What’s the Story) Morning Glory?

#59. Arctic Monkeys — AM

#60. The Velvet Underground & Nico — The Velvet Underground and Nico

#61. Sade — Love Deluxe

#62. 2Pac — All Eyez on Me

#63. The Jimi Hendrix Experience — Are You Experienced?

#64. Erykah Badu — Baduizm

#65. De La Soul — 3 Feet High and Rising

#66. The Smiths — The Queen Is Dead

#67. Portishead — Dummy

#68. The Strokes — Is This It

#69. Metallica — Master of Puppets

#70. N.W.A — Straight Outta Compton

#71. Kraftwerk — Trans-Europe Express

#72. SZA — SOS

#73. Steely Dan — Aja

#74. Nine Inch Nails — The Downward Spiral

#75. Missy Elliott — Supa Dupa Fly

#76. Bad Bunny — Un Verano Sin Ti

#77. Madonna — Like a Prayer

#78. Elton John — Goodbye Yellow Brick Road

#79. Lana Del Rey — Norman F*****g Rockwell!

#80. Eminem — The Marshall Mathers LP

#81. Neil Young — After the Gold Rush

#82. 50 Cent — Get Rich or Die Tryin'

#83. Patti Smith — Horses

#84. Snoop Dogg — Doggystyle

#85. Kacey Musgraves — Golden Hour

#86. Mary J. Blige — My Life

#87. Massive Attack — Blue Lines

#88. Nina Simone — I Put a Spell on You

#89. Lady Gaga — The Fame Monster

#90. AC/DC — Back in Black

#91. George Michael — Listen Without Prejudice, Vol. 1

#92. Tyler, The Creator — Flower Boy

#93. Solange — A Seat at the Table

#94. Burial — Untrue

#95. Usher — Confessions

#96. Lorde — Pure Heroine

#97. Rage Against the Machine — Rage Against the Machine

#98. Travis Scott — ASTROWORLD

#99. Eagles — Hotel California

#100. Robyn — Body Talk

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