Analysis of, "Eminem and the Tragedy of the White Rapper"

          

             This paper is an analysis of an article written by Ian Verstegen titled, Eminem and the Tragedy of the White Rapper.  This article discusses the cultural differences between black and white rap artists in the music industry.  It talks about the reasons the author feels so many white rap artists fail to succeed in the industry and gives examples of mistakes some of the most famous rap artists made that led to the demise of their careers.  It also discusses the most famous white rap artist, Eminem, and what he has done differently that has led to his long standing success in the business.  In my analysis of the article, I will provide a summary of the author’s main points of view, my opinion of whether I think his points are legitimate, and also why this article is important.

            The author starts out by pointing to the fact that for many years the rap music industry has appeared to be segregated, therefore preventing many white artists from maintaining any long term success in the industry.  “When the situation is compared with mainstream Jazz or Rock and Roll, which have completely successfully co-opted the ancestral forms that were largely a black invention, one can see how enforced the situation in rap is,” (Verstegen, p. 873).  In the author’s point of view, he states that white rap artists can be successful until they grow too popular and catch the attention of the mass media.  It seems as if this is the point when these artist’s careers begin a downward spiral.  Although these artists may have begun careers with a black following, once their popularity with white suburbanites grows, their popularity with black markets begins to dwindle. 

            Another reason the author gives for the diminishing careers of these white rap artists is that they do not choose their stage names very wisely.  A few examples are Vanilla Ice and Snow.  Their names appear to be white novelty names and much of the disapproval from the media and black market stems from the name a white rap artist chooses.  He states that, “to reference whiteness in the mass-media is immediately to signal one’s alterity even though these names could arise in quite legitimate and natural circumstances,” (Verstegen, p. 879).  Unfortunately for Vanilla Ice, after he hit the mainstream media his name was later used in numerous spoofs, including Vanilla Sherbet in one movie.   Eminem has skillfully avoided any type of white referencing name and simply took his initials, Marshall Mathers, hence M and M.  The author points out that his lyrics provide a whimsical shifting between his two identities, Marshall Mathers and Slim Shady, “between white and black, thereby destabilizing them,” (Verstegen, p. 880).

            Another mistake the author points out white rap artists make is identifying themselves too strongly with a particular city.  Some of these artists may strongly identify themselves with a particular city in the hopes that it will make them appear that they were raised in a tough, inner city lifestyle.  They do so to be able to fit in with the rap artist’s lifestyle.  Eminem, on the other hand, identifies himself with Detroit, and while he was raised there he does not give specific details on his life there or where exactly he lived.  In one of his songs he declares his biographical background irrelevant, which helps prevent the mass media from trying to uncover the specific details of his past. 

            The last mistake of the fallen white rap artist the author points out is the banding together with other white rap artists.  He says that, “the common whiteness becomes a lie that they are ‘different’ from real rappers after all, and challenges their legitimacy,” (Verstegen, p. 877).  He explains a few white rap groups, the Beastie Boys and House of Pain, that were a group of white rap artists, but they may have had a black DJ, and these groups may have had a few hits, but failed to make it in the rap industry long term.  Eminem, on the other hand, has always rapped by himself or with his founder, Dr. Dre.  Even when he came together with his band, D12, the band members were all black and he took his place anonymously alongside them. 

            The author of the article points out that there are many things that Eminem has done differently than past white rap artists and has skillfully done these things.  Eminem was discovered in 1999, and has had the longest standing career of a white rap artist in history.  He has had at least four albums that have held credibility with the black market and continue to be played on black music stations with call in requests.  Even though he has become idolized by white teenage suburbanites, he continues to hold his credibility and raps of these issues in “White America.”

            After reading this article, I can see some of the points the author speaks of as seeming very true.  After examining the downfall of so many white rap artists, it does appear that the rap music industry is developed to be segregated and white rap artists have to skillfully tip toe their way through this industry to become and remain successful.  I can also see how so many white rap artists that at one time had fairly successful careers failed badly once their popularity hit the mass media. 

            I feel as if this article is important in providing an explanation of why so many white rap artists cannot seem to become successful.  It also helps provide a detailed examination of the cultural differences between whites and blacks in the music industry.  I think the world has come a long way from past times but it shows that there are still many aspects of the world that are partially segregated, not just with rap music, but unfortunately, with many other things, where either whites or blacks seem to be the primary race that is able to succeed in a certain business. 

           

Reference:

Verstegen, I. (2011). Eminem and the tragedy of the white rapper. The Journal of Popular Culture. Vol. 44, No. 4. Wiley Periodicals. Pgs. 872-889