I will be the first to admit that it has taken me a long time to consider Eminem an artist of any kind.  Yet, looking back over the emcee’s career, he has amassed an incredible amount of material, and his reworking of famous pop hits is in many instances genius.

However, I find the new material of recovery somewhat disturbing in a non-artistic manner. In the past I can say that I thought his vulgarity was merely a prop, but to label Mathers as profane for the purpose of being profane would underestimate him. He appears in many songs to be fully aware that his celebrity status is linked to his message, which he has never deviated from and which has the intensity of a great artist not at home with his own work.

His recent work of recovery then, explores the boundaries of unmentionable society in america and beyond. Part of Mathers’ brilliance is his ability to have no qualms of being vilified about bringing to light the dark underbelly of america’s domestic life. While I find his newest songs too hard to listen to, I understand the artistic area he comes from and hopes that in 40 years his pushing of the proverbial envelope is seen for the artistic quality it deserves.

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