Pop goes the rapper: a close reading of Eminem’s genderphobia

Pop goes the rapper: a close reading of Eminem’s genderphobia

Pop goes the rapper: a close reading of Eminem’s genderphobia

VINCENT STEPHENS

Abstract

"This article argues that controversial hip-hopper Eminem is more properly termed a genderphobe
than a homophobe. Eminem consistently uses homophobic language to critique gender behaviour,
not sexual orientation. Focusing on genderphobic lyrics more accurately reveals hip-hop culture’s
emphasis on gender behaviour rather than the emphasis on sexual object-choice that homophobia
implies. The focus on genderphobia also highlights a discriminatory practice aimed toward
external behaviour that is related to homophobia but operates differently in certain cultural
realms. I ground my discussion by focusing on the centrality of authenticity in hip-hop and
gender propriety’s centrality in comprising hip-hop notions of authenticity. Additionally, I
emphasise how all pop stars rely on personae to convey convincing images to the public. I conclude
by analysing the Pet Shop Boys and Mariah Carey’s ‘answer songs’, which directly address
Eminem’s genderphobia and authenticity."

FULL TEXT

2·5×6 metres of space: Japanese music coffeehouses and experimental practices of listening

2·5×6 metres of space: Japanese music coffeehouses and experimental practices of listening


DAVID NOVAK
132 W. 112th Street, Apartment 3F, New York City, NY 10027, USA
E-mail: den12@columbia.edu


Abstract
This article describes a specific history of technological mediation in the circulation of popular
music by examining local practices of listening to recordings in Japanese kissaten (often
shortened to kissa and meaning, loosely, ‘coffeehouse’). In postwar music kissaten, Japanese
listeners were socialised to recordings of foreign music through new modes of hyper-attentive
listening. While jazz kissa (though famous as crucibles for radical pro-democracy politics and the
explosion of modern urban cool in post-war Japanese cities) encouraged local listeners to develop
musical appreciation through the stylistic classification of distant recorded sources, later
experimental music kissa helped forge unique local performance scenes by disturbing received
modes of generic classification in favour of ‘Noise’. I recount the emergence of a genre called
‘Noise’ in the story of a 1970s Kyoto ‘free’ kissa Drugstore, whose countercultural clientele came
to represent ‘Noise’ as a new musical style in its transnational circulation during the 1990s. This
ethnographic history presents the music kissa as a complicated translocal site that articulates the
cultural marginality of Japanese popular music reception in an uneven global production; but
which also helps to develop virtuosic experimental practices of listening through which imported
recordings are recontextualised, renamed and recreated.

FULL TEXT