Eminem's construction of authenticity in hip hop music

Eminem as a Commercial and Psychological Model

The articles by Edward G. Armstrong and Michael D. Cobb & William a. Boettcher III, "Eminem's Construction of Authenticity" and "Ambivalent Sexism and Misogynistic Rap Music: Does Exposure to Eminem Increase Sexism?" respectively, are concern with the effect of Eminem's music on the public, as well as the source for misogynistic and sexist conventions portrayed in hip-hop music. The articles try to determine the source and effect of these conventions, approaching the subject from different points-of-view.

In "Eminem's Construction of Authenticity," Armstrong focuses on Eminem's commercial potential and the exploitation and magnification of personal issues. Eminem rose to prominence through the aid of Dr. Dre who sought to cash in on Eminem's talent, at the same time entering a new marketable demographic. Unlike other "gangta rappers," Eminem is not a "lyrical ethnographer" who recounts violent tales of life in the ghetto (Armstrong, 14). Rather, Eminem's violent lyrics are not typifications of his race, class, or neighborhood (14). Unlike his counterparts, Eminem's credibility is not associated with his upbringing or background, rather on the message he conveys. Eminem's commercial viability allowed him to "promote his white identity, to foster his violent misogyny, and steer clear of the 'N-word'" (14). Given Eminem's upbringing, it is natural to assume that he would draw upon his personal experiences, magnifying his observations and feelings, and target an audience that could relate. Because Eminem cannot relate to like in a ghetto, and the experiences usually attributed to a "gangsta rapper," Eminem must adapt to a subculture in which he is the minority, all the while trying to assimilate into a musical genre that has inherently been dominated by black artists.

The study conducted by Cobb and Boettcher seek to analyze the effect of Eminem's lyrics. Cobb and Boettcher sought to test out three hypotheses; the first would examine if exposure to misogynistic music would result in greater levels of expressed sexism; the second intended to examine is non-misogynistic rap music would result in expressed sexism; and the third sought to examine whether exposure to misogynistic music would result in increased sexism for males and reduced sexism for females (Cobb, 3027). The study found no substantial increase in sexism after exposure to misogynistic music, and paradoxically found that non-misogynistic music aroused feelings of sexism. The study also found that while hostile and benevolent sexism in males increased after exposure to non-misogynistic music, only benevolent sexism was seen to increase in females (3036).

While Armstrong's article approached the subject matter contained in Eminem's music from a sociological and commercial perspective, Cobb and Boettcher seek to study the effects of the message conveyed in Eminem's music. Armstrong explores Eminem's place in a black dominated genre, analyzing how he adapted and was groomed to become one of hip-hop's most successful artists. Cobb and Boettcher's article, on the other hand, explores the effects of misogynistic and violence, particularly the Eminem's lyrics. Approached from a psychological perspective, the study produced shocking and unexpected results.