Say there's a white kid who lives in a nice home, goes to an all-white school, and is pretty much having everything handed to him on a platter - for him to pick up a rap tape is incredible to me, because what that's saying is that he's living a fantasy life of rebellion. -Eminem
Although I was somewhat struck dumb when I ran across the above quote, in most ways, I think the man nailed it on the head. I will admit I have a certain fascination with rap and I think Marshall
The first song of Slim’s that I remember listening to on the radio that made me stop the car and not only listen to the rest of the track before getting out but lingered with me for the next few days at least was “Stan.” I still consider it one of his most impressive works. This fictitious collection of letters from a misguided and emotionally unstable fan both provide a dark satirical allegory on the overhyped fanatics who idolize performers, but at the same time reflects upon his own role in pushing the envelope to the point where this behavior becomes nearly inevitable. The pairing of the first verse of Dido’s “Thank You” is equally ironic and appropriate.
“Who Knew” puts Eminem in the position of a Pontius Pilate – washing his hands of his role in the encouragement of abuse, violence, sex, and drug culture. He takes every opportunity to point the finger instead at lax parenting, poor schooling, the mainstream media, everyone else but himself. While I (and again, I think most people who actually listen through his words,) understand the point he’s trying to make, Shady fails to provide an alternative and his venom for the system only fuels what he’s supposedly railing against.
Likewise, “The Way I Am” takes a defiant stance of “you’re going to look at my work and see what you want to see, so why should I argue with you.” Actually, I’m not sure if he’s railing against his stereotypes or wholeheartedly embracing them. The argument works equally well on both levels. “The Real Slim Shady,” arguably the most commercially successful track on the LP puts a little more emphasis on the hook, but I feel less emphasis on the message. Despite the graphic language (which, by the way, is less… aggressive… than Notorious B.I.G’s) it’s a radio-format friendly tune – catchy to the point of nearing pop. The backing loops are immediately recognizable, and the chorus is clean enough it makes radio play without edit. Ironic, that it says so much less than the other pieces on this album.
Another interesting facet of Eminem’s music is his use of multiple personas. While they are of course all the same person, “Slim Shady” is not “Marshall Mathers” and neither of them are “Eminem.” By separating these three and referring to each of them often in the third person, Mathers successfully separates himself from his other “characters” and can at least give the illusion of objectively commenting on himself. “Marshall Mathers,” “The Real Slim Shady,” “I’m Back,” and “Remember Me” all take different viewpoints on these aspects of his stage persona, to great effect.
Eminem’s music, particularly the work presented on The Marshall Mathers LP are somewhat of a paradox. It simultaneously presents a poignant commentary on the mainstream’s portrayal of the urban-rap culture while at the same time reinforcing each and every one of the stereotypes he’s ranting against. Again, it’s as if he were writing for the demographic described in the opening quote; the ones far enough removed from the projects that they feel they can sit in judgment, but at the same time, out of some twisted sense of morbid curiosity, desires a glimpse into that life. Or maybe he’s just that good of an artist and poet – that I honestly feel like he’s targeting me.
Next up – Haydn: The Creation
Next week – Conditions (The Temper Trap)
I love the way you identify yourself with him. I've also found him intriguing and enjoyed reading your review of this album.
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