FacebookTwitterGoogle+RedditEmail

Swift, Twain, Browning? Nah, It’s Eminem

Swift, Twain, Browning? Nah, It’s Eminem

“My little sister’s birthday, she’ll remember me
For a gift I had ten of my boys take her virginity (“Mmm-mm-mmm!”)
And bitches know me as a horny-ass freak
Their mother wasn’t raped, I ate her pussy while she was ‘sleep
Pissy-drunk, throwin’ up in the urinal
(“You fuckin’ homo!”)
That’s what I said at my dad’s funeral”
from the song “Amityville”

Back in the mid-Eighties when metal rocker Blackie Lawless was acting out his rape fantasies on stage with a circular saw as part of a codpiece (the prototype for Eminem’s current act featuring a chainsaw?), one of the arguments that some used in his defense was that no one actually listened to the likes of Blackie Lawless, so Tipper Gore and her footsoldiers in the Prude Brigade really had nothing to worry about.

The same can’t be said for Eminem, since he sells millions of CDs and gets plenty of free airtime on MTV and radio and-much to his fury-Napster. So a more elaborate–though not necessarily more sophisticated defense has had to be deployed. It goes thus: Eminem is a creature of his environment. He is the authentic voice of the poor, white working class. White trailer trash. He is what American capitalism has made him. His angst is real, his anger legit-though misdirected at women and gays because of malign social forces. Like Elvis. Or Bill Clinton. One critic called him “our” Johnny Rotten. But where the Sex Pistols attacked the Queen, Eminem bashes queens. One’s political, the other’s not. And that’s all the difference in the world.

But then on top of this a second defense is layered: namely, that Eminem is a master satirist; that his lyrics-which some demented writer in The London Guardian declared as being the equal of, and in some ways superior to Robert Browning’s – are really an ironic expose of our own homophobia, mysogyny, class bias. He’s our Swift, Twain, Ishmael Reed.

Then realizing there might be a potential conflict between defense A and defense B, a third one is proffered: namely, that the genius of Eminem is to be found in the “ambiguity” of his lyrics-which would, we guess, allow for him to be both “authentic” and “satirical”. It’s like there’s an unreliable narrator at work, say the narrative voice in Henry James or Alain Robbe-Grillet.

But all of these are merely self-congratulatory rationalizations of critics and they are undermined by what Eminem himself has to say about what he’s doing-which is that the lyrics are a “gimmick”, that “they don’t mean what they say”, and “aren’t worth a grain of salt”. In other words, it’s all a put on, not for some satirical purpose, but merely because he and his label know that these kinds of exploitative lyrics appeal to pre-teens who share many of the same phobias/fantasies.

In other words, it’s not about making music, expressing the condition of the alienated working class in Detroit, but about making money. Eminem said this precisely in his attack on Napster. He’s marketing hate to kids for money. It’s that simple and not that different in kind from tobacco advertising-which could be defended on artistic and 1st amendment grounds as well, and indeed has been by the tobacco industry’s hired guns.

Eminem’s lyrics are a kind of premeditated infantilism, but not a healthy regression toward the polymorphous perverse, but a summons to the thanatic impulse, a call for division, repression, an invocation of the very forces that have divided the working class for decades. He serves the interests of the State. The idea that Eminem might be “censored” is a ruse, and a tired one, and an insult to those who have truly been censored. Cross the powerful, question the System and you risk censorship, lawsuits, SLAPP suits, beatings, harassment or worse. As long as Eminem remains a whore for the corporations, he will continue to accumulate wealth and be shielded from the censors of the state. And he is a corporate mercenary, whether it’s flacking for Nike or for the music industy’s trade association, the Recording Industry Association of America.

Unlike the censors at GLAAD and other groups, we have no desire to amputate Eminem’s right to self expression. Let him rap by all means. To our minds, here at CounterPunch, he’s a hired gun from the poor part of town who preys on the powerless, extorts money from the poor, and celebrates a thuggish brand of gangster capitalism. His defenders and apologists in the critical world are just another arm of the very same industry.
The more instructive analogy with Eminem would have been with Browning’s original idol, Percy Shelley-the most irascible English poet since Kit Marlowe. Shelley was an adulterer, an atheist, an abortionist, drove his first wife to suicide, a victim of censorship who was driven from England, and in turmoil with his own homosexual longings. The all-round infant terrible of English poetry, who had the honor of being savaged by the crypto-fascist Matthew Arnold.

Forget Shelley’s ability with the language and look only at the sensibility of the two. Both have blood lust. But Shelley longs to see the powerful pay, the deposition of tyrants; he was an unrepentant Jacobin. Eminem is the neighborhood bully, preying on the weak, the defenseless, the marginalized, singing the virtues of accumulation and consumption, never once taking on the powerful-a would-be tyrant, himself.

It’s one thing to defend Eminem against censorship-quite another to promote, as Chaucer would say, “the sentence” or message of his lyrics. Remember the lines by Shelley, dashed off in a hour of rage following the Peterloo Massacre–the WTO protest of its day, where 40,000 protesters and laborers were trampled by English police on horseback. Try to find any similar sentiments in Eminem. Here are two stanzas:

The seed ye sow, another reaps;
the wealth ye find, another keeps;
the robes ye weave, another wears;
the arms ye forge, another bears.
Sow seed-but let no tyrant reap;
Find wealth-let no imposter heap:
Weave robes-let not the idle wear;
Forge arms-in your defence to bear. CP

Jeffrey St. Clair is editor of CounterPunch. His new book is Killing Trayvons: an Anthology of American Violence (with JoAnn Wypijewski and Kevin Alexander Gray). He can be reached at: sitka@comcast.net. Alexander Cockburn’s Guillotined! and A Colossal Wreck are available from CounterPunch.

Weekend Edition
September 21, 2018
Friday - Sunday
Alexandra Isfahani-Hammond
Hurricane Florence and 9.7 Million Pigs
Andrew Levine
Israel’s Anti-Semitism Smear Campaign
Paul Street
Laquan McDonald is Being Tried for His Own Racist Murder
Brad Evans
What Does It Mean to Celebrate International Peace Day?
Nick Pemberton
With or Without Kavanaugh, The United States Is Anti-Choice
Jim Kavanagh
“Taxpayer Money” Threatens Medicare-for-All (And Every Other Social Program)
Jonathan Cook
Palestine: The Testbed for Trump’s Plan to Tear up the Rules-Based International Order
Jeffrey St. Clair
Roaming Charges: the Chickenhawks Have Finally Come Back Home to Roost!
David Rosen
As the Capitalist World Turns: From Empire to Imperialism to Globalization?
Jonah Raskin
Green Capitalism Rears Its Head at Global Climate Action Summit
James Munson
On Climate, the Centrists are the Deplorables
Robert Hunziker
Is Paris 2015 Already Underwater?
Arshad Khan
Will Their Ever be Justice for Rohingya Muslims?
Jill Richardson
Why Women Don’t Report Sexual Assault
Dave Clennon
A Victory for Historical Accuracy and the Peace Movement: Not One Emmy for Ken Burns and “The Vietnam War”
W. T. Whitney
US Harasses Cuba Amid Mysterious Circumstances
Nathan Kalman-Lamb
Things That Make Sports Fans Uncomfortable
George Capaccio
Iran: “Snapping Back” Sanctions and the Threat of War
Kenneth Surin
Brexit is Coming, But Which Will It Be?
Louis Proyect
Moore’s “Fahrenheit 11/9”: Entertaining Film, Crappy Politics
Ramzy Baroud
Why Israel Demolishes: Khan Al-Ahmar as Representation of Greater Genocide
Ben Dangl
The Zapatistas’ Dignified Rage: Revolutionary Theories and Anticapitalist Dreams of Subcommandante Marcos
Ron Jacobs
Faith, Madness, or Death
Bill Glahn
Crime Comes Knocking
Terry Heaton
Pat Robertson’s Hurricane “Miracle”
Dave Lindorff
In Montgomery County PA, It’s Often a Jury of White People
Louis Yako
From Citizens to Customers: the Corporate Customer Service Culture in America 
William Boardman
The Shame of Dianne Feinstein, the Courage of Christine Blasey Ford 
Ernie Niemi
Logging and Climate Change: Oregon is Appalachia and Timber is Our Coal
Jessicah Pierre
Nike Says “Believe in Something,” But Can It Sacrifice Something, Too?
Paul Fitzgerald - Elizabeth Gould
Weaponized Dreams? The Curious Case of Robert Moss
Olivia Alperstein
An Environmental 9/11: the EPA’s Gutting of Methane Regulations
Ted Rall
Why Christine Ford vs. Brett Kavanaugh is a Train Wreck You Can’t Look Away From
Lauren Regan
The Day the Valves Turned: Defending the Pipeline Protesters
Ralph Nader
Questions, Questions Where are the Answers?
Binoy Kampmark
Deplatforming Germaine Greer
Raouf Halaby
It Should Not Be A He Said She Said Verdict
Robert Koehler
The Accusation That Wouldn’t Go Away
Jim Hightower
Amazon is Making Workers Tweet About How Great It is to Work There
Robby Sherwin
Rabbi, Rabbi, Where For Art Thou Rabbi?
Vern Loomis
Has Something Evil This Way Come?
Steve Baggarly
Disarm Trident Walk Ends in Georgia
Graham Peebles
Priorities of the Time: Peace
Michael Doliner
The Department of Demonization
David Yearsley
Bollocks to Brexit: the Plumber Sings
FacebookTwitterGoogle+RedditEmail