At the 2000 MTV Video Music Awards, commanded an army of bleach-blonde soldiers. Beginning his performance of The Real Slim Shady outside New York’s Radio City Music Hall, Em and his squad of lookalikes entered the arena and made a beeline for the stage like white blood cells rushing to a wound. It was a clever performance, ribbing on the wacky single’s central theme: that when it came to the rapper, accept no imitators. But it also worked a microcosm for the wider pop climate. At the turn of the century, was absolutely everywhere.

It’s damn near impossible to describe the cultural currency Eminem had back then. His popularity was somewhere in the region of finding money you didn’t know you’d lost. The narrative of the white rapper who’d come up in the harsh arena of Detroit seduced the public so much that they made a semi-factual movie about it, 8 Mile, with the emcee himself in the lead role. His shtick was built on shock value and kids were drawn in like Icarus to the sun Em (Slim Shady to some of those who absorbed his alter-ego first) didn’t leave a footprint in the pop landscape – it was more like a meteor crater. But you won’t feel the reverberations from the impact today. Instead, his most dominant era – roughly 1999 to 2002 – has fossilised, with little lasting appeal or relevance.

I’m sure there are people who kept their Anger Management tour T-shirt and still bump My Name Is weekly. That doesn’t mean Eminem’s music hasn’t aged as badly as Donald Trump’s 2013 tweets. Sonic evidence of his influence on the current generation of artists is extremely limited. Even his biggest hits rarely seem to get aired in public these days. Put it this way: Eminem’s vicious beef with Ja Rule might have smashed the Murder Inc Records juggernaut 14 years ago, but I know whose singles I still hear go off in the club.

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That’s not to suggest Eminem – whose new album, Revival, is expected to be released this weekend, his first since 2013’s The Marshall Mathers LP 2 – never had any talent. His technical proficiency on the mic is, at times, truly stunning. Analysing the way he puts clusters of syllables together is akin to glancing under the bonnet of the starship Enterprise.

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And take a look at his recently released live a capella performance,which rinses Trump from every angle. It’s a brawny, gripping piece of slam poetry. Aashiqon mein jiska title titanic song mp3 free download full.

But let’s be real: the emcee didn’t ascend the highest peaks of planet pop solely because of his rap skills. Keeping it real: Eminem and his Slim Shady lookalikes rehearse for the 2000 MTV Video Music Awards in New York. Photograph: Frank Micelotta/ImageDirect Eminem’s music plays like a schlocky horror movie, mixed with documents that spilled out of a family court, and extracts from a bratty teenager’s diary.

He made sex jokes about celebrities and used his gift for turning a phrase to paint violent imagery, penning, for example, narrative-driven songs about killing his wife complete with sound effects. His shtick was built on shock value and kids were drawn in like Icarus to the sun.

But what happens when the terrible teens grow up? Eminem’s gimmicks hold up about as well as a Crazy Frog single. There are more thorns peppered throughout Eminem’s catalogue, specifically his use of homophobic language Music that is made by artists whose core motivation is to test moral boundaries is often an exercise in short-termism. Eminem wasn’t making any broad political statements when he joked about impregnating The Spice Girls. Even the most controversially violent rap acts – NWA, for example – often had important messages on top of the beats. In Em’s case, when the conservative outrage dissolved and public handwringing ceased, there wasn’t much in his music that cut to the heart. When Eminem tried to do deep-thinking, the results were mixed.