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Many of them have left comments on the clip of him performing “Lose Yourself” at this year's Oscars, celebrating their hero "finally" being recognised by the establishment and Hollywood elite – despite the fact the song was the first hip-hop track to ever win an Oscar, 18 years ago. His fans also seem to share this confusing, in-built sense of inferiority. This persecution complex would maybe make sense if Eminem had at any point stopped being successful, but it’s especially weird when you realise he is one of the best-selling artists of all time, boasting ten straight-to-number-one albums. It also features a track in which he calls Tyler, the Creator a 'fa**ot'. Meanwhile, Eminem’s 2018 surprise album Kamikaze opened with a five-and-a-half-minute intro in which he sent for an array of wearyingly familiar and predictable targets, including journalists and critics, the entire entertainment industry and the rise of mumble-rappers with ‘Lil’ prefixes. But their members have all since grown quite visibly, both as people and artists, fleshing out the characters they inhabit and stories they tell with vulnerability and nuance. There have been plenty of other artists since Eminem who’ve explicitly cited him as an influence, including Odd Future, who came out with their own iteration of parent-baiting shock-rap in 2011. This is not to say his DNA has left rap’s gene pool.
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There’s no denying Eminem changed popular culture – for better or for worse is up to you – but the world has changed immeasurably since he first shocked it with his misanthrope anthems. There is simply nothing subversive about a middle-aged man with two grown children rapping about how much he hates his step-dad for “sticking his dick in my mom”. His attempts at stoking controversy in 2020 – including lyrics about the Ariana Grande Manchester bombing and a track written from the perspective of the 2017 Las Vegas shooter – have not been picked apart because they are offensive, but because they’re embarrassing. The tragedy of Slim Shady is that he is still writing fight music for high school kids, except now he’s nearly 50 years old, yelling at clouds in a world that has moved on without him. “I don’t make black music / I don’t make white music / I make fight music for high school kids,” he rapped on "Who Knew" back in 2000.
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The problem is that these days Eminem is an adult too, yet appears to have been frozen in time by the people he perceives his audience to be. There is no denying that Eminem is (was) a talented rapper: his first couple of albums are legitimately good, even if some of the lyrics and content matter make me shudder as an adult (I absolutely cannot listen to “Kim” now without feeling like I’m going to have a panic attack). Unfortunately for Mathers, time and success have made him part of the same, smirking establishment he spent his early years making fart noises at, and in this era of constant, churning online outrage there has never been any less of a need for his brand of rap. In the years when internet use was prevalent among Western teens but before social media arrived to dominate attention spans, Mathers was basically a multi-millionaire Twitter troll taking potshots at everyone from Michael Jackson to Christina Aguilera to Moby to Pee-wee Herman, with no discernible logic connecting his targets other than they were recognisable figures who were there to be pissed on.
#EMINEM SORRY TV#
The lauded white face of a black art form, he was compared favourably to Elvis Presley, played himself in the 2002 quasi-biopic 8 Mile, provoked street protests before a Grammys duet with Elton John and along with his protege 50 Cent was ubiquitous across cable music TV channels, where he bridged the gap between America’s two imperial musical exports of the time: rap and nu-metal.
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In anyone's terms, Eminem is still huge today – it was just announced that his latest release, January's Music to Be Murdered By, is only the second album to this year to be certified gold – but it's difficult to overstate just how colossal Eminem was in those early years of fame.