Cover of Slave Revolt on Screen by Alyssa Goldstein Sepinwall / credit: University of Mississippi Press
Slave Revolt on Screen: The Haitian Revolution in Film and Video Games by Alyssa Goldstein Sepinwall (Jackson: University Press of Mississippi, 2021)
Chris Rock’s 2014 film “Top Five” is a scathing critique of Hollywood and its sometimes open, sometimes underhanded censorship of critical movies. Rock’s character, “Andre Allen,” emerges as a movie star because of his role as the ridiculous, crime fighting “Hammy the Bear.” Resentful of being known for only this goofy role, Allen produces a film called “Uprize,” playing the role of the Haitian rebel vodou priest, Dutty Boukman. However, “Top Five” grossed $25 million, while the animated film, “Madagascar,” in which Chris Rock played “Marty the Zebra,” netted $200 million. This shows the powers that be have no interest in amplifying the message of arguably the single most important event of the 19th century: The enslaved can rebel and they can win!
“Top Five” was used as an example in the recently published book, Slave Revolt on Screen: The Haitian Revolution in Film and Video Games. In it, historian Alyssa Goldstein Sepinwall explores how the 1804 Haitian Revolution has been misrepresented and censored on screen.
Poster for 2013 film, “Tula: The Revolt”
For example, funding was blocked for an epic film, “Tula: The Revolt,” which highlighted the mass revolt and its forward-thinking leadership, namely Toussaint L’ouverture, Jean Jacques Dessalines, Henry Christophe, Sanite Bélair and Capois La Mort. Starring actor Danny Glover, the film sought to answer the question: “Why has this monumental achievement been so erased from our history and from our consciousness?” Sepinwall writes the film aimed to suggest “enslaved people were capable of formulating their own resistance plans” (p. 53). However, Glover was unsuccessful in raising funds to produce the film at the level other Hollywood films have been produced.
It is here that Karl Marx’s 1848 quote-turned-maxim is more relevant than any other: “The ideas of the ruling class are in every epoch the ruling ideas, i.e. the class which is the ruling material force of society is at the same time its ruling intellectual force.”
Beyond a Great White Hope
Sepinwall contrasts the different historiographies that guided both mainstream, underground, and unfinished and unfunded films.
Poster for 1948 film, “Lydia Bailey”
McCarthyism acted to dilute producers’ ability to convey a new image of Haiti and Black leadership in the 1948 film, “Lydia Bailey.” After years of censorship as well as calling key actors and producers, such as Michael Blankfort and William Marshall, to testify before the House Un-American Activities Committee, the film became a shadow of its former self when it finally hit the screen.
Poster for 1933 film, “Emperor Jones”
Paul Robeson’s role in “Emperor Jones” (1933) is severely curtailed by racism, causing one African-American critic to call Eugene O’Neill’s play “a travesty of the Negro race” (p. 29).
A major thread in this book is Hollywood’s insistence on having a “great white hope” character who paternalistically shows the enslaved how to fight. The professor cites “Burn” (1969) and the French miniseries, “Toussaint L’ouverture” (2012), as but two examples.
The elite of Hollywood always sent a clear message: They would never endorse a film depicting revolutionary violence against the white slave-owning class, lest this generation of Toussaints, Jean Jacques and Cecile Fatimans are inspired to emulate this historical example of reclaiming their own self-determination.
Poster for 2012 film, “Toussaint L’ouverture”
Chapter 7, “Haitian Reflections of the Revolution’s Legacy,” is perhaps the most politically problematic and imbalanced chapter in the book. The four films Sepinwall reviews are “Dimanche 4 Janvier (Sunday January 4th),” “Moloch Tropical,” “GNB v. Attila” and “Haiti, la fin des chimeres (Haiti, the End of the Thugs).” They all share an anti-Aristide bent. This is curious considering Roger Noriega, the Clintons, the Bushes, the U.S. State Department and U.S. intelligence services always shared this same worldview against Haitian President Jean Bertrand Aristide, twice orchestrating coups against his government and kidnapping him (See “Aristide: The Endless Revolution,” 2005).
The Role of Video Games
The California State professor’s final chapters make the case that what has been banned on the big screen has reached millions through a most unlikely medium: Video games. Sepinwell reviews “Playing History 2—Slave Trade” (2013) and “Freedom!” (1992) as examples of video games that are “callous approaches to the subject” of slavery and revolution (p. 186). She reviews “Assassin’s Creed: Freedom Cry” (2013) and the work of Muriel Tramis and Patrick Chamoiseau as “counterhegemonic commemorations of slavery” (p. 207).
Screenshot from video game “Assassin’s Creed” / credit: GameSpot
Haiti is again trending, for all of the wrong, stereotypical and racist reasons. The mainstream media incessantly using terms like “crisis-ridden,” “helpless,” “pitiful” and “poorest country in the Western Hemisphere” are nauseating for those who understand the only break Haiti needs is from U.S. imperialism. At this critical time, Sepinwall’s scholarly study has a great deal to teach us about those who have used cinema to challenge age-old white supremacist views on Haiti.
Just as Chris Rock’s character, “Andre Allens,” seeks to emerge from under and from within white supremacy, so too does an entire history that culminated in 1804, a history that—more than ever—threatens to unlock answers for the future.
Danny Shaw is a professor of Caribbean and Latin American Studies at the City University of New York. He frequently travels to Haiti to stay with the mass anti-imperialist movement. A Senior Research Fellow at the Center on Hemispheric Affairs, Danny is fluent in Haitian Kreyol, Spanish, Portuguese and Cape Verdean Kriolu.
Dan Kovalik’s book, Cancel This Book: The Progressive Case Against Cancel Culture (2021)
Cancel This Book: The Progressive Case Against Cancel Culture, by Dan Kovalik (Hot Books: New York, 2021)
Academic and activist Dan Kovalik’s new book, Cancel This Book: The Progressive Case Against Cancel Culture, was written on the frontlines of the twin struggles of our time, the class struggle and the fight for Black liberation. Reading it brought me back to so many magical and contradictory movement moments that I could not resist writing a review.
‘White People Go to the Back of the March’
On the Rev. Dr. Martin Luther King, Jr., Day in 2017, thousands of protesters took to Fifth Avenue and the frigid streets of New York City to demand criminal charges against the police who murdered Alton Sterling in Baton Rouge; Philando Castile in Falcon Heights, Minnesota; and hundreds of other unarmed Black and brown men. Some Black Lives Matter march marshals had determined that Black and brown families and activists—presented as the only real victims and fighters—would march in the front. White people—presented as all equal benefactors of white supremacy and white privilege—were assigned to march in the back, separated from the youthful, militant front. It was a strange scene. Forty-nine years after the U.S. state assassinated Dr. King for risking his life to organize a multiracial movement against white supremacy—and in his final months, a Poor People’s Campaign against the capitalist system—surely he would find it curious we no longer needed outright white supremacists like Bull Connor or George Wallace; we were now capable of segregating our own marches.
Malcolm X’s only meeting with the Rev. Dr. Martin Luther King Jr., on March 26, 1964, during the U.S. Senate debates regarding the (eventual) Civil Rights Act of 1964 / credit: Marion Trikosko
So many questions leapt into my mind as my eyes traced the 10-block-long protest. Where did poor whites belong? Veterans? Whites who had been through the prison system? How about Black students who had both parents in a position to pay their tuition out of pocket at NYU or Columbia? They had all earned the front? Then there was my Ernesto Rafael, my son, half Dominican, half poor-white, harassed by the police too many times in the Bronx. Where did he “belong,” according to the marshals?
This was but one example of the new racial dynamics on display across the country in the BLM movement from Oakland to Boston, and everywhere in between. For class conscious revolutionaries throwing down in the heart of this mass movement, it represented a series of fresh, unique challenges.
When I picked up Kovalik’s new book, I was intrigued by his biting class analysis of the similar experiences he had. In chapter 2, “Cancellation of a Peace Activist,” he writes directly about being a participant on the frontlines of the BLM movement in Pennsylvania, ducking and dodging police batons as organizers collectively figured out their next strategic moves. Kovalik, a union and human rights lawyer and professor, based out of Pittsburgh, dives deep into the contradictions he and so many others experienced. Kovalik slams both the arrogance of isolated white anarchists whose faux militancy puts all protesters at risk, as well as the bullying tactics and racial reductionism of some radical liberals. This took me back to the explosion of protests following the police murders of Eric Garner and Michael Brown in 2014, which brought millions of people into the streets to denounce the epidemic of police terror in Black and brown communities. Millions were in motion and different political tendencies vied for leadership. Kovalik examines key lessons to be drawn from the almost decade of collective experience we have as a movement in what came to be known as “Black Lives Matter.” This is but one must-read chapter in Kovalik’s exciting new book.
Woke Capitalism
Kovalik’s book is an expose of Woke Capitalism and the cancer of cancel culture.
While millions took to the streets to stop President George W. Bush from invading Iraq, the peace movement was eerily silent when Barack Obama, the country’s first Black president, became “the drone-warrior-in-chief, dropping at least 26,171 bombs in 2016 alone.” (pg. 109) He critiques the peace movement for going quiet every time a Democrat is (s)elected to the oval office.
Dan Kovalik’s book, Cancel This Book: The Progressive Case Against Cancel Culture (2021)
This page-turner exposes today’s liberal establishment, which touts “racial equity” without ever questioning the underlying structure that intensifies white supremacist control of society’s institutions. David Remnick, the editor of The New Yorker, is but one example of a liberal who bloviates over the U.S. Capitol rioters and their violent methods. Yet, he advocated for the bombing, sacking and recolonization of Iraq. (pg. VIII) The book exposes corporate and campus departments that pay hefty salaries to “experts” to lecture on “racial justice” without ever touching the structures that buttress white supremacy and racial and class segregation. These defenders of racial capitalism—from the academy to the pressroom—give political cover to hucksters, who make a killing by bullying white liberals into forking over money, lest they be labeled racist. As one class-conscious scholar sarcastically asks in Black Agenda Report: Do we really “wonder why these rural voters didn’t just go to their local Barnes and Noble to purchase a copy of How to Be an Anti-racist before the election?” Are all of the books that have emerged from the White Privilege Industrial Complex reaching that mass of “deplorables,” whom Arlie Hochchild refers to in her monumental sociological exposé as “strangers in their own land”? (“Own land” as in stolen Indigenous land).
Kovalik takes on the Frankenstein-esque outgrowth of cancellations in academic institutions and beyond, asking what are the political forces behind them? He offers the real-life example of the canceling of Molly Rush, an octogenarian peace activist who reposted a quote that took on a life of its own. Instead of speaking with her face to face to clear the air, internet activists dragged her down and expelled her from the movement, like a group of pre-teens playing a game of Telephone. (pg. 13) Kovalik surmises that many keyboard warriors who have never stared down police lines or even handed out a flyer don’t want dialogue and growth. They want to score woke points and “likes” to the detriment of other comrades.
Liberal bully politics short-changes us all. Kovalik takes a big leap to the international realm to examine the West’s arrogant dismissal of Cuban medical internationalism, the Russian Sputnik V COVID-19 vaccine and China’s success controlling the COVID-19 pandemic. China had two deaths in 2021. Kovalik concludes:
“It simply boggles the mind how the mainstream media and the Democratic Party elite are willing to compromise world peace and public health all in the interest of political gain. In so doing, they have taken ‘cancel culture’ to the very extreme, and they may get us all canceled, permanently, in the process…” (pg. 139)
A sit-in protest on July 8, 2016, in San Francisco in response to the Alton Sterling shooting / credit: Pax Ahimsa Gethen
We Never Give Up on Our People
It’s a new era. One tweet-turned-Twitter-game-of-telephone can ruin a comrade’s life.
How does the state operate online? How do anarchists operate online? When do they intermingle? Any anonymous account can start a smear campaign against any public figure.
This book invites us to ask: If we cancel every last screw-up, addict and lumpenized scroundrel, who will absorb the body blows needed to bob and weave forward in the class struggle?
When in history has another social class organized, led and defended a revolution? The petite-bourgeoisie blows with the wind. Who will be left? Who is willing to put in that work? Who knows hell well enough not to fear it? Nicaraguan national hero Augusto Sandino said, “Only the workers and peasants will make it all the way.” Kovalik is not turning his back and giving up on the potential cadre of the future. Will you?
A Boston police mug shot of Malcolm X, following his arrest for larceny in 1944
As Marxists, revolutionaries and anti-imperialists, we believe nothing is permanent; everything is in a state of flux. The watchwords are growing through contradictions among the people, healing and restorative justice. We don’t have the luxury of discarding comrades. There has to be a path back or we risk cannibalizing and condemning our own ranks. Who would Malcolm X have been if everyone had given up on him in his 20s, when he was imprisoned? How many young Bobbies, Hueys and Assatas are sidelined right now? How can we be less judgemental and give people opportunities to learn from their mistakes?
The Other White America
Black and Brown people in the United States, and those in solidarity with the Black Liberation Movement, have every right to be angry. But angry at whom?
Most white people are not CEOs or members of the ruling class; many more are National Guard soldiers, correction officers and other reactionary rent-a-cops, the overseers of a society divided between the haves and the have-nots. But the racial portrait of state repression is more complicated. Fifty-eight percent of the Atlanta police force is Black. Over half of Washington, D.C.’s police force is Black.
A liberal portrait of white privilege fails to tell the full class story in the United States. Seventy million people received Medicaid in 2016—43 percent were white. Of 43 million food stamp recipients that year, 36.2 percent were white. Over 100,000 overdoses took place in the past year. The overwhelming majority of opioid overdoses occur among poor whites, roughly 72 percent. Are these cast-off layers of our class our enemies?
A demonstrator raising awareness of the death of Freddie Gray in Baltimore in April 2015 / credit: Voice of America
Kovalik points out that similar to white people, “the top 10 percent of Black households hold 75 percent of Black wealth.” (pg. 96) Is every brother your brother?
Given the complex class and racial terrain, do we cast poor and working-class whites away as “a basket of deplorables” or do win them over to defend their class interests? Wouldn’t sticking all white protesters in the back of marches with more yuppified layers only alienate them more? Is the movement a “safe space” for them, or more importantly a revolutionizing space?
Cancel This Book refuses to give up on the other white America—the poor, forgotten and de-industrialized “oxy-electorate” (writer Kathleen Frydl’s term for white people who live in the U.S. Rust Belt, where OxyContin addictions are on the rise). Those white people are full of disappointment and hatred for this system—between the tens of millions who refused to vote for another neoliberal Dixiecrat like Hillary Clinton, and the tens of millions of others who were duped into believing a spoiled, trash-talking, billionaire, real-estate mogul hoax and punk with infinite air time was their white knight.
As Malcolm X taught: “The truth is on the side of the oppressed today, it is against the oppressor.” We can win over workers who have only ever known the american-dreaming chauvinism they have been fed. Bursting with ideological perspicacity and revolutionary hope, this book pushes us not to get caught up in the liberal webs of identity politics and call-out culture.
Kovalik also challenges the white liberals who unknowingly acted as “masochists at the protests.” This constructive critique is not meant to take away from anyone’s hard work and real contributions. Showing Up for Racial Justice (SURJ) was one outgrowth of these liberal politics, which relegated many well-intentioned, liberal, student and petite-bourgeoisie (“middle-class”) whites to cheerleader positions. Is this the militant mass-movement that is going to stand up to the State Department, the Pentagon, the police and the intelligence agencies? When Malcolm held up white abolitionist John Brown’s life as an example of real struggle to follow, he was challenging these liberal politics.
Amidst the ever-evolving dialectics of our movement, Kovalik’s book comes as a breath of fresh air. It is a clarion call about the damage we are collectively doing to our movement if we do not center class politics next to the need for Black liberation and the liberation of all oppressed people.
Danny Shaw is a professor of Caribbean and Latin American Studies at the City University of New York. He frequently travels within the Americas region. A Senior Research Fellow at the Center on Hemispheric Affairs, Danny is fluent in Haitian Kreyol, Spanish, Portuguese and Cape Verdean Kriolu.
Cover of On the Ho Chi Minh Trail (University of Chicago Press, 2021)
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.
Cover of On the Ho Chi Minh Trail (2021)
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.
A woman serving as a Viet Cong guerilla during the U.S. war on Vietnam / credit: Bộ Quốc phòng
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.
Women’s Special Forces Division 6 studies maps of Saigon’s District 7 during the Tet Offensive / credit: bqllang.gov
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.
This presentation took place during a December 2, 2021, webinar. Toward Freedom has 69 years of experience publishing independent reports and analyses that document the struggles for liberation of the majority of the world’s people. Now, with a new editor, Julie Varughese, at its helm, what does the future look like for Toward Freedom and for independent media? Toward Freedom‘s board of directors formally welcomed Julie as the new editor. She reported back on her time covering Nicaragua’s critical presidential election. New contributors Danny Shaw and Jacqueline Luqman also spoke on their work for Toward Freedom as it relates to the value of independent media. Danny touched on the rising Pink Tide in Latin America while Jacqueline discussed the role of the Pentagon in Hollywood.