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Mar 15

EMINEM – “The Real Slim Shady”

Popular102 comments • 8,765 views

#864, 8th July 2000

eminem rss Never has the “early, funny stuff” cliche held such weight in pop: we’re at a stage now where the new stars coming through are still heavyweights now, and the sclerotic Marshall Mathers of the mid-10s haunts this swaggering, sparkling kid. But “The Real Slim Shady” is still an Eminem who knows how to tell a joke – though how much he’s joking is open to question – and he’s the most technically audacious and exciting rapper to have hit number one yet. By a considerable distance – take the “Now there’s a million of us…” climax, thirty-seven staccato monosyllables from “just like me” to “not quite me”, a pattern of triple stresses reeled out and back like a man casually doing tricks on a yo-yo. Or the animals – cannibals – canteloupes – antelopes – can’t elope rhyme set, as bravura in its wordplay as anything you’d find on an underground mixtape. Or the entire first verse (”Act like you never seen a white person before…”) and its teetering jenga of internal rhymes. Or the single’s best gag, delivered barely as rap, just as a great one-liner: “Will Smith don’t gotta cuss on his raps to sell records / Well I do / So fuck him and fuck you too”

And then you might take a step back. That sumptuous rhyme set builds to a homophobic punchline, that first verse is the most technically superlative domestic violence gag you’ll ever hear, and Will Smith, like Britney and Christina and Fred Durst and boy bands, is a very, very soft target, even in 2000.

Your response to that might be “so what?” – Eminem’s command of his track is so total, and his presence so strong, that introducing my own sense of morality or discomfort to proceedings can feel a little like cheating. The man is selective in the taboos he breaks, but breaking them is part of his deal. That was certainly the appeal of Eminem on his breakthrough single. “Hi… My Name Is”, where the Shady persona felt like pure id, a mix of horrorcore tropes, grand guignol shock tactics, a real and festering resentment at a shitty childhood poking through… and an odd, self-deprecating streak where Shady is half-pathetic and very much part of a fucked-up world, not simply a response to it.

“The Real Slim Shady” comes on as a sequel, the second in a series of straight-to-video shockers: Slim Shady Goes To Hollywood, maybe. But that’s the problem with horror franchises – the monster is what people pay to see, and the longer the series runs, the more he becomes the hero. In “The Real Slim Shady” his enemies now stop being the world and himself and start being more specific parts of pop culture. Which is where the “soft targets” problem comes in. Eminem is announcing his arrival as a pop fixture – and the success of his first album had made that inevitable – by taking on the weakest of imaginable enemies. He knows his tribe, and their prejudices well, but this stuff is the opposite of shocking. He’s consciously consolidating the audience he’s found. But the arrival of Slim Shady in the real world loses something. In the twisted universe of “My Name Is” he’s a force of chaos, a self-destructive trickster. Here he presents himself as just another cultural commentator, needling away at the entertainment biz’ foibles and hypocrisies. What’s his actual critique of those “little girl and boy groups”? They annoy him, and maybe Christina Aguilera slept her way to the top. It’s less Loki, more Perez Hilton.

That’s not to say he’s insincere about his distaste for pop – and certainly much of his audience, his crowd of mini-Shadys, also felt it for real. It’s not even to say he’s unsympathetic – in Popular terms, the allure of “The Real Slim Shady” is much boosted by the relative lulls on either side of it: however gross or lazy this single is in places, it gets points just for sounding alive and motivated. Pop fans – obviously I am one – can be as brittle as anyone about slights to their chosen music, which is often corny, distasteful, exploitative or just idiotic. Nothing could be more shrill and misguided than insisting everyone like that stuff. And in the case of 13- or 14-year old Eminem fans, you might as well ask them to stop watching slasher movies, or trying to score pot off their older brothers. Or wanking. “The Real Slim Shady” is as pure, as toxic and as well-made a shot of teenage exploitation as “Born To Make You Happy” was.

But there’s something else that’s changed since “My Name Is”, too. The point of Slim Shady is that he’s a nihilist, he doesn’t give a fuck what you think. But strip away the cartwheeling delivery and the Dre production – whose simple, jolly bounce is a hook in its own right, and a great example of how Eminem used sound effects to establish and bolster his comic persona – and what do you have left? Behind the jokes, “The Real Slim Shady” is a surprisingly defensive single, giving rather a lot of fucks, and mostly concerned not just with taking down pop’s star system but with establishing Eminem’s counter-arguments and get-out clauses.

These run along familiar lines – real life is just as fucked up as Shady’s raps, and lots of people are thinking or saying privately what he has the balls to say out loud. (He saves the question of whether any great responsibility goes along with this great power for his next number one.) This is a third role for Shady – not psychopathic id, or biz outsider, but a kind of frustrated everytroll, speaking for a silenced mass who express themselves mainly by buying his records. It’s a persona that’s halfway between the political outsider – Slim Farage – and the shock-tactic comedian – Andrew Dice Shady. And not knowing which way it might tip – into comedy or cultural politics or, in Eminem’s case, something more nihilist and personal – is part of the appeal.

It’s an appeal with parallels – you can look forward to Anonymous but also backwards to punk, and this – plus stardom and proficiency – was why Eminem was such critical catnip. “Half of you critics can’t even stomach me” – but the other half adored him, for his volatility, and the sense that here, at last, was a story we hadn’t seen before, one whose ending we didn’t know. Well, we know it now: not just for Eminem, whose peak and slow decline I’ll have to write about in depth, but for Shady, whose blend of psychopath, critic and everyman once seemed dangerously new and now feels exhaustingly, inescapably, familiar.

“Now there’s a million of us just like me who cuss like me who just don’t give a fuck like me who dress like me walk talk and act like me it just might be the next best thing but not quite me!”
Fifteen years on, this seems just as true but far less funny. Eminem didn’t invent trolling, or stay good at it for long, but his signature brand of it has thrived in the Internet century. Wreathed in lulz, self-righteous if challenged, somehow bitter about a culture it has a box seat in, vengeful against mothers, lovers, women who have the gall to speak or fuck or simply be noticed. The real Slim Shadys haunt Twitter mentions tabs, newspaper comments boxes, subreddits, social media from YouTube to YikYak, anywhere axes can be ground. Marshall Mathers no more caused our culture than Elvis caused the sexual revolution, but like Elvis he could feel some crackle in the air and he knew how to draw that lightning down through himself. He was hard to ignore, he has become hard to enjoy.

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Comments

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  1. 1
    flahr on 30 Mar 2015 #

    For some reason I was under the impression that “My Name Is…” had been the #1 and not this (recall I was not paying attention at the time at all). These live in the shadow of the bunny for me and aside from cursory half-listens on KISSTORY to confirm that they’re not as good as the bunny I’ve not listened to them out of fear they’d not be as good as the bunny.

    Eminem is very definitely someone I’ve never got into because of the sense of story there is around his music; I dunno if it’s overemphasised by the critics but I’ve always got the sense that the music relies on you knowing the biography, the history, the news stories. I find that a bit disappointing, really, but we’ve got plenty more of it to come and I’m sure that sort of #transmediastorytelling #transmedia #storytelling is just as exciting and invigorating to some people* as it is not to me.

    *I will refrain from being rude and saying ‘mostly music writers’

  2. 2
    James BC on 30 Mar 2015 #

    Is Eminem talking about fans who were inspired to dress and act like him, or complaining about hordes of copycat studiedly transgressive white rappers popping up? I always thought it was the latter – but found it a bit confusing as there clearly weren’t any.

  3. 3
    Seb Patrick on 30 Mar 2015 #

    Yeah, while I remember this being absolutely everywhere, I don’t really think of it as having been a #1. Strange.

  4. 4
    Mark G on 30 Mar 2015 #

    So, is it like Spartacus the slave, where he needs other people to stand up and shout “I am Slimshady” ?

  5. 5
    mapman132 on 30 Mar 2015 #

    Reached #4 in the US. His first US #1 was still two years away, as was his best work. TRSS was typical of Eminem’s early hits: mildly amusing on first listen, progressively annoying as time went on. Only 4/10 from me.

  6. 6
    Matthew Marcus on 30 Mar 2015 #

    Yeah, this is a triumph of substance over some very slight / mean-spirited / trollish content. But I guess you’re not going to get too far in a project to catalogue 60 years of chart-popping top if substance is all you’re after. I listened to this back-to-back with Oops!…I Did It Again just now and (for me) that was really grating by about a third of the way in, whereas I could listen to TRSS on repeat for ages, nasty nonsense though it almost certainly is!

    Jeez, I can’t believe these songs are all 15 years ago. I’ve reached that advanced age where it all starts to seem like basically yesterday…

  7. 7
    Phil on 30 Mar 2015 #

    Like the lyrical content generally, the “real Slim Shady” shtick was both clever and thoroughly asshole-ish – in fact it’s meta-asshole-ish, which (again) is clever if nothing else. Some performers welcome imitators & followers (Lady GaGa, Moz, Madonna, Bowie…), recognising (a la “Rubber Ring”) that they used to be down there themselves. What Eminem’s doing here is telling all his imitators to fuck off, when he didn’t even have any imitators – he’s staging the spectacle of a snotty Ziggy, saving himself by pissing off the fans, and then asking his fans to buy into it. Like the squeaky yammering tone of his delivery, which makes a performance of Being Irritating – I mean, it’s like somebody telling Joe Pesci he was irritating (“I’m irritating? You telling me I’m irritating? I’m sorry, did I irritate you? Am I irritating you right now? What, am I an irritating person?”… only over and over again for four whole minutes). (Thinks: what would you get if you alternated the most irritating voice in pop music with a bland, syrupy Radio 2 voice bleating life-affirming wibble? Sounds crazy but it might just work…)

    All very clever. Now please take it away and let me never listen to it again. 7 in the abstract, 4 for putting this horrible man between my ears again.

  8. 8
    lonepilgrim on 30 Mar 2015 #

    I can remember seeing the video for this at the time and finding it bewildering – which may be the point, but also because I wasn’t paying attention to the lyrics beyond the most obvious ones. What I did/do appreciate about Eminem is his flow and wordplay and his willingness to give voice to an angry, marginalised male underclass which I recognised in part from my experience working as a teacher – even if the content is ‘problematic’.
    ‘You taught me language, and my profit on ’t /Is I know how to curse.’

  9. 9
    Kinitawowi on 30 Mar 2015 #

    “Y’all act like you never heard a white person before
    His rhymes are a bore, punk kid tryin’ to be hardcore”

    It took about fifteen minutes for some American girl called Emily Ellis – who sounds vaguely like Christina Aguilera, and knows it – to go on Las Vegas’ KLUB radio with an answer song to / parody of this. Yeah, the flow isn’t as good because of the need to mix in the original rhyme schema – which shows how skilful Eminem was to pull it off in the first place – but it’s sufficient counterpoint to provide a choice.

    Eminem’s track is – as Tom noted – a lightweight attack on his perception of the pop establishment; Eliis slights Eminem as little better (“you ain’t nothin but a product / packaged to be bought up / you know, a year from now you won’t be thought of”). Personally, I was always going to side with Ellis on this one – my favourite Eminem song is the non-single “Mosh”, the only one where he gets his head out of his own arse and tries to attack an actual establishment – but Eminem scores a few points for enabling Ellis’ version to exist.

    5.

  10. 10
    AMZ1981 on 30 Mar 2015 #

    Where to start with this one?

    Let’s face it, My Name Is … had one hit wonder written all over it at the time. Even when Guilty Conscience repeated the trick Eminem didn’t look like he was going to have any sort of enduring career, let alone reshape the musical landscape.

    It wasn’t so much this song that did it (it was basically My Name Is Part 2) as The Marshall Mathers Album – the second biggest selling long player of the year as a whole – that did it. That album does of course have a better remembered bunny to come (but I suspect we’ll end up talking about the non bunnied sampled artist then) as well as a relatively modest charting non bunny I’ll come to shortly.

    My first instinct was to ignore Eminem even though I didn’t actively dislike his stuff. As a rock fan it was hardly my bag and as a gay man there were other reasons to steer clear. And yet in January 2001 I sneaked in with a copy of the Marshall Mathers LP and listened to it through headphones so my Mum couldn’t ask me why the hell I was listening to a rap record.

    I found the record a revelation, albeit an unsettling one. Eminem made no secret about his different personaes; not just Marshall Mathers and Slim Shady but within song characters Steve Berman and Ken Kanniff without always drawing a line where one ended and the other began. It was also an uncomfortable listen because it held up a mirror to a world everybody would prefer to think didn’t exist – it had been done before by the likes of Public Enemy and NWA but this was the true infiltration into the mainstream.

    The most interesting tracks (and it’s been a long time since I heard the record for reasons I will come to) were the ones where the brattish Slim Shady delivery was dropped completely and Marshall Mathers came to the fore. This gave us the unlistenable murder fantasy Kim but also the album’s best track Marshall Mathers (although the homophobic swipe at Insane Clown Posse loses it a mark) and second single The Way I Am which takes a brutal swipe at the attention that comes with fame.

    The problem I have with early Eminem is that hip hop the genre has moved on so much in a short time that the tracks now sound quite horrifically dated. It’s to Eminem’s credit that as the genre evolved so did he; he seems as comfortable in the Kanye West era as he did when Dre and Snoop Dogg ruled all. It should be added that – against considerable odds – his violent past never came back to claim him.

  11. 11
    Kinitawowi on 30 Mar 2015 #

    #6: funny you should mention those two as back-to-backing. Massively popular at my uni hall at the time was a mashup, almost certainly acquired off a nascent Napster and called some variant on “Oops… Slim Shady Did It Again”. Basically placing The Real Slim Shady’s lyrics over Oops’ backing, it pretty much shot its bolt in the first few seconds.

  12. 12
    Tom on 30 Mar 2015 #

    Re. imitators – I think he’s having it both ways, laying claim to a tribe and putting himself above them (as well as dissing any possible imitators) – but that’s partly because I see this as a pair with, er, “Bun”, because I’ve had them both on the playlist, so I’m more interested in his self-image vis-a-vis fans than I am in his self-image vis-a-vis rivals.

    But the rivals things is complex. The impression I get is that prior to a beef with Canibus around the time of The Eminem Show, Eminem didn’t really get much into public battles or feuds – despite obviously having the skills to handle them. Part of it is his genuine reverence for rap and him just not liking (or wanting to sell, at least) that sort of material, part of it is probably that as a white guy in a predominantly black genre (and becoming a superstar within that), Eminem is cautious about the language he uses and the stances he takes. The gulf in talent is what mainly differentiates him from Vanilla Ice, but also unlike him Eminem works out his own archetype, drawn partly from horror, rather than trying to imitate the existing archetypes in black hip-hop. (The obvious comparison point is INSANE CLOWN POSSE of course)

    The lack of a great imitative white rap boom after Eminem is the dog that didn’t bark in his entire story, of course.

  13. 13
    thefatgit on 30 Mar 2015 #

    “My Name Is…” was a strong debut. Deliver your rap as a letter of introduction, get Dre to present your USP in such a convincing and almost universally accessible way and watch it sail into the choppy waters of the charts, foaming with frothy pop and trance. Eminem could not fail to be noticed. The fact that it missed #1 is almost incidental. It was Slim Shady’s world and we were merely living in it.

    By the time “The Real Slim Shady” hit the top, I figured this guy would be dominating things for a long time. How disappointing is that? Compare with the man he sets himself against; Will Smith, pays his dues in West Philly and has two separate careers before hitting the top spot here, and this Missouri-born, Michigan-Raised upstart is parachuted in, seemingly overnight, and gets to crossover, seemingly five minutes after he picks up a mic. None of this is at all accurate. D12 had been in existence for at least 5 years. Eminem had paid his dues, while holding down a string of menial jobs to keep the money rolling in and feed his family. This wasn’t middle-class cultural appropriation, but a truly loquacious talent, given his moment in the sun by the good grace of Jimmy Iovine at Interscope and Dr Dre at Aftermath.

    From a more enlightened and right-on perspective, there’s plenty of subject matter in TRSS to clutch one’s pearls to. But that’s hardly the point, unless you happen to be one of his targets. TRSS is a scattergun blast of little stinging disses, designed for playground playback through the mouths of 13 year old wannabes. In the context of the 2000 pop landscape, TRSS stands out like a recently hammered thumb. (8)

  14. 14
    Tom on 30 Mar 2015 #

    #9 re “Mosh”, which I like – my favourite Eminem track of all is his other semi-political one, “Square Dance”, which is his/Shady’s response to the war on terror, slipping between a Canibus diss track, weird Bush-imitating funny voices, and a paranoid fantasy about getting drafted. I can’t think of any track that catches the surreal, accelerated feeling of post-9/11 politics and news quite as well.

  15. 15
    Shiny Dave on 30 Mar 2015 #

    #10 “(but I suspect we’ll end up talking about the non bunnied sampled artist then)”

    This reminds me of a question I’ve had for a while. Tom, are artists whose only appearances on #1 hits are in the form of sampling:

    a) unbunnied;
    b) bunnied until the first of those samples appear; or
    c) bunnied if and only if credited?

    (Amusingly, these would’ve all led to different answers for Enya were it not for “Orinoco Flow” – both “Ready or Not” and a 2004 bunny sample the same Enya track, and she gets a “featuring” for the latter but not the former.)

  16. 16
    Shiny Dave on 30 Mar 2015 #

    As for this single, I can’t mark it. It’s a magnificent piece of deeply problematic craftsmanship – “Dreadlock Holiday” feels like the comparison, but I’m not sure even that’s sufficient! It’s a 10-grade execution of a 1-grade idea to me.

    This is obviously filling a particular cultural hole that would’ve been filled anyway, and the only way I could criticise Eminem for that is if his singular brilliance at doing so made that hole bigger. Do the trends explained in the final paragraph – and I know a lot of people who are firmly on the receiving end of the damage from them – happen just as much without him? If they do, I’ve no right not to give Eminem the (very) high marks his technical merit warrants.

  17. 17
    Tom on 30 Mar 2015 #

    #15 Strictly speaking artists aren’t bunnied, only tracks are! If there’s an obvious upcoming place to discuss an act, I guess leave it till then, but it’s entirely up to you. So if you fancy chatting about Ms Florian Cloud de Bounevialle O’Malley Armstrong (for it is she) then do so any time.

  18. 18
    thefatgit on 30 Mar 2015 #

    Hmm…Dido marries Eno. Think of the carnage on the marriage certificate!

  19. 19
    Kinitawowi on 30 Mar 2015 #

    #17: I’ve said it before and I’ll say it again; some names should be legally considered child abuse.

  20. 20
    wichitalineman on 30 Mar 2015 #

    Back when he still sounded like Choo Choo from Top Cat.

    TRSS is currently scoring 8.3, which seems to go against most of the comments here. I thought this was accomplished and witty, with a properly catchy (“please stand up”) chorus, and sometimes laugh-out-loud funny. Tom has pulled out the best rhymes, which really are quite spectacular. Dated? Of course it’s dated, it’s a 15 year-old pop record.

    As for the dubious lyrics, I think we’ll find a few more – and worse – as Tom goes on.

  21. 21
    JoeWiz on 30 Mar 2015 #

    I think this works better than many of his ‘Hey! I’m Eminem and I’ve got a cutting new single with a hilarious video to trail my forthcoming album!’, maybe because it wasn’t quite as well worn as it would be become. A few of this lines are pretty cutting and can still raise the occasional smile. Eminem would make far, far better records than this, but the album this is from is still maybe his best. I’d have to disagree that this era of his music sounds dated, the references natch, but I wouldn’t say the production sounds particularly ancient. But then I’m far from a hip hop expert.
    I was much more concerned with the release, this week, of ‘Yellow’ by Coldplay. I loved it. The way it soared and chimed and entangled itself around me. I still feel pretty much the same now. But more of them in good time.

  22. 22
    wichitalineman on 30 Mar 2015 #

    ‘Dated’ is an odd concept, mainly because it’s almost always used as a negative (60s split screen films are ALWAYS described as ‘dated’). Lyrical references that are of the moment (with the possible exception of political ones) are usually a plus for me; the idea that anyone cared that much to get angry/snipey about Britney, Xtina and Fred Durst dates this very nicely.

  23. 23
    chelovek na lune on 30 Mar 2015 #

    En route from the 2 Live Crew to 4chan…technically brilliant, kind of self-consciously puerile fun, and with riffs that count. What’s not to love? Eminem was (and is) so annoyingly inconsistent – his catalogue a real mixture of brilliant, sometimes provocative, but characterful tracks on the one hand, and forgettable or just silly charmless “teenage boy thinks farting is sophisticated and funny” nonsense ones, on the other hand. TRSS succeeds in (somehow) staying on the right side of the line. 7

  24. 24
    Shiny Dave on 30 Mar 2015 #

    #17 That makes sense, I noticed a bit of uncertainty in whether or not to hide the elephant in the room that was Westlife when talking about Boyzone, and they eventually got flat-out mentioned in one review of one of Boyzone’s interchangeable hits!

    The next bunny might be a good place to talk about Dido, actually, because I always considered the artist responsible to be in the same pop game as her (and certainly the two would’ve rubbed noses at the top of Radio 2 and local radio playlists at the time!) – easy listening with some diluted dance music. Having just listened to that bunny again for the first time in years, though, that one might need a rethink…

  25. 25
    mrdiscopop on 30 Mar 2015 #

    For all the macho / psychotic posturing, this always seemed whiney to me. Maybe it was the nasal voice, maybe it was the fact his targets were so tame it felt like a petulant puppy fighting a ball of wool.

    And yet the wordplay is so beguiling. At his best, Eminem’s use of rhyme and metre is dizzying in its dexterity. And here, he combines that with a sense of humour that’s absent from his later, fame-scarred material.

    It’s very much a document of its time, though. A pop phenomenon that felt necessary to clear the decks, but which feels gimmicky and dates now.

    I’m swinging wildly between two opinions here. It’s either 7 or a 4 for me. So I’ll split the difference and go 5.

  26. 26
    Mark M on 30 Mar 2015 #

    I wonder – genuinely, not by way of posing an answer to my own question – if the question of the lack of obvious mini-Ems could be connected to this: if you did a Venn diagram of hip-hop fans and Eminem fans, how big would be the overlap section be? What do we think? (As mentioned above, there’s no doubt that he himself identifies as 100% hip hop).
    Does anyone have anything statistically useful, indeed, on this?I had a look a couple of the obvious sources. Last.fm’s ‘similar artists’ are mostly people who have worked with Mathers, at least until you get to ‘medium similarity’ Jay-Z. YouGov have him ‘correlated’ with Gorillaz, The Prodigy, RHCP, Green Day, JT.

  27. 27
    Mark M on 30 Mar 2015 #

    Bar the bunny, I don’t think I enjoy any of his songs. I wrote a couple of hundred words along the lines of ‘introducing Dre’s new white protege?’ for The Face in the build-up to the release of My Name Is… (we were meant to get an interview, but it didn’t work out). I quite liked My Name Is… for a couple of weeks, then found it grating.

    I get that his rhyming is fiendishly clever, but it has no charm, brings me no joy. I don’t like him as prankster and I don’t like him grim-faced.

  28. 28
    Tom on 30 Mar 2015 #

    #26 Jay-Z has worked with him – Eminem is on The Blueprint, on “Renegade”. But I think your general point holds – The Blueprint (and then his mini-beef with Canibus, as mentioned above) is pretty much the last time Eminem feels like part of the main current of hip-hop, and even that track was originally an Eminem track which Jay ended up doing a verse on (so it sticks out like a sore thumb on The Blueprint). Part of this is that – spoilers! – his style gets less flexible, and he stays locked into Dre-esque productions by him and producers who seem only to collaborate with him, which suit him but sound less and less like anything else going on in rap. On his last couple of records there’s a single collaboration each with a current notable figure (Wayne on Recovery, Kendrick Lamar on Marshall Mathers 2) but that’s it.

    But this is an awkward call to make – for one thing, even today he outsells almost anyone in hip-hop, as Alfred Soto pointed out on Facebook. But he feels like a wealthy satellite in orbit around the genre.

  29. 29
    pink champale on 30 Mar 2015 #

    Surpised this hasn’t got more love. I think it’s great, in particular the sheer bloody relentlessness of the thing. Apart from a couple of bars at the beginning and end there literally is not one single second where you get a break from Em’s needling, perfectly controlled drip drip of offensiveness.

    I’m not going to count, but my strong suspicion is that this is the number one with most words we’ll ever encounter

    Nothing at all statistically useful, but I do have an anecdotal sense that there were lots of people who were into Eminen at this time who had very little feeling for other hip hop either before or afterwards. Some possible reasons for this I won’t speculate on, but possibly it was also that there was something perculiarly accessible about Dre’s beats, which had an almost nursery rhyme-like quality and also that the skill and dexterity of Eminem’s rhyming, while in actual fact not massively above that of the top layer of other rappers, was somehow a LOT more obvious to a non expert audience

  30. 30
    Tom on 30 Mar 2015 #

    (Much as when All Saints showed up and people started talking about their “2000 bunny” in hushed tones and I had no idea which of two singles they meant, I am a bit baffled as to what “the bunny” is on this thread – Eminem has two massive critical smashes that got to #1 and are acclaimed by people who don’t usually have much time for him. They are very different. I look forward to finding out which one people mean, I guess! I am not saying yet what I think of either, obviously.)

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