The Eminem Consensus

By Richard Goldstein, Village Voice. Posted November 12, 2002.

Two events of lasting significance occurred last week: the breakdown of the Democratic party and the breakthrough of Eminem. His debut film, "8 Mile", became the highest-grossing movie in America just days after Republicans won control of Congress. These two events may not seem related, but they both reflect the mainstreaming of ideas that seemed extreme just two years ago. Bush's right-wing agenda and Eminem's violent misogyny were once considered over the line. Now they have crossed over and become the line.

Not that Em is a Republican (though he might favor ending the estate tax). But he and George W. Bush do have certain things in common. Both draw their power from the compelling image of the strongman posing as the common man. Both played the populist card to win the nation's heart. And I would argue that both owe their success to the sexual backlash.

When Scott Silver, whose last movie was "The Mod Squad," was asked by Universal to write a screenplay for Eminem, he couldn't resist. "I pitched something that reflected [the] outrageous humor and cartoonish violence of his records," Silver told Entertainment Weekly. "They were like, 'Uh, no.' " Universal wanted to expand the demographic of its hottest music property, so Silver was ordered to create a drama that could reach an audience with reservations about Eminem. Bush faced a similar task in winning over an electorate with doubts about the economy. His solution was to play down the message and play up personality. "8 Mile" does something similar by associating its star with root values like struggle and community. It's a stump speech for Eminem.

Though "8 Mile" is being described as a blue-collar inspirational in the tradition of "Rocky," it's more like a classic war movie with a white alpha male and an interracial unit. In this spectacle of the street, the sun never shines and the nights are tinted lurid blue. It's the perfect setting for a film about male combat and solidarity. All evidence that women play a powerful role in working-class society is repressed. The good bitches help their men; the bad ones betray them -- end of story. Worst of all is our B-boy's dissolute mother. There's no attempt to reckon with the reasons for her haplessness. The social context is reserved for the men. They are full-blown characters; the women are full-bodied foils.

This distortion would have been noticed just a few years ago. But as the backlash advances, it gets harder to argue against the flattening of women without being pounded with the cudgel of p.c. A lot of men -- and women -- like it that way, at least in bed. It sure beats sex-role anxiety. What's truly alarming is the extra-libidinal dimension of this fantasy. There is growing pressure on women to cede their autonomy, and last week's election hinted at the result. The gender gap, which played a major role in recent elections, seems to have narrowed considerably this year. It's not just the reflex to close ranks behind the leader in a time of crisis; it's an impulse to stand by the Man. Bush benefits from this retrenchment, and so does Eminem, as the large female audience for "8 Mile" attests.

Women are not the only swing constituency that voted in great numbers for Eminem. Many liberals are drawn by his populist aura, which "8 Mile" plays to the hilt. Of course, populism is a two-edged sword: It validates the working class, but it can also justify the confinement of women to traditional roles. In most populist epics, men represent the people and women express solidarity. This, too, is a reassuring image, one that can reconcile many liberals to the backlash because it makes the sexual order seem progressive.

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