Eminem's Twelfth Studio Album: Untitled Release from Detroit's Renowned Rapper

Detroit, Michigan United States of America
Eminem released his twelfth studio album
Title of the album is unknown
Eminem's Twelfth Studio Album: Untitled Release from Detroit's Renowned Rapper

Eminem, the renowned rapper from Detroit, released his twelfth studio album titled


Article Image
Article Image
Article Image
Article Image
Article Image
Article Image
Article Image
Article Image
Article Image
Article Image

Confidence

90%

No Doubts Found At Time Of Publication

Sources

99%

The overall score is a weighted number that takes into account conflict of interest, bias, deception and other practices that undermine the credibility of the source. It is calculated as:
(Site Conflicts Of Interest + Author Conflicts Of Interest) / 2.0 * 0.2 + ArticleBiasScore * 0.20 + UniquePointsScore * 0.05 + DeceptionScore * 0.20 + ReadabilityScore * 0.05 + FallacyScore * 0.20

A score that takes into consideration the content for flow, interruptions with ads, and overt search engine optimization techniques that makes the content hard to understand

Eminem’s New LP ‘The Death of Slim Shady’ Leaves Fans ‘Speechless’: ‘His Best Album’

Billboard Magazine Hannah Dailey Friday, 12 July 2024 21:24
  • Unique Points
    • Eminem released a new album called The Death of Slim Shady on July 12, 2024.
    • Fans have been waiting for four years for a new album from Eminem.
    • Some fan-favorite tracks include ‘Somebody Save Me’ featuring Jelly Roll, ‘Tobey’ featuring Big Sean and BabyTron and ‘Houdini’.
    • In the song, Eminem gives his daughter instructions on how to cope with his death, referencing his other children Alaina and Stevie and half-brother Nathan.
  • Accuracy
    No Contradictions at Time Of Publication
  • Deception (100%)
    None Found At Time Of Publication
  • Fallacies (95%)
    The author's statements are primarily expressing the opinions of fans and do not contain any explicit logical fallacies. However, there is an appeal to authority when the author states 'And though the album has only been out for a few hours, listeners have already come together to elect a few songs as fan-favorites.' This statement implies that because many listeners have chosen certain songs as favorites, they must be good. While this can be a valid opinion, it is not a logical argument and therefore counts as an appeal to authority.
    • And though the album has only been out for a few hours, listeners have already come together to elect a few songs as fan-favorites.
  • Bias (100%)
    None Found At Time Of Publication
  • Site Conflicts Of Interest (100%)
    None Found At Time Of Publication
  • Author Conflicts Of Interest (100%)
    None Found At Time Of Publication

60%

The overall score is a weighted number that takes into account conflict of interest, bias, deception and other practices that undermine the credibility of the source. It is calculated as:
(Site Conflicts Of Interest + Author Conflicts Of Interest) / 2.0 * 0.2 + ArticleBiasScore * 0.20 + UniquePointsScore * 0.05 + DeceptionScore * 0.20 + ReadabilityScore * 0.05 + FallacyScore * 0.20

A score that takes into consideration the content for flow, interruptions with ads, and overt search engine optimization techniques that makes the content hard to understand

Eminem review, The Death Of Slim Shady (Coup De Grâce): Punching downwards, joylessly and without inspiration

The Independent Stevie Chick Friday, 12 July 2024 14:31
  • Unique Points
    • Eminem's album, The Death Of Slim Shady, was released with a return of his alter-ego Shady.
    • Shady is a malevolent clown persona through which Eminem felt free to indulge every forbidden thought and fantasy.
    • Mathers evolved attempting to make peace with his childhood of abuse and neglect, but Shady returned as a super-villain in the album.
    • Several tracks make fun of Christopher Reeve, who died in 2004.
  • Accuracy
    No Contradictions at Time Of Publication
  • Deception (30%)
    The article contains several examples of deception through selective reporting and sensationalism. The author focuses on Eminem's controversial past and his use of offensive language, while downplaying or ignoring his evolution as an artist and his attempts to address the issues in his music. This creates a one-sided view that misrepresents Eminem's current work and intentions.
    • Across a series of sober latter-day albums with titles such as Recovery (2009) and Revival (2017), Mathers evolved, somewhat.
    • Support truly independent journalism Our mission is to deliver unbiased, fact-based reporting that holds power to account and exposes the truth.
    • The horror-movie plotline of his 12th album neatly sidesteps any of this ideological progress by seeing Shady return via time-portal from 1999, anti-hero turned super-villain.
    • Mathers is the one who sounds like he has brainworms, forever bleating about pronouns and, on Road Rage, offering the entirely unsolicited information that his dick just won’t expand around trans people.
    • But the only emcee Marshall Mathers has really been competing against is his younger self. The Slim Shady alter-ego behind his 1999 breakthrough LP and the many hits that followed most notably, the brattish, bombastic ‘I’m Back ’ – was Mathers’ id, minus the ego.
  • Fallacies (65%)
    The author makes several appeals to authority by referencing critics and the opinions of others. For example, 'Critics have suggested Eminem has been outpaced by new young rap talent.' and 'Mathers evolved, somewhat, attempting to make peace with a childhood of abuse and neglect. To a degree, Shady followed suit.' These statements are not fallacies in themselves but become problematic when the author uses them as evidence to support their own arguments. Additionally, the author makes several inflammatory statements about Eminem's music and his critics without providing any concrete evidence or reasoning. For example, 'The album often feels like a bet to see how many Caitlyn Jenner jabs Mathers can cram into 65 minutes.' and 'Mathers is the one who sounds like he has brainworms, forever bleating about pronouns and...'. These statements are not based on any facts or evidence presented in the article but rather the author's personal opinions. Lastly, there are several instances of dichotomous depictions throughout the article where the author presents a simplistic and often false dichotomy between two ideas or concepts. For example, 'The horror-movie plotline of his 12th album neatly sidesteps any of this ideological progress by seeing Shady return via time-portal from 1999, anti-hero turned super-villain.' and 'Much of The Death Of Slim Shady resembles a Telegraph op-ed: the ham-fisted mashing of people’s buttons, the blethering about “the PC police” and “Gen Z” coming to get him.' These statements present a false dichotomy between Eminem's past and present work, implying that there is no room for growth or evolution in his music.
    • ]The horror-movie plotline of his 12th album neatly sidesteps any of this ideological progress by seeing Shady return via time-portal from 1999, anti-hero turned super-villain.[
    • Much of The Death Of Slim Shady resembles a Telegraph op-ed: the ham-fisted mashing of people’s buttons, the blethering about “the PC police” and “Gen Z” coming to get him.
  • Bias (10%)
    The author demonstrates a clear bias against Eminem's new album 'The Death of Slim Shady'. The author uses derogatory language to describe the album and its content, implying that it is uninspired and lacking in ideological progress. The author also makes assumptions about Eminem's intentions, suggesting that he is trying to get a reaction from his critics by using offensive language. Additionally, the author compares Eminem's lyrics to those of a Telegraph op-ed and criticizes him for making fun of Christopher Reeve, who died over 20 years ago.
    • Mathers is the one who sounds like he has brainworms, forever bleating about pronouns and, on Road Rage, offering the entirely unsolicited information that his dick just won't expand around trans people.
      • The album often feels like a bet to see how many Caitlyn Jenner jabs Mathers can cram into 65 minutes.
        • The author compares Eminem's lyrics to those of a Telegraph op-ed and criticizes him for making fun of Christopher Reeve.
        • Site Conflicts Of Interest (100%)
          None Found At Time Of Publication
        • Author Conflicts Of Interest (100%)
          None Found At Time Of Publication

        80%

        The overall score is a weighted number that takes into account conflict of interest, bias, deception and other practices that undermine the credibility of the source. It is calculated as:
        (Site Conflicts Of Interest + Author Conflicts Of Interest) / 2.0 * 0.2 + ArticleBiasScore * 0.20 + UniquePointsScore * 0.05 + DeceptionScore * 0.20 + ReadabilityScore * 0.05 + FallacyScore * 0.20

        A score that takes into consideration the content for flow, interruptions with ads, and overt search engine optimization techniques that makes the content hard to understand

        Eminem Calls Out Diddy’s Sexual Assault and Abuse Allegations in 3 New Songs

        People Magazine Saturday, 13 July 2024 06:11
        • Unique Points
          • Eminem addresses Diddy's sexual assault and abuse allegations in 3 new songs.
        • Accuracy
          No Contradictions at Time Of Publication
        • Deception (30%)
          The article reports on Eminem's lyrics in which he accuses Diddy of involvement in the murders of Notorious B.I.G. and Tupac Shakur, as well as sexual assault allegations against Diddy. However, the article does not provide any evidence or factual information to support these accusations beyond Eminem's lyrics and hearsay from other sources such as Duane 'Keefe D' Davis who has made similar allegations in the past. The article also references a lawsuit filed by Adria English against Diddy for sexual assault and sex trafficking, but does not provide any details about the evidence or status of this lawsuit. Therefore, the article is deceptive due to selective reporting and sensationalism.
          • Amid these claims, Combs faces yet another lawsuit alleging that he sexually assaulted and sex trafficked former adult film star Adria English for years during white parties at his Hamptons, New York and Miami residences.
          • Combs’ lawyer, Jonathan Davis, told PEOPLE in a statement, ‘No matter how many lawsuits are filed it won’t change the fact that Mr. Combs has never sexually assaulted or sex trafficked anyone.’
          • Diddy has denied all claims.
          • Eminem performs onstage at ‘Live from Detroit: The Concert at Michigan Central’ on June 6, 2024.
          • Eminem zeroes in on Combs’ numerous recent allegations and alleged history of assault at least three times on his new album, The Death of Slim Shady (Coup de Grâce), which dropped on Friday, July 12.
        • Fallacies (75%)
          The article contains a few instances of inflammatory rhetoric and appeals to authority. Eminem's lyrics are presented as a form of diss track targeting Sean “Diddy” Combs and his alleged history of assault. The article also includes details about the various lawsuits against Combs, which may influence readers' opinions without presenting all sides of the story. Additionally, the article references an account from Danyel Smith, who claims she was threatened by Combs in 1997. This incident is presented as a fact without any counter-argument or perspective from Combs himself.
          • Eminem zeroes in on Combs’, 54, accusations with lyrics like, “I'm like a R-A-P-E-R (Yeah) / Got so many S-As (S-As), S-As / Wait, he didn't just spell the word, ‘Rapper’ and leave out a P, did he? (Yep).
          • Eminem previously made claims about Combs being involved in Shakur’s murder in his 2018 diss track “Killshot” aimed at Machine Gun Kelly.
          • The article references an account from Danyel Smith, who claims she was threatened by Combs in 1997.
        • Bias (100%)
          None Found At Time Of Publication
        • Site Conflicts Of Interest (100%)
          None Found At Time Of Publication
        • Author Conflicts Of Interest (0%)
          None Found At Time Of Publication

        94%

        The overall score is a weighted number that takes into account conflict of interest, bias, deception and other practices that undermine the credibility of the source. It is calculated as:
        (Site Conflicts Of Interest + Author Conflicts Of Interest) / 2.0 * 0.2 + ArticleBiasScore * 0.20 + UniquePointsScore * 0.05 + DeceptionScore * 0.20 + ReadabilityScore * 0.05 + FallacyScore * 0.20

        A score that takes into consideration the content for flow, interruptions with ads, and overt search engine optimization techniques that makes the content hard to understand

        On new 'The Death of Slim Shady' album, Eminem slays his alter ego

        USA Today Friday, 12 July 2024 00:00
        • Unique Points
          • Eminem’s 12th studio album,
        • Accuracy
          No Contradictions at Time Of Publication
        • Deception (100%)
          None Found At Time Of Publication
        • Fallacies (85%)
          The author makes several appeals to authority when mentioning the success and impact of other artists such as Kendrick, Wayne, Ye, Joyner and Drake. This is a form of informal fallacy known as 'Appeal to Authority'. The author also uses inflammatory rhetoric when describing some songs and artists in a derogatory manner. For example, he calls Nicki Minaj's album 'corny' and says Eminem's new music is 'way worse'. This is a form of informal fallacy known as 'Ad Hominem'. The author also uses dichotomous depictions when describing Slim Shady as a shadow that airs grievances about pronoun use, transgender people and people with disabilities. This is a form of informal fallacy known as 'False Dilemma'.
          • Kendrick’s album was cool, but it didn’t have any bangers/Wayne’s album or Ye’s, couldn’t tell you which one was lamer /Joyner’s album was corny, Shady’s new s--- is way worse.
          • Those who anticipated Guilty Conscience 2, his sequel to the 1999 collaboration with Dr. Dre, will appreciate the numerous callbacks to the era as he seesaws between thoughtful and offensive as old habits are coming back.
        • Bias (100%)
          None Found At Time Of Publication
        • Site Conflicts Of Interest (100%)
          None Found At Time Of Publication
        • Author Conflicts Of Interest (0%)
          None Found At Time Of Publication