When Eminem first released his single "Stan" — a fictional tale of a fan whose devotion takes a deadly turn — the concept of parasocial relationships with celebrities was nothing new.
In the years before the 2000 track became a smash, celebrities like Rebecca Schaeffer, John Lennon, and Selena Quintanilla all fell victim to fans-turned-stalkers. In some cases, those fans saw an unfortunate fate; in 1996, a Madonna fan was shot after trespassing into the star's property and making violent threats.
Twenty-five years after the release of "Stan"— which Eminem performed with Elton John at the 2001 GRAMMYs, before The Marshall Mathers LP won Best Rap Album — "stan" has become shorthand for a particularly fervent fan and a worldwide phenomenon.
Eminem examines this culture through his recently released documentary Stans, which explores the culture behind his own stans and fanbases like Beyoncé’s Beyhive, Nicki Minaj’s Barbs, and Taylor Swift’s Swifties. Each fanbase has a significant social media presence and frequently take their dedication from behind the screens to real life by camping out by venues to meet online friends and by merch. Sometimes, passionate fans will take it upon themselves to act out against their favorite artist’s rivals.
Though Em’s "Stan" has a darker backstory, stan culture has evolved to have a more palatable connotation among fans of musicians. Read on for a history of "Stan" and how Eminem impacted both the music landscape and the modern lexicon.
The Story Of "Stan"
Stan — a fictional character voiced by Eminem — writes Eminem several letters over the course of many months, as described in the song. Interspersed with a sample of Dido’s 1999 hit "Thank You," Stan’s accounts grow more and more frustrated as he believes Em is ignoring his letters, and even describes a situation in which Em snubbed him and his younger brother — "We waited in the blisterin' cold for you, for four hours, and you just said, ‘no.’"
Em’s unreciprocated energy eventually pushes Stan to drive off of a bridge with his pregnant girlfriend in the trunk. By the time Em replies, it’s too late.
In the video, which was directed by Philip Atwell and Dr. Dre, actor Devon Sawa portrays Stan and Dido his ill-fated girlfriend.
"Casting was probably the first big hurdle," says Atwell. "We wanted someone with real acting chops — someone on the rise, but not a big enough name to pull viewers out of the story. Devin Sawa just clicked. He wasn’t trying to ‘act,’ he embodied the role, and we all felt that. It seemed natural for Dido to play the female lead. I remember her feeling a bit intimidated initially, but once she got settled in she worked out perfectly."
Toward the end of the video, viewers see news anchor Jane Yamamoto on the scene, as the car is discovered. Having worked as a reporter in Los Angeles in the years before and after "Stan," Yamamoto says she has witnessed the effects of parasocial relationships with celebrities. "I wouldn't say I saw it so much during that period, but later covering people like Justin Bieber or Taylor Swift," she says.
In an example of art imitating life, Yamamoto garnered a small fanbase of her own after "Stan" and videos for "Forgot About Dre" video and 2000's Up in Smoke Tour featuring Eminem, Dr. Dre, Ice Cube, and Snoop Dogg. "People would even approach me doing my job and act like they knew me because they watch the news every night, which was flattering, but at times it would be really uncomfortable," Yamamoto says. "My colleagues through the years say they've experienced the same thing."
Eminem Courts Controversy Ahead Of The GRAMMYs
Em performed "Stan" at the 2001 GRAMMYs, with Elton John singing Dido’s parts. The performance saw Eminem in the role of Stan for the first three verses, rapping from a set designed to look like a bedroom. During the first chorus, a curtain opens, revealing John to the audience.
"When Elton John was revealed on stage, I clearly recall that his entrance was a metaphor for coming out of the closet," GLAAD panelist Scott Seomin tells GRAMMY.com.
Yet hours before Music's Biggest Night, the set was protested by GLAAD and LGBTQ+ advocacy groups, which slammed the rapper for his homophobic language on The Marshall Mathers LP. A line on "Stan," in which Eminem derides Stan's suggestion about "We should be together too" was also considered homophobic.
In addition to such pejoratives, much of the album leans into horrorcore, with violent lyrics targeted toward his mother and his ex-wife.
"We're not against the man," Seomin said at the time. "We're against his words. … It's about violence, not about ridicule."
More than two decades later Seomin stands by the protest, though he applauds Eminem for ceasing to use homophobic language and for advocating for the LGBTQ+ community. He considers the impact of Eminem's performance at the GRAMMYs:
"The song still resonates as it can open conversations about mental health and suicide, parasocial relationships and the impact of celebrity culture, which is ‘heavier’ today than in 2001."
Eminem is no stranger to controversy. Throughout his career, the 15-time GRAMMY winner has chagrined many with the violent content of his music, as well as his use of homophobic and transphobic slurs.
But Eminem supporters and fans have defended his lyrics, noting that they are simply part of his storytelling. Journalist Andrea Aguilar — who launched her AllAboutEminem blog when she was 15 — claimed that Em’s naysayers were reading too much into the lines. "The lyrics are really funny and misunderstood. People are overanalyzing them too much," she tells GRAMMY.com.
A Stan, For Better Or Worse
In 2017, the word "stan" was added to the Oxford English Dictionary, defined as "an overzealous or obsessive fan of a particular celebrity." In the years since, stan culture has continued to grow on social media.
Though cases like Eminem’s fictional "Stan" are few and far between, standom can sometimes approach dangerous territory. In 2015, after Beck infamously won Album Of The Year for Morning Phase over Beyoncé's 2013 self-titled album, members of the Beyhive edited Beck’s Wikipedia page over 100 times. In 2023, Swifties doxxed a writer who criticized her Eras tour. Last year, Chappell Roan took to TikTok to call out invasive fans who had "stalked" her and her family.
"I think fandom rooted in a genuine passion for the music can be incredibly fulfilling up to a point," says Aguilar. "When it becomes too personal, invasive, or cult-like, that’s when it crosses the line into true 'Stan' territory. Blind loyalty, obsessive behavior, and stalking take things to a disturbing place I can’t condone."
Perhaps one of the most fervent fanbases is the Barbs — Nicki Minaj fans. Known for their rapid retort and ability to argue relentlessly in Minaj’s defense, the Barbs often celebrate Minaj’s accomplishments and defend her from naysayers.
"When it comes to things we have done as Barbs, we have a lot to be proud of — however, there are some not-so-fun moments that do come with being a diehard stan," says Nicholas Liddle, a Barb from North Carolina. "Whether it be hunting down people’s info for stan wars, or pulling up on known ‘haters’ at shows, there truly isn’t any limits when it comes to the stan life…It is safe to say, when people mention not coming for the Barbs, take it seriously, we do not play."
But part of being a stan is maintaining a connection to one’s favorite artist by any means possible — even if said means are rather unconventional.
"The craziest thing I’ve done is probably a toss-up between dressing up as [Eminem] for Halloween when I was in high school with oversized denim shorts, a wife beater, and a hand drawn ‘Hailie’ tattoo; and spending far too much money to fly from NYC to Austin for just two days for a Formula One event to see him perform live for the first time," says Eminem superfan Annelise Baumann of New York City.
At the same Formula One event, Baumann met a woman from Paris who was traveling with her elderly father. She has been released from rehab days prior. "She said Eminem’s music helped her get sober, and she even had several matching tattoos that he has."
Now a psychotherapist working in Los Angeles, Seomin believes that stans often hold their favorite artists to higher standards. But when said artist doesn’t live up to the expectations established by the fan, this can result in various forms of turmoil.
"In other words, a fan's entire self-worth is wrapped in being seen by Beyoncé [for example]," Seomin says. "When that fails, said fan can spiral into hopelessness and self-harm."
In "Stan," the titular character self-harms, later killing himself and his family in a devastating act of parasocial reprisal. "No artist can take personal responsibility for everyone's pain," Seomin says. "It is impossible to fulfill the emotional needs of millions. Taylor Swift mentions this briefly in her documentary Miss Americana."
"Stan" Continues To Impact
Though the story of "Stan" is rooted in fiction, many real-life stans have seen their efforts pay off. Aguilar's blog manifested in a thriving journalism career, as well as veteran status in the music industry. "I owe it all to [Eminem’s] publicist, Dennis Dennehy, who saw me featured in the LA Times. He also got me an internship at Interscope Records, where I started my career."
Liddle himself has not met Minaj, but says that she has still managed to show up for him and his family from afar. "After [an] episode of Queen Radio, she actually sent me one of her FENDI t-shirts. I also have gotten a pair of her sneakers with LOCI, and…Nicki actually sent my mama several pairs of Pink Friday Nails. My mom is a Barb as well."
Though Yamamoto only met Eminem once on the set of the "Forgot About Dre" video, she considers her role in the Eminem universe "the thing I am most recognized for." She remembers observing his rhyming abilities in real time as a remarkable moment in her career.
Conversations around cultural appropriation and social consciousness have surrounded Eminem since he made his debut in 1996. Many listeners have tried to retroactively cancel Em for his lyrical content. Yet those who have witnessed Em’s rise can’t deny his impact, which now extends beyond rap and into a globally-used language.
"He pushed boundaries — musically, culturally, emotionally," says Atwell. "He challenged people, made them uncomfortable, made them think. He didn’t just influence rap, he changed the cultural conversation around it. His reach isn’t just wide — it’s deep."