Eminem can you feel

Thousands of gays each year are bashed and harassed by young men. For these victims, this is not an academic debate about the differences between literalist and satirical art. It hits closer to home. What began as a tentative dance has become a passionate embrace. In fact, he loves you. You know, underneath that gruff exterior, between the lines of those nasty lyrics, lies a tender heart that has been hurt, a good man who just needs more love and understanding.

This is a myth that battered women have been fed for centuries! That his violence is her responsibility, that if only she loved him more, his abuse would stop. How could he? He loves his daughter! His defenders — including women — will utter some of the most discredited myths about abusive men as if they have special insight! The fact is, most batterers are not one-dimensional ogres.

We all know that heterosexual young guys are forever struggling to figure out what girls want. That girls want to be treated with dignity and respect? Girls and women, even those who have been coopted into Eminem-worship, want to be treated with respect. Eminem is popular with white audiences in large measure because the African American gangsta rap icon Dr. Dre himself is one of the most misogynous and homophobic figures in the history of rap music.

In other words, Eminem and Dre are modeling a perverse sort of interracial solidarity that comes at the expense of women. But Marshall Mathers, if he ever was an underdog, has long since crossed over into the role of bully. Unlike most bullies this side of right-wing talk radio, however, he has a very large microphone and now a screen presence.

One glaring similarity is the folklore that Mathers has actively constructed about his famously difficult childhood. Justin wrote and sung part of the track, but says he wasn't in the studio with Eminem and asked for the song's message to be changed when he heard the finished song.

Eminem has been criticised for his use of homophobic lyrics throughout his year career in the mainstream. The rapper has previously defended his offensive language, saying that he believes the F-word is the same as calling someone a 'punk'. But he also formed a friendship with Elton John, who said in that Eminem was not homophobic and claimed he was "writing about the way things are, not how he thinks. Follow Newsbeat on Instagram , Facebook and Twitter. Listen to Newsbeat live at and every weekday on BBC Radio 1 and 1Xtra - if you miss us you can listen back here.

People think they know everything about you, but they really know nothing about you. Who were your big influences at that time? I remember one of the first times I went out to L. I met Dre and Jimmy [Iovine] at Interscope, and it felt so ridiculous and so far-fetched that this was happening.

When Dre walked in, it was like an out-of-body experience. Nothing in my life had been going right for me, but he put me up in the Oakwood apartments and paid my rent so I could record with him.

There was a period when I stayed up writing for 48 hours straight and ended up crashing at, like, six in the morning. JOHN: That validation and encouragement from him must have meant the world to you. That first time in the studio we did three or four songs in, like, six hours, and with any beat he threw on, I either had to rhyme to it or write something right there. Do it again.

They never really go away. People are always interested in what they do. There are ups and downs. The human side of people is that sometimes they fail. Each song I record has to get better.

I get upset when people knock it, because I can absolutely see the musicality in it. First, the beat has to be great—you start there. The complex use of language and style and aesthetics of the genre have implications for metaphoric and personal meanings communicated by clients and subsequent therapist interventions. Rap and its connotations can be used to understand the whole person.

Rap artists could serve as role models with teenage clients mimicking artists of their preferred genre. One recommendation is that training courses encourage students to become familiar with rap and gain a deeper awareness of the complexities of the genre in order to avoid misunderstanding or facilitate further understanding of material presented by clients in the therapy space. Therapists were in agreement that contraindications are similar to other aspects of music therapy but aesthetics of the genre can give clues as to whether or not rap might be contraindicative.

The data suggests therapeutic skills are required to manage this. FI described two important aspects specific to rap that could potentially contraindicate.

One strategy to avoid this was to offer alternative lyrics or introduce pre-composed rap without this element. Second, clients could identify with negative role models. This is supported by Erikson who, when referring to the potential of adolescents to fall into a state of "role confusion", states patients may;. In the data she discusses this in direct relation to the use of offensive language in rap, confirming the same distinction must be made when managing boundaries.

This is not unique to the genre as adolescent clients can use other genres or improvised music to over stimulate in other ways. Respondents did not detail how they managed this, partly because this was outside the remit of the study.

All therapists were in agreement that rap should not be contraindicated any more than other genres or styles of music. Although systematic selection of participants produced a range of models and countries, similarities and differences are not acknowledged; further consideration is beyond the scope of this study. During data collection, interviews naturally became less standardised and more fluid.

Interviews lasted between 30 minutes and 1 hour depending on participants circumstances; scheduling, taking into consideration international time differences, influenced this. Throughout interview, I endeavored to verify meanings and interpretations. Informant validity helped moderate this; data in the themes were further enhanced when necessary.

The researcher was the instrument of data collection and analysis and ideally data analysis would have been a shared process to allow control for inter-researcher reliability.

Owing to resource constraints, this was not possible therefore supervision was used as a type of triangulation and a control to counteract biased and selective interpretations. As stated in the methodology, in order to position herself within the research and provide insight into the research process, the researcher maintained a critical stance in regards to her personal background, ambitions and interests.

Using these influences introspectively in the data analysis process served as a springboard for interpretations and more general insight as opposed to skew the data. The amount of data collected was large considering the scope of the project; selection and construction of themes was complex.

Ideally more would have been included; another limitation of qualitative research in general is that data has to be lost. Upon reflection, a smaller sample might have enabled more detailed analyses of data. It was the intention of the researcher to focus and produce a rich and meaning data set; it is hoped this was The researcher was immersed to a high degree in the large volume of data. I avoided becoming overwhelmed and maintained a systematic and rigorous approach by returning to the data many times and using supervision to discuss emerging themes, ensure my analysis was unbiased and to help consolidate ideas.

The complete data set was reviewed each time a validating or contradictory finding emerged. Data analysis was a long and challenging process since interpretations had alternative explanations and categorisations were interchangeable. This confirms the data as rich in meaning. To maximize potential, data relating to pre-composed and improvised rap was considered.

Future research could focus specifically on boundary management relating to one or the other. Likewise, owing to the scale of this project, clinical work with groups and individuals was not distinguished.

Both would allow a deeper and richer analysis. Research focussing more narrowly on any of the themes identified in this research could produce more specific and detailed results. A similar study using client groups other than adolescents could produce different data. Equally, a study with a larger, globally representative sample with a wider range of experience perhaps undergraduates, newly trained therapists and non-academics and whose practise is influenced by a variety of models could be conducted.

A similar qualitative study with clients who have used rap in music therapy could be undertaken, the sample purposive and incorporating a variety of ages, cultures, backgrounds and nationalities. A similar study could be conducted whereby analysis focuses on offensive material incorporated.

Instances where boundaries required consideration could be documented. Follow-up interviews with clients exploring their relationship with rap, social and cultural history, background and other factors represented by themes discovered in this research could be included.

It would be interesting to see how results differed by conducting an anonymous global survey using a questionnaire, fixed alternative, scale or structured interview. This study has been an attempt to explore how music therapists manage verbal boundaries when using rap in music therapy and the potential contraindications.

Analysis of the data, placed within the context of the sparse amount of literature available, produced several main findings. There have been instances when music therapists have needed to consider boundaries regarding lyrical content. Responses are similar despite the range of nationalities and approaches; theoretical understanding is influenced by the model of music therapy adopted, although there is some cross over.

Prevalent is the acknowledgement that rap can evoke strong reactions and that the therapist is aware of this in order to respond appropriately. Supervision and familiarity with the genre can help. Understanding what the client is communicating can assist boundary management.

The purpose of the rap produced often affects the offensive language therapists allowed in the therapy space. When the music is to be heard by others or the focus is the craft of the rap and the client as song-writer, boundaries arise naturally. Familiarity with the genre, specifically with stylistic and cultural connotations, aesthetics, complex use of language and artists, is essential in managing boundaries appropriately.

Contraindications are similar to other aspects of music therapy but aesthetics of the genre can indicate whether rap might be contraindicative. The data hopefully contributes towards clarifying what informs music therapists when considering how to manage the offensive material introduced within rap and when rap may contraindicate. The analysis shows clearly a cross-over in approaches despite different training backgrounds.

The themes determined could direct music therapists as to factors requiring consideration regardless of their model; individual ways of working could influence what therapists choose utilise from the findings. Lightstone described difficulties deciding how to manage boundaries during his study owing to a lack of literature and music therapy mentors who had used Rap. It is not the purpose of this research to serve as a guide but more a preparatory tool for those therapists new to the genre and its use within therapy.

I suggest that boundary management and assessment of whether rap could be contraindicative will necessitate spontaneity and informed clinical judgement rather than adherence to a rule book. It is hoped that the research may be of some interest to the profession and other therapists working with adolescents, rap and other popular genres to which the ideas that have emerged may apply.

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