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By Scott F. Parker

Eminem is the best-selling musical artist of the twenty first century. he's additionally probably the most contentious and most intricate artists of our time. His verbal dexterity ranks him one of the maximum technical rappers ever. The content material of his songs combines the gruesome and the comical with the honest and the profound, all instructed throughout the refined layering of a number of personae. although one eventually assesses his contribution to pop culture, there is no denying his important position in it. This number of essays offers his paintings the severe consciousness it has lengthy deserved. Drawing from historical past, philosophy, sociology, musicology, and different fields, the writers amassed right here ponder Eminem's position in Hip Hop, the highbrow underpinnings of his paintings, and the jobs of race, gender and privilege in his occupation, between a number of different themes. This unique remedy should be liked by way of Eminem enthusiasts and cultural students alike.

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S. racial politics. In the end, however, the actual questions that critics have asked about Eminem’s racial authenticity tell us more about the racism of the culture in which Eminem operates than they do about Eminem himself. As was the case with Elvis before him, questions about Eminem’s racial authenticity perpetuate the larger culture’s tendency to reduce all racial politics to the level of the (stable, coherent, essentialized) individual. ” helps to deflect attention away from the racism of the culture industry, and allows us to duck difficult—yet significant—questions about institutionalized racism and popular music that deserve to be addressed more openly and directly.

For a more extended discussion of this practice, see Tricia Rose, “Fear of a Black Planet: Rap Music and Black Cultural Politics in the 1990s,” Journal of Negro Education 60(3): 276–290. 23. pdf. 24. For an especially cogent version of this argument with respect to the blues, see Paul Garon, “White Blues,” in Noel Ignatiev and John Garvey, Race Traitor (New York: Routledge, 1996). 25. asp. 26. For more extended versions of this argument, see Jim Goad, The Redneck Manifesto: How Hillbillies, Hicks, and White Trash Became America’s Scapegoats (New York: Touchstone, 1997); bell hooks, Teaching to Transgress: Education as the Practice of Freedom (New York: Routledge, 1994); bell hooks, Where We Stand: Class Matters (New York: Routledge, 2000); Eric Lott, Love and Theft: Blackface Minstrelsy and the American Working Class (New York: Oxford University Press, 1995); and Patricia J.

Policing the Crisis: Mugging, the State, and Law and Order (New York: Holmes & Meier, 1978): 16–17]. In extending and updating the notion of the “moral panic” as a category of social analysis, Angela McRobbie notes that at root the moral panic is about instilling fear in people and, in so doing, encouraging them to try and turn away from the complexity and the visible social problems of everyday life and either to retreat into a “fortress mentality”—a feeling of hopelessness, political powerlessness and paralysis—or to adopt a gung-ho “something must be done about it” attitude.

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