The Source magazine demonstrates that [Eminem] is not immune to the sorts of criticisms made against previous white rap artists (Vanilla Ice being the most (in)famous example), the ‘white trash’ identity has, together with his evident fluency in the cultural codes of hip-hop and black street culture, enabled him to break new ground as the first white rapper to be accepted by his peers and by hip-hop’s (predominantly white) audience. (130)
White mentions that this new image was not immune to criticism but eventually accepted into the community, “divorcing… hip-hop culture from its roots as a… African American cultural form” (White 142). This divorce signifies the beginning of white artists’ ability to emerge into a new musical genre that was dominated by racial intolerance. By using image and his cultural background, Eminem was able to identify with both races in a manner that spoke to their lives. His image appealed to a white audience, and at the same time, his background appealed to a black audience. In addition, his lyrics served as a vehicle to deliver his message for both white and black America. Marcia Alesan Dawkins indicates, “[Eminem] walks close to the edge, between the shards of identification, in order to negotiate the boundaries of blackness and whiteness in… transracial entertainment” (45). Dawkins speaks to Eminem’s risk to walk on the line so to speak when it comes to his participation in the industry. Close in your own words (WARRANT).
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