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Michael Chaney and Jason Lindquist

‘The Gothic Aesthetics of Eminem’ examines key videos, lyrics, and performances of the white hip-hop celebrity, noting the reoccurrence of such Gothic tropes and narrational strategies as self-replication, the spectacle of monstrous proliferation, the spread of fakery and the counterfeit, as well as the abjection of women. The authors compare Stoker‘s Dracula to Eminem, whose cultural menace similarly functions to proselytise white young men into clones, refracting the racial and sexual anxieties of Stoker‘s novel. The article moves from a consideration of the rapper‘s songs and videos ‘My Name Is’, ‘The Real Slim Shady,’ and ‘Stan’ to the film, 8 Mile.

Gothic Studies
John Street, Sanna Inthorn, and Martin Scott

this had implications for what type of celebrity they were prepared to listen to or to have represent them. They might be willing to accept that popular musicians, like Eminem, can tell them something about how the world works, saying of one of his albums that ‘it’s quite factual’ and that they ‘trust’ him not to have ‘made up’ the lyrics (Interview 23). But this trust in Eminem’s veracity does not translate automatically into a willingness to have someone like him represent them politically. As we found, if celebrities were going to perform this role, our

in From entertainment to citizenship
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Childhood, sexuality and The Smiths
Sheila Whiteley

boundary between songs which express a carnal desire for the mother, and those which express a similar lust for the child? Is there a distinction between songs which perform under-age desire such as Tatu’s ‘All The Things She Said’,2 those which focus on the boundaries of legality (Sam Cooke, ‘She Was Only Sixteen’), and those which express a more predatory obsession such as Eminem’s ‘Guilty Conscience’?3 My concern in ‘Nursery Crymes’ was to explore the problematic relationship between image, age and musical performance. More specifically, I was interested in the erotic

in Why pamper life's complexities?

This book is the first ever concordance to the rhymes of Spenser’s epic. It gives the reader unparalleled access to the formal nuts and bolts of this massive poem: the rhymes which he used to structure its intricate stanzas.

As well as the main concordance to the rhymes, the volume features a wealth of ancillary materials, which will be of value to both professional Spenserians and students, including distribution lists and an alphabetical listing of all the words in The Faerie Queene. The volume breaks new ground by including two studies by Richard Danson Brown and J. B. Lethbridge, so that the reader is given provocative analyses alongside the raw data about Spenser as a rhymer. Brown considers the reception of rhyme, theoretical models and how Spenser’s rhymes may be reading for meaning. Lethbridge in contrast discusses the formulaic and rhetorical character of the rhymes.

Kevern Verney

superstar Eminem. In one of the most recent works on the genre British scholar Eithne Quinn’s Nuthin’ but a ‘g’ thang ( 2005 ) examined the origins and development of gangsta rap, concluding that the new music was born out of both the decline in black protest culture and the rise in individualist and entrepreneurial thinking that occurred in the United States from the 1970s onwards. 22 In addition to expanding the sum of academic knowledge in the, by now, increasingly established areas of research, like film, television, music and sport, other scholars examined

in The Debate on Black Civil Rights in America
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Scott Wilson

of ‘what troops in Iraq listen to as they roll into battle’, rap and metal artists took the top nine out of ten places, including Tupac, Eminem, System of a Down, Linkin Park, Hatebreed and Nickelback. The number one favourite was Drowning Pool’s ‘Bodies’ (2001), a song that was suppressed by American radio stations in the immediate aftermath of the attacks on the World Trade Center 14 Great Satan’s rage and the Pentagon. Since rap and metal have been, over the past fifteen years, the most commercially successful forms of music, this popularity is hardly

in Great Satan’s rage
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‘Passing’ fads?: recent controversies of authenticity and authorship
Sinéad Moynihan

parents are bible-bashing religious zealots. If one latter-day mode of passing is ‘wigger culture’, in which white subjects partake in cultural ‘blackness’, then, as Dreisinger argues, white hip-hop artists such as Eminem ‘legitimate their right to hip-hop by sporting “white trash” as a badge of pride that substitutes race for class.’ Similarly, by transforming Jeremiah’s ‘class position into a kind of race one, one that gives [him] license to speak of suffering’, LeRoy both alludes to and revises the relationship between race and class that characterises the

in Passing into the present
Publics, protest and the avant-garde
Nick Crossley

matter of musical conventions and form. Popular music, as Adorno hears it, adheres to a very narrow range of familiar formats and, insofar as it admits of tension, resolves it very quickly in neat endings which serve to reassure the listener. Halnon ( 2005 ) offers a contemporary updating of this line of argument in her account of what she calls ‘F*** the Mainstream Music’ (FTMM). Focusing upon artists such as Eminem, Limp Bizkit, Slipknot and Marilyn Manson, who rail against both the mainstream and commercialism in music, often articulating feelings of intense

in Connecting sounds
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Scott Wilson

excellent (and Deleuzian) point when he draws a distinction between critics of the repetition of popular music as ‘the hallmark of mass production’ and hip hop’s ‘logic of musical repetition as artistic differentiation; the producer’s creativity lies in the ability to harness repetition itself ’ (138). And just as the DJ can continue the beat indefinitely, the rapper can rap as long as he or she likes, in turn harnessing the power of repetition through the rhyme and rhythm of language. ‘I fucking despise hip hop. Loathe it. Eminem is a fucking idiot and I find 50 Cent the

in Great Satan’s rage
Andrew Klevan

‘savor the obvious differences between Eminem and P. Diddy’ (2007: 94). There will be more differences to ‘savor’ if Lauryn Hill, Talib Kweli, Immortal Technique, Atmosphere, and Kendrick Lamar are added to the mix (tape). What is evaluative aesthetics? 55 know from my experience that sometimes this convention might be deployed merely to provide the thrill of the unexpected, to explain a series of mysteries or oddities, or to get the film out of a hole. I also know from experience that the revelation of a denouement may diminish the film as a whole by sealing it

in Aesthetic evaluation and film