Not afraid The evolution of Eminem

Journalist Bozza has already written a biography of Eminem, Whatever You Say I Am (2003), so this is a continuation of the story, but it is also a passionate look at the Detroit rapper's music during the subsequent years. Bozza begins with the 2017 BET Hip Hop Awards where Eminem presented an overtly political and one-sided battle rap against his absent opponent, Donald Trump. The author addresses the usual criticism of Eminem as a white man in an African American game, provides a history of white rap, and considers the singer as a reflection of contemporary America, with all of its divisiveness and flaws. He examines Eminem's life and career since 2003, including his Anger Management Tour 3, stints in rehab and struggles with depression, and his dual comeback albums, Relapse (2009) and Recovery (2019), the latter of which Bozza calls a turning point in Eminem's creativity. Bozza also looks at The Marshall Mathers LP 2 (2013) as a bookend to the controversial The Marshall Mathers LP (2000), tagged as one of the greatest hip-hop albums ever. An expert and thoughtful assessment.--June Sawyers Copyright 2019 Booklist

Bozza follows Whatever You Say I Am: The Life and Times of Eminem with this uneven, hagiographic biography of Detroit rapper Eminem. After a crisp introduction from LL Cool J that calls out the "little extra turbo boost" Eminem's career received from being white, Bozza follows the early success of Eminem's first albums and his starring in the movie 8 Mile. Eminem struggled with family strife, addiction, and creative drift, Bozza writes, all compounded by the toxicity of fame and the 2006 shooting death of his best friend, rapper Proof, his "anchor to reality." Picking up in earnest after Eminem went to rehab two years later (where he was eventually helped by Elton John), Bozza turns from biographer to adoring music critic, cataloguing albums, collaborations, and professional beefs. Filled with lucid dissections of rap technicalities, the book does a solid job of placing Eminem in the modern hip-hop scene, but too often the author falls back on lavishing kudos ("the greatest wordsmith rap has ever known," for example) and tiresome breakdowns of sales figures and critical blurbs of each record. While there are sparks throughout, this ends up feeling like a rote account of the otherwise electrifying career of Eminem. (Nov.)