On May 23, 2000, Eminem released the last great album of the twentieth century. His previous two albums had proved him to be a clever and foulmouthed rapper, but “The Marshall Mathers LP” was his masterpiece, condensing a few years of American culture into seventy-two minutes of tasteless jokes about Bill Clinton and “South Park,” Jennifer Lopez and Christopher Reeve, Gianni Versace’s murder and the Columbine massacre.
Luckily, the rapper has found a new victim, someone who can give as good as he gets: himself. On earlier albums, he turned his life into a cartoon, starring “regular guy” Marshall Mathers and his “crazy” alter ego, Slim Shady; he even created an animated series called “The Slim Shady Show.” Now he seems to be trying to turn the cartoon into a life.
Because he’s a white rapper, Eminem has been lumped in with the rock-rap movement, but he has generally shied away from the music. While Kid Rock, another white rapper from Detroit, crossed over to rock and roll and country music, Eminem worked to establish hip-hop bona fides, taking his musical cues from Dr. Dre, a hip-hop classicist who still believes in bass lines and backbeats, and who became his mentor and producer.
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