By: David Brock |November 14, 2013When you let thirteen years pass between a key album and its conceptual continuation, as happens with the two parts of “The Marshall Mathers LP”, it becomes difficult to find arguments that justify or support the meaning or suitability of the project.Lack of ideas? Nostalgia for a past that will never come back? Commercial resource to attract the attention of disenchanted fans? Thematic excuse to release new songs?The truth is that when you listen to “The Marshall Mathers LP 2” you have the feeling that it is a sum of all that, but regardless of the motivations that have led Eminem to give his most successful work, the hip album, a brother best-selling hop of all time, also the recording that elevated him and shaped his speech for the general public, the final result is not only not up to the bar set and set by its predecessor, but it is not even capable of claiming to be an album to be taken into account in the current hip hop sphere beyond its impact –magnificent and profitable– on the sales charts of half the world.Gone are those days when Eminem's return to record news was news and a reason for expectation and excitement.Unfortunately, that is not the only change that Eminem has experienced between the release of the first and second parts of his flagship title.In the spring of 2000, when “The Marshall Mathers LP” was released, Marshall Mathers was already in a clear and inevitable transition to becoming Eminem, with all that that implied: huge sales, international fame, guaranteed controversy and, as a consequence of everything, this, massive impact of each of their actions, statements or movements.Marshall Mathers ceased to be Marshall Mathers when the album appeared, both because of the popular gale that caused his success and because the rapper's artistic hallmarks were already defined and presented in their maximum expression, on a journey that, due to its characteristics, He didn't seem to have a reverse gear.In the fall of 2013, when “The Marshall Mathers LP 2” was released, the process traveled in reverse: Eminem wanted to be Marshall Mathers again, to return to his origins, to blur the trail of the role he had played for the last thirteen years. years, recover everything he lost when his speech was propelled to infinity and the history books.Nothing new: it is a very frequent and common symptom among singers, groups or rappers who, at an age and at a low point or at a point of stagnation in their career, when twilight looms, bet on rewinding to find a motivation that they lack In day to day.When “The Marshall Mathers LP” came out, Eminem wasn't just the king of the hip hop circuit;he was also the king of the world.Nobody dared to discuss him as a gifted MC or as a pop icon or as a privileged mind of show business.Today, on the contrary, it is hardly any of the three things.Well, nobody disputes that he is still a prodigious rhymer;Nor is his technique as a rapper questioned, one of the most refined, versatile, complex and amazing in the firmament.But time has made a dent in his career and his halo as an artist.Thirteen years go a long way, among other things for you to go from being the next big thing in the genre to a representative of the old guard, to go from being the freshest meat on the market to a canned jar, to go from being the most clear exponent of the new school to an icon of the old.And it is not a problem derived from age or the passage of time – there we have the case of Kanye West;eleven years since his debut and his speech remains as current and exciting as then–, but about how you have approached your career.And in the case of Eminem, this has been outlined with a clearly downward line: from "Encore" to "The Marshall Mathers LP 2" his releases have been progressively losing freshness, strength, impact capacity and meaning. of rupture of their first albums, but, above all, they have put aside that balance between artistic offer and commercial projection that marked their beginnings and that allowed them to believe in the compatibility between quality and popular reach.The hip hop that Eminem bills today is as or more commercial than that of yesteryear;but considerably more impoverished from a musical point of view.It is only relevant in sales lists anymore;before it was inside and outside of them.The loss of status influences how we see Eminem today.But perhaps the most pronounced, hurtful and definitive difference between the Marshall Mathers of 2000 and that of 2013, and already referring to the strictly sound material that we find in the two parts of the series, lies in the decline of the character.That was an intelligent, perverse and defiant storyteller who risked in his exposure of hatred, violence and resentment against the world.If Eminem transcended and deserved such relevance at the turn of the century, it was not only because of the highly misogynistic, homophobic and aggressive content of his lyrics, also ratified in the video clips of his singles or in incendiary statements in the press and on television, but also because of the the fact that all this was personified in the figure of an international superstar, in a true pop icon.And nuance: in a white pop icon.Eminem sold as many or more records with “The Marshall Mathers LP” than Bono, Bruce Springsteen, Backstreet Boys or Mariah Carey, but with a speech not recommended for people under 18 years of age and vetoed by all kinds of associations.Nothing that NWA, Snoop Dogg, DMX, 2Pac or Notorious BIG hadn't done before, but with that racial nuance that was of capital importance in the United States and that made Slim Shady a historical differential factor.With "The Marshall Mathers LP" Eminem challenged the recording industry and American society, and he did so with a language, ideas and stories that mixed humor, irony and double readings with stories of extreme violence, direct allusions with proper names, personal miseries from the past but also from the present and a feeling of hatred that seemed credible, absolutely alive and real.On “The Marshall Matters LP 2” it's hard to believe him, but even harder to take him seriously.Ever since that performance with Elton John at the 2001 Grammys, in an attempt to defuse the album's controversies and fraternize with show business, it's as if Eminem has been more concerned with conveying the appearance of a sane, stable, rehabilitated guy. socially – also physically, after his problems with drug use – than for taking care of his artistic career.It is true that “Re-up” and, above all, “Relapse” make explicit an a priori interesting expressive and personal evolution in their songs, with a more introspective, reflective and, ehem, adult profile, and that has given some moments of raw honesty emotional, but that is precisely why the content of “The Marshall Mathers LP 2” is so disconcerting and disappointing, where the rapper tries to return to some tics from the past that were no longer part of his recent record, which in a way ruin the work done this time, contradicts its reformed and expressively rediscovered wake and, furthermore, leaves a bad taste in the mouth in the context of this second part in which it is not clear what is revival, what is an excuse and what is revulsive.The sound orientation has not survived well over the years either."The Marshall Mathers LP" was a record custom made by Dr. Dre.By tailor-made, I mean an album that was perfectly planned and calculated to fit the pieces of the Eminem puzzle and that the machinery worked seamlessly, at full capacity: Dre's beats, samples and instrumental contributions on that album are not only imaginative, carelessly commercial and intuitive, but also make perfect sense in the lyrical context in which the rapper moves.It is a production that perfectly understands the double meaning, that integrates with a master's hand the sense of musical humor in the universe of rage and bad vibes of the rhymes and the atmosphere and that bills hits like churros without having the feeling that it does deliberately or knowingly.“The Marshall Mathers LP 2”, on the other hand, is a very clear example of why the one from Detroit has lost the punch and spark of before.It is a sound that is closer to the civil servant than to the genius: four or five singles of rigor, with some female voice in the choirs to appease the spirits;two or three concessions to the hip hop public –courtesy of a Rick Rubin who limits himself to revisiting his mid-80s rap-rock beats for Beastie Boys and Run DMC–;and the rest, a lackluster exercise in consensus between obvious rock samples, pop melodies, and arena epics.I am not trying to establish a comparison with the first part, since it is absurd considering the result of one and the other, but to verify what Eminem has become in 2013, a shadow of what he was in 2000 and a big question mark of what that is yet to come in the short and medium term future.This is an article with really useful information.Thanks for posting!Really helpful information given in this blog.thank you for this information.Kinemaster may be a powerful video-editor tool that is formed for the video written material functions for each mobile further as a laptop.kinemaster windows is a cross-platform application which may be utilized by golem, iOS further as Windows users.For skilled video-editing expertise, it's preferred 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Make sure your form and required documents are complete.Plus pay the fees.And I can assure you that more than Marshall, no one loves RapWatch Series is one of the most popular web platforms, and many hit TV shows are offered free online, which is just like a TV shows library.Not just the popular TV series, but also several classic TV shows can be found on the Watch Series.While Watchseries TV is a site for streaming so mature TV series, it needs advertising to keep its operation.This will then stop people from visiting the site.Often there are also system glitches that break up the web.In this period, people need to find other TV series that watch websites online.People can explore all new things at Disney World Star Wars and this is a good place to spend time with family friends. 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