December 15, 2017
Whatever you think of Eminem’s early work, it was at the very least youthful and representative of white angst at a continually advancing anti-white agenda.
It was anti-PC. He talked about raping women and killing faggots.
Sure, it praised black culture in a way that was not a positive influence on young people, but it was better than a lot of what was coming out and being sold to kids at the time.
Jump to now.
He is literally 45 years old and trying to sell attacks on Donald Trump and the white race generally as edgy, hip and cool.
The album was just leaked, and it is apparently horrible.
Chase McMullen, an anti-white music critic writing for anti-white culture website The 405, praises him for his attacks on whites but claims it is regrettably the worst album he’s ever released:
Oh, Marshall. When critics savaged Recovery, there may have been more than a healthy dose of ‘kill your idols’ at play. After all, he set out to make a direct pop record, and the album certainly succeeded at least in that sense. In 2017, tearing the aging icon apart is far less fun. Let’s get it out of the way: yes, Eminem is trying, once again, to grow up. What’s more, he’s gone beyond the Hallmark-lite sentiments of ‘Not Afraid’ towards something actually meaningful, taking on white detachment and comfort in society and the figurehead of our ills, Trump.
His good intentions just make how genuinely excruciating this record is all the more sad. Slim Shady may have spent the last decade and change putting out bad records, but Revival stands as the first truly terrible entry into his already sagging discography. Accents be damned, Relapse boasted an energized rapper (its unbearable lead single aside), even Encore had numerous highlights, but this?
It’s a scattered, gasping mess.
90% of the soundscapes here would have been rejected from an unsigned artist’s mixtape, they’re not just bad, they’re distinctly obnoxious, grating the ear and distracting from whatever Slim is saying. Granted, for most of what he’s saying here, that’s perhaps a cruel mercy (“I just got the wind about me / like wind chimes” on ‘Believe’), but on single ‘Untouchable’ the cheesy rap-rock vibes (and unnecessary Cheech & Chong sample) completely overwhelm the well-intended message. The same goes for the waste of Alicia Keys that is ‘Like Home’, Em calls Trump Hitler, and we can barely appreciate it, the beat is so cumbersome.
What once felt funny and satirical has long felt forced and repulsive.
How Eminem and co. thought his new somewhat on point wokeness would mix successfully with the same old ludicrous murderous and sexist antics may boggle the mind, but the question is ultimately needless. Revival is so uninspired and lost that picking it apart is a hopeless affair. Naturally, Eminem is still rapping his ass off. He’s practically an Olympian on ‘Offended’, pulling out every flow in his grab bag out for a breathless, nearly 6-minute rant, but it can all be reduced to, “I swear when I get up / I’m never gonna let up til everybody eats my turds.” This is a 45-year-old man. He uses this on the hook, no less. Eminem has made a career out of feeling persecuted and unappreciated, and for years now he’s been barking at a nonexistent detractor, only to completely misunderstand why his audience has grown weary.
Revival ends with the sound of a toilet flushing. Nothing could be more telling, but this writer shall say this: having spent years striving to be understanding, we’ve suffered enough. Eminem has long sounded uninspired and unhappy with the music he’s making, and more than ever, holding out hope he’ll figure it all out again feels like a grim prospect. Once the deed is done and this goes to press, I will never listen to this album again.
He is a very immature, childlike person, as described here. It was cute and perhaps even inspiring when he was in his mid-twenties, complaining about having grown-up poor with a single mother, but the entire goal of that should have been to develop into a healthy person despite the challenges. Instead, he whined and whined for two decades, now Trump is his new daddy figure to attack.
I don’t know how much of that is staged for consumption, an actual attempt by his Jewish managers to reshape this dejected cultural icon into a symbol of youthful resistance against the white race and how much of it he actually feels. His comment about how it made him angry Trump wouldn’t pay attention to him indicates it is at least in part a genuine represenation of projected daddy issues.
But either way, it’s sad and it’s boring.
When I saw these pictures from his new music video:
It felt like looking at a retarded adult trying to play with children and the children looking all panicked and not knowing how to react. It is pitiful and it is disgusting on a deep human level.
I really do think he should just kill himself.