Kim fanno entrare di forza l'iperrealismo nel rap allo stesso modo inĬui i Doors facevano entrare la droga nel pop. Le fantasie lascive di Eminem su Britney Spears eĪltre "bitches" (cagne), "sluts" (troie) e "faggots" (checche)Īssortite sono destinate a deliziare le folle (se le folle sonoĪbbastanza morbose come tendono a essere), ma l'arte e` altrove: Stan e The Marshall Mathers LP (Columbia, 2000) raffina quel tipo diĪpproccio. (Translation by/ Tradotto da Maria Dolores Perriello) The album will sell 15 million copies in two years. With two guys, etc, the ultimate form of self-glorification) that viscerally Interludes of people commenting on Eminem's attitude, of he having oral sex Mathers is a calculating pop phenomenon (songs alternate with brief spoken Turned rap, Drug Ballad employs a stomping beat, a strummed pianoĬriminal sounds like a mockery of Eminem's own hit My Name Is,Īnd Marshall Mathers is a parody that borrows from Broadway On the other hand, The Real Slim Shady is a farcical rigmarole withĪ vaudeville-esque rhythm, I'm Back is virtually a cabaret number When it works, Eminem's pantomime is a force of nature. To emphasize the melodrama, The Way I Am employs even death bells and aīeethoven-ish piano figure, and its rap is as visceral and desperate as With the post-Morrison Freudian nightmare of Kill You, a rap (pacedīy brutal pauses) that sweeps away any remaining taboos about sex and violence,Ī conversation piece in which vulgar language becomes "the" poetic language. It is not a coincidence that Mathers' tragic peak comes Score punctuates the screams of two arguing lovers and contrasts with aįorce hyper-realism into rap music the same way the Rude male rap alternates with an angelic female lullaby over sounds of a stormĪnd a Neil Young-ian rhythm) and Kim (whose thundering, symphonic Salacious fantasies of Britney Spears and other assortedĪre crowd-pleasers (if the crowd is morbidĮnough, as crowds tend to be), but the art is elsewhere: Stan (whose The Marshall Mathers LP (Columbia, 2000) refines that approach. Still Don't Give A, riassume questo tragico leitmotiv Senso di desolazione o addirittura solitudine che finisce per riflettere ilĭestino tragico e la weltanschaung dei disadattati urbani. Nonostante il suo umorismo "macho", la musica di Mathers e' permeata da un Parsimoniosa scelta degli strumenti con ritmi sincopati ridotti al minimo. Le canzoni di Mathers sono caratterizzate da una
( '97 Bonnie & Clyde, dove la madre della bambina viene uccisa e laīambina stessa aiuta Mathers a buttare il cadavere nell'oceano, eīad Meets Evil). ( Guilty Conscience) cosi` come la discutibile predica antisocialeĭelle sue fantasie perverse, che coinvolgono spesso sua figlia ( Brain Damage, Rock Bottom), il suo senso di colpa freudiano Suo seguito Just Don't Give A Fuck), la sua tormentata adolescenza Sarcastico spensierato di Mather (il singolo hit My Name Is, con il The Slim Shady LP (Universal, 1999) mette in risalto l'atteggiamento (Translation by / Tradotto da Cinzia Russi)Įminem (Marshall Mathers), rapper bianco di Detroit,įa parte della legione di Insane Clown Posse e Kid Rock, ostili ragazziniīianchi dei sobborghi che scatenano le loro rabbiose sfuriate nei confrontiĭella societa` parodiando la musica di strada del ghetto. The album topped the charts for weeks in 2000. Which ultimately reflects the doom and weltanschaung of the urban misfits.Īnd the closing Still Don't Give A recapitulates this tragic leitmotiv Pop icons like Spice Girls or Pamela Anderson),Ī sense of desolation and even loneliness permeates the music, Notwithstanding Mathers' macho humour (particularly bitter when addressing Mathers' songs are crafted with a parsimonious choice of instruments and Helps him throw the body in the ocean, Bad Meets Evil).
( 97' Bonnie & Clyde, in which his baby's mother gets killed and the baby His perverted fantasies, which frequently involve his own daughter His freudian sense of guilt ( Guilty ConscienceĪnd the questionable antisocial preaching of Sarcastic attitude (the hit single My Name Is., the follow-upīesides his tormented youth ( Brain Damage, Rock Bottom), The Slim Shady LP (Universal, 1999) highlights Mathers' carefree and Infinite (1996) revealed a confident rapper with a prodigious flow,Įspecially in Infinite, even if the bombastic beats didn't quite merge with the rapping. That unleashed their angry rants at society through a parody of ghetto music's White rapper Eminem (Marshall Mathers) from Detroit joins the legionĪnd Kid Rock: disaffected white kids from the suburbia ( Copyright © 1999 Piero Scaruffi | Terms of use) Eminem: biography, discography, reviews, links