According to discord leakers, Kamikaze was originally titled "Revenge" and allegedly had "Majesty" on the tracklist
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Eminem disses usually get threats but I wanted to put this out there to see.
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One of the reasons Eminem doesn't need to be defended is because he already explained himself. Please just try to understand what I'm saying. This is why it's so bad for him to collaborate with actual real life shitty people like Kid Rock.
Bear with me here, i'm bad at explaining things. But this is one of the biggest differences between Eminem and all these other celebrities: the fact that he has explicitly stated his purpose as a heel/shock value rapper.
A lot of these modern-day cancelled rappers fall victim to the exact same situation. They said fucked up things 20 to 30 years ago just for the sake of being controversial, but they never explained themselves. They never let the audience behind the curtain.
The fact that we know about Marshall, Shady, and the rest makes the whole thing make much more sense. It still worked back then because you didn't know the truth unless you actually put in the effort to understand. With someone like Kid Rock, there's no explanation. There's no reassurance that he's not the horrible person he pretends to be. There's honestly no reason to believe he isn't just that person in real life.
Look at how they both handle the absolute worst, most radioactive topics, like race and predatory comments about underage women. The execution is night and day.
When you look at Eminem, he handles race by leaning entirely into his own self-awareness as a white man in a Black space. In "White America," he explicitly tears down his own commercial success, straight up admitting that if he were Black, his sales would be cut in half. He calls out the systemic double standards of the music industry and his own white privilege while paying active homage to the Black culture that built him.
Kid Rock handles race by hiding behind a hollow bravado that he drops the second it's politically convenient. He built an entire early career appropriating hip-hop culture, Black aesthetics, and utilizing Black hype men, only to pivot seamlessly into a confederate-flag-waving, country-fried culture warrior. There’s no artistic introspection there; it's a cynical, unironic aesthetic swap.
It gets even worse when you look at how they talk about women. When Eminem rapped absolute horror-movie filth about underage girls on his early records, it was delivered through the hyper-exaggerated, detached vehicle of Slim Shady. It was framed within an intentionally absurd, cartoonish slasher-flick narrative. You knew it was a disgusting character because he spent the next track playing Marshall Mathers, talking about being a fiercely protective dad who would do anything for his daughters. The curtain was wide open.
With Kid Rock, the lines between fiction and reality are completely blurred. Take his 2001 track "Cool, Daddy Cool," which was written for the animated movie Osmosis Jones. On paper, he had the perfect excuse: the song was literally for a fictional movie soundtrack. But instead of leaving it behind the curtain as a fictional character, he actively merged that sleazy persona with his real-life behavior.
In the song, he and Joe C rap lines like, "Young ladies, young ladies, I like 'em underage, see... Some say that's statutory, but I say it's mandatory." If that was just a movie character, he could have explained it away. Instead, that exact same year, he went on Saturday Night Live as himself, not as a character, and doubled down on the exact same predatory punchline.
During that 2001 SNL appearance, he made remarks about Mary-Kate and Ashley Olsen, who were 14 years old at the time. Looking right at the camera, he said, "Why is every guy in America waiting on these chicks to turn 18? I mean, you know what I'm saying? If there's grass on the field, play ball." He was a 30-year-old father delivering that line on live television as Robert Ritchie/Kid Rock, completely dropping any shield of fiction. Years later, when the lyrics and the clip resurfaced during a public backlash, he still didn't offer any artistic context or explanation; he just posted a Kobe Bryant quote on social media about "learning to love the
Bear with me here, i'm bad at explaining things. But this is one of the biggest differences between Eminem and all these other celebrities: the fact that he has explicitly stated his purpose as a heel/shock value rapper.
A lot of these modern-day cancelled rappers fall victim to the exact same situation. They said fucked up things 20 to 30 years ago just for the sake of being controversial, but they never explained themselves. They never let the audience behind the curtain.
The fact that we know about Marshall, Shady, and the rest makes the whole thing make much more sense. It still worked back then because you didn't know the truth unless you actually put in the effort to understand. With someone like Kid Rock, there's no explanation. There's no reassurance that he's not the horrible person he pretends to be. There's honestly no reason to believe he isn't just that person in real life.
Look at how they both handle the absolute worst, most radioactive topics, like race and predatory comments about underage women. The execution is night and day.
When you look at Eminem, he handles race by leaning entirely into his own self-awareness as a white man in a Black space. In "White America," he explicitly tears down his own commercial success, straight up admitting that if he were Black, his sales would be cut in half. He calls out the systemic double standards of the music industry and his own white privilege while paying active homage to the Black culture that built him.
Kid Rock handles race by hiding behind a hollow bravado that he drops the second it's politically convenient. He built an entire early career appropriating hip-hop culture, Black aesthetics, and utilizing Black hype men, only to pivot seamlessly into a confederate-flag-waving, country-fried culture warrior. There’s no artistic introspection there; it's a cynical, unironic aesthetic swap.
It gets even worse when you look at how they talk about women. When Eminem rapped absolute horror-movie filth about underage girls on his early records, it was delivered through the hyper-exaggerated, detached vehicle of Slim Shady. It was framed within an intentionally absurd, cartoonish slasher-flick narrative. You knew it was a disgusting character because he spent the next track playing Marshall Mathers, talking about being a fiercely protective dad who would do anything for his daughters. The curtain was wide open.
With Kid Rock, the lines between fiction and reality are completely blurred. Take his 2001 track "Cool, Daddy Cool," which was written for the animated movie Osmosis Jones. On paper, he had the perfect excuse: the song was literally for a fictional movie soundtrack. But instead of leaving it behind the curtain as a fictional character, he actively merged that sleazy persona with his real-life behavior.
In the song, he and Joe C rap lines like, "Young ladies, young ladies, I like 'em underage, see... Some say that's statutory, but I say it's mandatory." If that was just a movie character, he could have explained it away. Instead, that exact same year, he went on Saturday Night Live as himself, not as a character, and doubled down on the exact same predatory punchline.
During that 2001 SNL appearance, he made remarks about Mary-Kate and Ashley Olsen, who were 14 years old at the time. Looking right at the camera, he said, "Why is every guy in America waiting on these chicks to turn 18? I mean, you know what I'm saying? If there's grass on the field, play ball." He was a 30-year-old father delivering that line on live television as Robert Ritchie/Kid Rock, completely dropping any shield of fiction. Years later, when the lyrics and the clip resurfaced during a public backlash, he still didn't offer any artistic context or explanation; he just posted a Kobe Bryant quote on social media about "learning to love the
hate."
When an artist lets you see the human behind the monster, it gives them a weird kind of narrative immunity. Songs like "Cleanin' Out My Closet" or "Beautiful" contextualize the rage. It proves the guy is self-aware and playing a villain to clear out his own universe.
Without that curtain, there's just no depth to it. When Kid Rock drops an offensive rant or a disgusting lyric, there’s no track in his catalog or interview where he pulls back the layers to say, "Here's the psychological root of my anger, and here is where the character ends." Since there's no boundary, we're forced to just take him at face face value. With Eminem, the effort to understand him is what made it great. With Kid Rock, what you see is what you get, and there's really nothing underneath to solve.
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When an artist lets you see the human behind the monster, it gives them a weird kind of narrative immunity. Songs like "Cleanin' Out My Closet" or "Beautiful" contextualize the rage. It proves the guy is self-aware and playing a villain to clear out his own universe.
Without that curtain, there's just no depth to it. When Kid Rock drops an offensive rant or a disgusting lyric, there’s no track in his catalog or interview where he pulls back the layers to say, "Here's the psychological root of my anger, and here is where the character ends." Since there's no boundary, we're forced to just take him at face face value. With Eminem, the effort to understand him is what made it great. With Kid Rock, what you see is what you get, and there's really nothing underneath to solve.
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Recovery might overtake MMLP by May 2029 in terms of total album streams, it already has more daily listeners, and both albums sit around similar total streams (ofcourse given, if trends dont change, which they might, but I thought this was a fun thought experiment to be had)
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Am I tripping or not?
Can someone explain me HOW the FUCK can Royce have J. Cole, Pusha T, Marsha Ambrosius, Melanie Rutherford, T-Pain, ALL on ONE album and Eminem cannot even have ONE of these artists as a feature/have a track with them where he's a feature?
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Can someone explain me HOW the FUCK can Royce have J. Cole, Pusha T, Marsha Ambrosius, Melanie Rutherford, T-Pain, ALL on ONE album and Eminem cannot even have ONE of these artists as a feature/have a track with them where he's a feature?
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Eminem's verse on Dr. Dre's "What's The Difference" from Dre's up in Smoke Tour 2000
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Favorite Em puns? (Appreciation post)
"Only way that you're ahead of me's alphabetically, cause if you diss me I'll come after U like the letter V."
"Bitch I still get the bag when I'm putting garbage out." (Topical)
"Dang knives are butcher than gay wives---"
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"Only way that you're ahead of me's alphabetically, cause if you diss me I'll come after U like the letter V."
"Bitch I still get the bag when I'm putting garbage out." (Topical)
"Dang knives are butcher than gay wives---"
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What's your favourite Eminem x D12 track from Eminem's solo albums?
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From the Eminem community on Reddit: What's your favourite Eminem x D12 track from Eminem's solo albums?
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