Eminem and Rap, Poetry, Race: Essays

Eminem and Rap, Poetry, Race: Essays

Scott F. Parker

Language: English

Pages: 216

ISBN: 0786476753

Format: PDF / Kindle (mobi) / ePub

Eminem is the best-selling musical artist of the 21st century. He is also one of the most contentious and most complex artists of our time. His verbal dexterity ranks him among the greatest technical rappers ever. The content of his songs combines the grotesque and the comical with the sincere and the profound, all told through the sophisticated layering of multiple personae. However one finally assesses his contribution to popular culture, there's no denying his central place in it. This collection of essays gives his work the critical attention it has long deserved. Drawing from history, philosophy, sociology, musicology, and other fields, the writers gathered here consider Eminem's place in Hip Hop, the intellectual underpinnings of his work, and the roles of race, gender and privilege in his career, among various other topics. This original treatment will be appreciated by Eminem fans and cultural scholars alike.

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with two black rappers: New Orleans’s Juvenile, and Philadelphia’s Eve. Alim first determined the overall rates of is/are absence in two albums: Juvenile’s 1999 That G-Code, and Eve’s 1999 Let There Be Eve … Ruff Ryders’ First Lady. He then recorded interviews with each artist Figure 4. Percentage of is/are absence in the speech of Juvenile and Eve, by style. A Cracker’s Knack for Verses (Flynn) 71 in 2000 and determined the rates of is/are absence in those interviews. I’ve plotted the

Dr. Dre’s suggestion of peace as absurd on “Guilty Conscience” at 2:48 is further strengthened by a deliberate pause. Throughout his entire oeuvre, Eminem displays an understanding of how to affect the listener musically. Perhaps this interpretation of musical phenomena is overly specific, but rap, above all, is a thoroughly expressive form. Maybe at one point rap may follow the abstract example of recent contemporary artistic trends like serialism, perhaps through the rapping of nonsense

the rhythmical variety on display in Eminem’s “My Life” verse, or in any number of Eminem verses (like “No Love” and “You’re Never Over” on Recovery). To find a rapper on Eminem’s par in this regard, listen to his Bad Meets Evil collaboration with Royce ’da 5'9". Royce is not the complete rapper that Eminem is, but unlike most of Eminem’s sidemen, he proves he Somewhere in Between (Nolan) 117 can hang with him. At times, the two are like jazz players trading fours. But a more poignant modern

this case black people—while still retaining the benefits of being white. Eminem himself has supported this claim, as when he points out in “White America” that “suburban kids” dig his work at least partially due to his blue eyes. Hamilton’s critique lines up in other ways with Bauman’s concept of the entertainer’s role in a consumerist society. She claims that Eminem “overcom[es] the inevitability of white trash … through the production of a traditional narrative of self-sufficiency grounded in

’70s and carried a less insulting connotation, designating whites who were keen on black culture.39 But for the most part, its use was aimed to denigrate the identity confusion of these whites. It is important to specify that, in the same way that the first occurrences of the term “white trash” around 1830 were among black speakers, the word “wigger” was also probably born from “black speech.”40 The semantic reversal of the term as 180 Eminem and Rap, Poetry, Race well as its generalization in

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