Book Review: ‘Before Crips’ Dismantles Dominant Narrative on Gangs

A scene in Nia Dacosta’s film, “Candyman” (2021), might go unnoticed, but it signifies the theme of representation appearing throughout the film. Representation refers to oppressed people being seen in media and politics, but it does not mean they wield power in those sectors.

Actor Yahya Abdul-Mateen II plays the central character “Anthony McCoy,” whom we aren’t sure can be called a protagonist or an antagonist, even by the movie’s end. In the aforementioned scene, he stands at the intersection of a long-abandoned neighborhood, which is composed of former row-house apartments that used to surround the high-rise tower of Cabrini-Green, a public-housing project in Chicago. The street he is facing is empty of typical neighborhood life—adults going to and from work or errands, kids playing, teens hanging out. But remnants of their neighborhood, including the doorless, windowless apartment units that offer nothing but a foreboding darkness, stand as empty, haunting reminders of a people who used to live there but are long gone. The street is marked by a sign for “Mohawk St.”, and as he walks around the corner, another street sign reads “Locust St.” These are actual streets in the Cabrini-Green neighborhood in Chicago, lending credibility to the storyline by anchoring the tale in the actual remains of the infamous neighborhood, whose residents had been long displaced through gentrification.

But the street names seem to also juxtapose the disappearance of Indigenous tribes, like the Mohawk. They are relegated to outposts that are out of sight, out of mind for the rest of us. The impetus behind the mass displacement of both the Black and poor residents of Cabrini-Green and Indigenous people is the locust-like swarm of gentrification, which could be argued is a modern day form of settler-colonialism. It might be a stretch to make this kind of observation of this scene. It might not have been one that DaCosta might have been intending to make. But it is a connection I couldn’t help making, considering “Candyman” is less of a horror film than an indictment of white supremacy and the terror that it inflicts upon the communities it ravages.

I will try not to provide many spoilers in this review. I will say seeing the first “Candyman” (1992) is critical to understanding the expansion of the story and themes in the current iteration. But those themes that are outside of the conventional horror narrative are as important to the experience as continuing the urban legend of “Candyman.”

Abdul-Mateen is convincing in his portrayal of “Anthony,” a young Black aspiring artist struggling to make his mark on the art world. Ebulliant actor Teyonah Parris plays McCoy’s partner, “Brianna Cartwright,” also a young Black up-and-comer working as a curator at the gallery where her partner’s work is being shown. 

The characters live together in one of the trendy, expensive apartments in the gentrified Cabrini-Green neighborhood, long after the towers had been torn down. Brianna and Anthony appear to have a loving, committed relationship, a lovely expression of Black Love that we all enjoy seeing so much, and we need to see more of. That is until Anthony learns about the legend of Candyman from Brianna’s brother, “Troy,” played by actor Nathan Stewart-Jarrett. Anthony is fascinated with the legend and pursues inspiration for new art by visiting what is left of the old Cabrini-Green neighborhood. He meets one of the last remaining residents, seemingly neighborly “William Burke,” portrayed by veteran actor Colman Domingo. 

Here is where I’ll leave off describing the timeline of the movie, because how things happen almost take a backseat to what some of those things seem to represent. 

Anthony slowly transforms into… something, and his physical transformation coincides with what seems like the fraying of his mental state. Anthony attempts to protect his partner, Brianna, in a pivotal scene that exposes something far more sinister in real life than a horror movie boogeyman: The horrifying and lasting effects of trauma and the unaddressed mental illness among Black people, particularly how Black men are misunderstood or ignored when they suffer mental health crises and trauma.

The tendency for many of us to dissociate ourselves from mental illness and trauma is touched on in a seemingly disconnected flashback that Brianna has of a traumatic childhood experience with her father. No, it’s not sexual abuse, but it is traumatic. But because she never confronts what happens, when her partner, Anthony, begins to display behavior that suggests his mental health is fraying, Brianna responds with less and less understanding, and more and more hostility. Focusing more on moving up in her career than her partner’s obvious growing difficulties, she ultimately leaves Anthony alone to face whatever he is experiencing.

Brianna’s brother, Troy, is also pointedly critical of Anthony as the Black Man Living Off a Black Woman. But Troy himself is settling into a relationship with his new partner, “Clive” (played by Brian King), who Brianna accepts and notes is a welcome change from her brother’s usual unsavory choices. It is another interesting play on the trope of listless Black men being leeches on successful Black women that doesn’t sting any more or less because the one employing it in this case is a gay man. Rather it seems that this represents the pervasiveness of the deadbeat Black man stereotype—even other marginalized Black men believe it.

Much of the first third of the film revolves around Anthony’s transformation. That is where the trauma of centuries of racist violence against Black men emerges.

Much of Anthony’s transmogrification occurs in front of mirrors. That is obvious to the storyline and the myth of Candyman, but it doesn’t quite apply to Anthony because he isn’t sure if he is hallucinating or not. When he realizes that what he is seeing is real, the scene conveys less horror movie scare than a deep reflection into what happens to Black men’s souls living in a white supremacist system that loves their culture, their swag, their art and anything else from which society can profit. But this society doesn’t love them, and it will not hesitate to express its disregard for Black men in the most violent, inhumane ways possible.

That long history of racist violence against Black men is told in cleverly laid-out shadow puppetry, which simultaneously removes the physical gruesomeness of the acts portrayed while delivering their inhumane brutality. Each shadow-puppet story relates to a different iteration of Candyman, and the collective trauma of centuries of violent racist brutality against Black men turns the Candyman figure into something other than a villain. Terrifying in his visage and actions, certainly, but the question emerges as the connections are made between this history and the urban legend come to life: Is Candyman the monster, or is the monster what created Candyman?

As viewers hopefully make this connection, they are invited if they are thinking further to ask a larger question: Are Black men, who lash out at a society that finds every way imaginable to destroy them, the monsters society says they are, or is the monster really society?

Indictments of white supremacist society and privilege, and the impact of the trauma of community having been erased, are woven throughout the film, reflecting ways Black people are either dismissed or used before being discarded.

The contempt and condescending paternalism of society’s gatekeepers is represented by the gallery owner and the art critic—and even the Black major-gallery curator—as they have little regard or use for Anthony as he struggles to produce content that will elevate his profile. They do not hesitate to disregard him when he is no longer of use to them.

The ease with which an oblivious white society appropriates Black culture, traditions and even urban legends—believing no consequences exist for that appropriation because they have no connection to the community those things come from—is reflected in a scene that is on the surface typical horror-movie, high-school kid hijinks.

The crushing trauma of surviving the systematic eradication of one’s community, and the desire to get back or revive what was taken or destroyed, is an underlying aspect of the actions of neighborly-seeming sole survivor/resident of Cabrini-Green, William Burke. 

The way society is more accepting of a Black women’s efforts to climb the ladder, and how easily they dismiss Black men as they fall down it—even as they watch—can be extrapolated as we witness Anthony’s growing instability as it manifests itself when he and Brianna are trying to court a renowned gallery owner.

The way that our parents may have been doing the best they thought they could by moving their children out of the ‘hood and into “better” neighborhoods, encouraging them to forget where they came from in an effort to give them a better life, seeps through the cracks as Anthony confronts his mother about a past she has kept from him. The toll of keeping that secret trauma seems to have weighed heavily on his mother, as well, as family secrets are wont to do…  

The running theme of racist police violence in the film—from beginning to end—is reminiscent of… well… every story we know about racist police violence. Brianna is ultimately put in a horrific situation, and then cynically used against Anthony in a way that shouldn’t be unfamiliar to our real-life experience with racist police terrorism. Brianna realizes then who she is, who Anthony is, and that he is the only one who can save her.

I have noticed among online fan reviews wildly divergent reactions to this movie, almost strictly along racial lines. If the reviewer is a white person, they almost unanimously and unequivocally hate this movie. I see these people as those who do not want to face the traumas and horrors of the history and continuing legacy of racist violence against Black people, which I believe this film effectively expands upon from the original “Candyman.” Although, I find it odd some who have seen this film say they loved the original, but hate this one because it’s “too political,” because they clearly missed the political history of Candyman in the original. They’re mad Candyman only kills certain people, but aren’t bothered at all by the historical track record and legacy of the broken bodies and souls of Black men, women, and children that created Candyman. So they do not see the connection between real life reflected in the film’s themes. But selective memory is what this society is great at, so this response is actually not a surprise at all.

But for others who understand what DaCosta’s “Candyman” is trying to say and why, it may not be scary in the traditional slasher/spine-tingler sense, so it’s hard to say whether or not the movie is “good” as a traditional horror film. However, the real-life nightmares and horrors reflected in this film are what many Black viewers will be all too familiar with.  

As Brianna’s brother, Troy, says early in the movie, “Black people don’t need to be summoning shit.” 

We don’t have to summon supernatural boogeymen. The horrors we live are real.

Jacqueline Luqman is a radical activist based in Washington, D.C.; as well as co-founder of Luqman Nation, an independent Black media outlet that can be found on YouTube (here and here) and on Facebook; and co-host of Radio Sputnik’s “By Any Means Necessary.”

On the Ho Chi Minh Trail, by Sherry Buchanan (University of Chicago Press: Chicago, Illinois, 2021)

The U.S. war on Vietnam is one of the most popularly and publicly criticized U.S. wars in the West—perhaps only now being superseded by the wars on Iraq and Afghanistan. Many filmmakers took their shot at a “critical” portrayal of the imperialist conflict—Stanley Kubrick’s “Full Metal Jacket,” Oliver Stone’s “Platoon,” Francis Ford Coppola’s “Apocalypse Now” and so on. Though, the context behind the conflict, what happened during the war, its repercussions, and—most importantly—the Vietnamese people’s perspective all still remain widely misunderstood, misinterpreted, and vastly oversimplified in the minds of the majority of those who live in the belly of the beast (the U.S. empire).

This was the deficit which author Sherry Buchanan purported to, in part, address in her book, On the Ho Chi Minh Trail. The cover insert of the book explains:

“Buchanan reveals the stories of the women who defended the Trail against the sustained American bombing campaign—the most ferocious in modern warfare—and of the artists who drew them. She focuses on what life was really like for the women and men under fire, bringing a unique perspective to the history of the Vietnam War.” 

The prospect of approaching the conflict from an art-centered perspective with a focus on the women who were absolutely vital to the trail—and, as such, the triumph of the revolution—was welcome, refreshing and exciting. However, throughout the book the author demonstrates her inability to remove her red-, white- and blue-colored glasses as well as a clear lack of understanding peoples’ liberation movements that struggle against imperialism, ultimately leaving the reader with an experience that is more trite than enlightening. 

Buchanan’s book follows the author as she re-traces the trail—known locally as the Trường Sơn Road—from the north to south. The country was split in half during the war, with the north pumping out Vietnamese communist guerilla fighters and the south occupied by the U.S. military. Along the way, she visits historic sites and conducts interviews. Beginning in Hanoi, the author looks to loosely follow the trail as history unfolded. She visits Hòa Bình province, where revolutionaries trained before setting off on the trail, and the site of the infamous U.S. Marine Corps base at Khe Sanh. She takes us through the country of Laos, where the Trail Command had been headquartered during the Tết Offensive, and winds up in Ho Chi Minh City—the current name of Saigon, the former capital of the U.S.-backed puppet state, South Vietnam. Interviews with artists who traveled the trail as cultural troops for the People’s Army provide some fascinating anecdotes about life on the trail. Former combatants and youth volunteers shared stories of how they struggled against occupation and a bombing campaign that dwarfed the campaigns of the allies in WWII combined. During this war, 3 million people died. Most were Vietnamese, while only 58,000 were U.S. military personnel.

Despite the author’s ignorance, which prevented any contextualization of her interviews, their impact is nonetheless profound. By the end of the book, the collective commitment the Vietnamese people had to their revolutionary struggle is unquestionable. Almost every exchange Buchanan and her companions had with non-Westerners on their journey both underscored this theme and humanized the war. This is what—intentionally or not—the author successfully conveys in her book. 

Each chapter is dedicated to one of several locations she visited. In an introduction and at the beginning of every chapter, Buchanan provides brief historical context about these sites, which includes explaining the events in the war that involved them. She’s eager to be critical of the United States here, offering statistics and figures that easily show the grotesque violence the empire unleashed during the war. The author even goes as far as questioning official U.S. government statistics and countered with the Vietnamese state’s data. (p. 165) However, this is where Buchanan’s book falls into the banal trap of performative criticism. Reminiscent of Oliver Stone’s TV series, “Untold History of the United States” (2012-13), providing facts and statistics that counter the imperial narrative (while important) do not nearly equate to an anti-imperialist analysis. While Buchanan is critical of the war, she is not critical of U.S. imperialism or, by extension, the question of national self-determination, which was at the core of the conflict covered in her book.

Buchanan wastes no time making her position clear in the first chapter. She includes a long, melodramatic interview with an actor who had joined the National Liberation Front (or Việt Cộng). But decades after the country reunited as one Vietnam, that person is critical of the revolution. The author is sure to include a tirade that frames China as an enemy of the Vietnamese people, standing in opposition to the United States’ “rule of law” and “freedom.” (p. 47) She continues this Cold War-era hysteria by leveling stereotypical anti-communist criticisms against the current communist-run Vietnamese state—authoritarianism, repression, corruption. But where is the “unique perspective” described on the cover flap? Buchanan provides no context, no opposing arguments, no critical thinking. She continues this theme of intentional ignorance throughout the rest of the book. In chapter 2, when visiting the Temple of Lady Triệu, she questions whether the revolution was feminist. (p. 67) This despite quoting Ho Chi Minh’s thoughts on the oppression of women under colonialism and Buchanan noting that the Women’s Union funds the feminist temple. Interestingly, the author fails to ask any of the Vietnamese women she interviewed about the feminist character of the revolution, nor makes any attempt to answer with statistics. In fact, the performative question in and of itself displays her ignorance about the goals of the revolution and the subject she claims to cover in the book. 

Buchanan doesn’t stop at feigned ignorance. She actively stokes the racist, anti-communist fires within the Western psyche. In this way, the author completely fails the people whose perspective she claimed to value. Throughout the chapters, she does not shy away from throwing unsubstantiated claims of despotism or repression at the Vietnamese state. Yet, she spends no energy or effort speaking to the gains of the revolution. It’s as if Buchanan is uninterested in the obstacles that the people—including women—overcame to rebuild after the war or what the state has been able to provide its citizens. This is an excusable error for a book that claims to portray the experiences of the women who fought and defended the Ho Chi Minh trail. The author underlines her imperialist opinion of Vietnamese feminism with the usual Red Scare trimmings. She puts “liberated” in quotation marks when referring to territory from which the People’s Army and Việt Cộng expelled the imperialists, uses the term “indoctrinated” when referring to those who fought for the north, and even quotes a deacon who complains church land was “stolen by the locals” following the triumph of the revolution. (p. 208) In fact, in the final chapter, the author almost unconsciously praises what she perceives as capitalism creeping into the country, salivating over the presence of restaurants that serve $200 meals (p. 233) and designer stores (p. 246). If only Buchanan could see her own internalized indoctrination here, celebrating inaccessibility while belittling a popular guerilla movement which resisted the most violent war machine ever created. 

Toward the conclusion of the book, as Buchanan enters Ho Chi Minh City, she intensifies her hollow attacks on the Vietnamese state. She devotes a large portion of the final chapter to another sensationalized scene when they visit two cemeteries—one for soldiers who fought for the revolution and one for those who fought for imperialist interests. Rather than contemplate the complex legacy of a Cold War-era invasion that divided a people or the violent colonialism that made the long war for liberation a necessity, she simplistically insinuates the state is vengeful and petty. Perhaps the most telling interaction Buchanan records in the book, though, is an unplanned encounter with a U.S. veteran who fought for the empire. Again here, the author fails to seek a “unique perspective.” Instead, she glorifies the invader, who claims he “worked with fighter pilots to help them do what they could to not injure civilians” (p. 220), and empathizes with his crocodile tears about being called a “baby killer” upon his return to the United States. Buchanan feigns pushback against his unproven claims that “the government (of Vietnam) treated [the highland indigenous peoples] terribly, cutting off women’s breasts and men’s achilles tendons,” and that “when [he] got to Vietnam [he] was told (reviewer’s italics) that the Việt Cộng came into villages and routinely killed a baby or a child to terrorize the people.” (p. 221) In the epilogue, she returns to this interaction by honoring the “courage” it took for this vet to return to the country to “do something (reviewer’s italics).” (p. 249)

Sherry Buchanan’s On the Ho Chi Minh Trail, while exciting in its proclaimed focus, is yet another example of the pitfalls of liberalism. The author’s misconception that criticizing a few isolated events equates to a “unique,” let alone anti-imperialist, perspective leads the book to speak more to the depressing ignorance of so-called progressives in the West than to the experiences of Vietnamese women during the war. While many of the anecdotes conveyed in the book humanized the war in a way that was certainly refreshing, Buchanan’s displaced patriotism undermines any meaningful significance. Despite her supposedly critical view of the war, the author ultimately served to defend pillars that uphold U.S. imperialism. If anything, what the book highlights for the reader is the importance of understanding what anti-imperialism means. Without it, criticisms of the West coming from liberals essentially equate to nothing more than white saviorism. The only allyship from the West of any value is true, revolutionary solidarity—solidarity that rejects Western capitalist assumptions of supremacy and stands firm in its defense of all anti-imperialist movements. 

Nick Flores is a co-founder of and organizer with Bushwick, Brooklyn-based G-REBLS, a grassroots organization as well as a member organization of the Black Alliance for Peace’s Solidarity Network. Nick holds a double-major bachelor’s degree in history and Latin American studies.

The Black Agenda by Glen Ford (OR Books: New York and London, 2021)

Tomorrow, July 28, marks the 1-year anniversary of the passing of Glen Ford, founding executive editor of Black Agenda Report (BAR), an independent online publication that aims to provide “news, commentary and analysis from the Black left.”

Before Ford died at 71, he was able to publish a selection of his articles as a book, The Black Agenda.

While reading, I highlighted words and phrases Ford invented to help burn the impact of injustice into people’s minds. If he wanted to, he could have published a dictionary of the new vocabulary. It is that numerous.

He made clear in his writings it was not enough to be against injustice. One had to explain it in a way so people would be inspired to organize a liberation movement. In Ford’s case, he was trying to encourage poor and working-class Black people to struggle against the “Black misleadership class,” a group of turncoat Black people who had aligned with the ruling class. Ford viewed former U.S. President Barack Obama and many Black members of the U.S. Congress as working against the interests of the 48 million people of African descent in the United States and the close to 2 billion Africans throughout the world.

Take, for example, what Ford wrote in a 2020 article left out of the book. In it, he compared the relationship the Black misleadership class has with white capital to a toxic marriage one would see in a soap opera. He dubbed that fictional soap opera, “The Black and the Powerless,” in a play on the long-running CBS mid-day drama, “The Young and the Restless.” I cackled at his wit.

“Black misleadership class” has been associated with Ford. But he and other BAR contributors only popularized it, he said. Writer James Warren first used the term in 2005 in Black Commentator, another publication Ford co-founded before leaving to launch BAR with others (page 56).

In advocating for the 72 percent of the Black population that is poor and working class, he wrote in a piece published a few months before Obama was elected (page 33):

Slow-acting Katrinas in the form of gentrification are what Black folks can expect—and must find ways to resist and defeat—from the ruling Lords of Capital for the foreseeable future, Obama or no Obama. There will be no “age” named after the handsome, articulate, and oh-so-slick but otherwise ordinary corporate candidate for president who used to call himself Barry. This is the Age of Katrina, and Barry is part of the problem.

‘Bifurcated Brain’

A child of communists, Ford grew up surrounded by his Irish mother’s door-to-door grassroots activism in New Jersey and his father, the first Black host of a non-religious television program in Georgia. In a 2013 interview with journalist Paul Jay, Ford said those experiences aided in developing his “bifurcated brain.” That might explain Ford’s ability to merge the art of storytelling with a revolutionary conscience.

“Glen Ford is irreplaceable not just because his writing was so sharp and so clear,” BAR co-founder Margaret Kimberley wrote in the foreword to the book (page xii), “but also because his politics were so clearly of the left. He was not a liberal, or a Democrat, or a progressive. He was a Marxist, and he brought that ideology to all that he did. In doing so he revealed important information that is regularly disregarded or disappeared. He also had a talent for making every issue understandable and making connections with the reality of people’s lives.”

After stints in the U.S. Army, on the radio in rural Georgia, writing for the daily newspaper of the Communist Party of the United States, and helping out the Black Panther Party’s Jersey City chapter in New Jersey, Ford led and/or launched several efforts in radio, TV, print, and online. The most memorable feat appears to be the 2006 co-founding of Black Agenda Report.

Blueprint for Liberation

In Ford’s writing, everything is minced and fried up for consumption. Once I start reading one of his articles, I follow it all the way, tickled at the imagery he uses and his climactic endings. For example, chew on phrases like:

• Black Prison Nation (referring to the 2 million incarcerated Black people)
• Black American Gulag (referring to U.S. policies that led to mass incarceration)
• ObamaL’aid (like Kool Aid)
• Bernie-bear (referring to U.S. Senator Bernie Sanders)
• Old Man Biden (referring to U.S. President Joe Biden)
  
• Great Corporate Black Hope (that’s referring to U.S. Vice President Kamala Harris)

Ford’s depth of analysis and the breadth of topics he analyzed is awe-inspiring, too. How could someone know so much about… so much? Because the man did not get distracted. Plus, he was an internationalist. And so, Ford could go from the U.S. invasion of Iraq to the surge of Western-armed jihadists into Syria, and the NATO invasion of Libya, the corporate takeover of Black Lives Matter, reparations for Black people, Hurricane Katrina’s impact on Black people, the Detroit hijacking of pensions, the origins of “Thanksgiving,” billionaires and millionaires running for elected office, Occupy Wall Street, and much more.

Journalists like Ford are hard to find. Not only does it not pay to tell the truth, some journalists risk their lives doing so (check out Mumia Abu-Jamal, Julian Assange and Shireen Abu Akleh). And so, Ford led a humble existence, as one of his friends told me.

In the final piece compiled for The Black Agenda, Ford paid tribute to George Floyd, the Black man whom Minneapolis police murdered in 2020. It led to the largest popular uprising in U.S. history. But because of his political training, Ford included a blueprint for liberation in searing language (page 326):

Community control is how we build socialism within the framework of people’s right to self-determination—the principles by which, along with solidarity, we decolonize and dis-imperialize our world. “Power to the People” means disempowering the capitalist and white supremacist. Everything else is a diversion, conjured up by the Kente cloth-soiling Black misleadership class in service to their bosses, the oligarchs. They have betrayed us repeatedly and laughed at our willingness to trust them yet again. In George Floyd’s name, let this be the end of it.

May more people be inspired to do the honest journalism Ford modeled.

Julie Varughese is editor of Toward Freedom.