A Victim of Racism admonished me for pruning movies for examples of White Supremacy; said I would ruin his ability to enjoy his favorite films. Contraire mon fraire. Deconstructing every syllable and frame of Racist imagery can immensely enhance non-whites’ cinematic experience, while expanding your understanding of the global system of White Hegemony. To quote blastmaster KRS-1, it’s edutainment.

Incidentally, neglecting or failing to recognize a movie’s Racist components means you have most likely missed a dominant element of the work. Take the seemingly generic gore flick, Candyman. A White Supremacy whopper!

But before the film… Unlike Candyman, Cabrini-Green ain’t fiction.

Yeah… I’m kind of speechless too. (Did he really say, “the best project in the world!”) The one common thread between the film and real life… White people go where they please and do what they want. Including evicting the hardest non-whites in the galaxy. The Gangster Disciples, Young Lords, Fred Hampton and Larry Hoover ain’t got nothin’ on them White folk.

The Plot:
A White woman is studying the urban legend of a lynched negro. Her investigation leads her to Chicago’s infamous slum – Cabrini-Greens. In the course of her research, the fabled Candyman comes alive and torments the White woman to hook up with him. Oh yeah, Candyman has a gigantic hook in place of his severed right hand – used to carve his victims from groin to gullet.

The Symbolism:
Black male terrorizing a White woman… we could end here. But we’ll scrape the plate on this one. Bees are a recurring motif in this film. Candyman was allegedly killed by being stung to death. Frequently bees accompany or signal the coming of the hook man. This film was released in 1992 – same time as the forecast of the “more aggressive” Africanized Bees. The movie opens with the Sears Tower being engulfed by a swarm of bees – huge black edifice, a phallic symbol perhaps? This could be, but there’s one obvious symbolic penis… the hook. Candyman’s hand was severed as opposed to the customary castration of black males. In it’s place… a massive hook that he brags about inserting into the genital area of his victims. They actually include a story of Candyman castrating a young black child. There’s also a scene were Candyman pushes his hook up the dress of a prone, helpless White woman – could anything be more ghastly?

White People Are Fearless:
As White people are a tiny percentage of the global population – the real minorities – they can not allow fear to stifle progress. Nothing to fear but fear. The theme of White people confronting and conquering their fears – non-whites/White Genetic Annihilation – is a common element of White Supremacy culture. The White woman in Candyman probes the hazardous negro slum – where a non-white kid is shot “everyday” – undaunted.

Snapping photographs, crawling through windows, interrogating residents, pumping non-whites for every ounce of information. She’s stomping through the projects single-handedly, while Negroes warn that she’s “crazy walking here on [her] own.” “It ain’t safe around here.”(Generally, true for areas with high concentrations of non-whites.) No one seems troubled about the safety of the unsupervised non-white child –  who’s lookin’ out for the White woman.

Candyman is a special treat for the codified Victim of Racism because it explicitly and accurately reveals the workings of the White Supremacy System. And it’s the White woman who’s breaking it down!

White life is more valuable than non-white life. A photo of a black female’s butchered corpse. The headline reads: “Cause of Death, What Killed Ruthie Jean? Life in the Projects.” This is the non-white experience under White Supremacy. Ceaseless violence and abuse without restitution, redress or concern. The White woman is not investigating Ruthie Jean’s murder to correct a wrong, to produce Justice. She’s elated because of what this authentic murder mystery will add to her research project. Necrophilia: obsession with and usually erotic interest in or stimulation by corpses. Gonna leave that danglin’.

A black female tried to help Ruthie Jean. “[She] dialed 9-1-1. Nobody Came.” Since Justice can only be evaluated by comparison, let’s juxtapose this with the White woman’s incident of mistreatment. When a black male went upside the White Queen’s head, it was a state of emergency. The police “swept the place.” “All of Cabrini is Locked Down.”

Whatchu got to say about this White woman:
Two [non-white] people get brutally murdered and the cops do nothing. Whereas, a White woman goes in there and they lock the place down. That’s the System of White Supremacy, cousins. Non-white life is worth about as much as yesterday’s newspaper – and how many of us ain’t even read today’s paper?

Gentrification AKA RACIAL DISLOCATION I’m just goin’ give it to you straight from the film. Take it away White woman:

White Women(WW): My apartment was built as a housing project.
non-white female(nwf): No!?
WW: Once it was finished, the city[WHITE PEOPLE] soon realized that there was no barrier between here and Gold Coast.

{That nice collection of folk is the Gold Coast Board of Directors. No corns rows or RIP shirts in this group.}

nwf: Like over there where you got the highway and the ‘L’ train to keep the ghetto [non-whites] cut off?
WW: Exactly. So they made some minor alterations. They covered the cinder block in plaster, and they sold the lot off as condos.
nwf: How much did you pay for this place?

The System of White Supremacy is structured, meticulously engineered to manufacture Cabrini Greens – dilapidated areas to warehouse non-whites. Wouldn’t want us gold toothed darkies stumblin’ into Gold Coast.

Candyman is bloated with Racist symbolism. The film ends with the White woman being the savior – she dies so that a negro infant may live. And of course… the black man is publicly barbecued at the stake – just like old times. Candyman is actually a trilogy – although the second and third films aren’t as well done as the first. The White Supremacist element continues through the next two installments. They rewind and show the original lynching of Candyman in the second film – amputated hand and all. Second film is set in New Orleans – pause for Katrina. I may check out part 2 to see where it goes. If I find something juicy, I’ll share.

Oh yeah…
White people do this for real:
Don’t think it’s far fetched to imagine a White person making a most thorough examination into the nooks and crannies of the most nefarious non-white areas and people. In fact, the Suspected White man known as Tod Lending successfully duplicated the efforts of Candyman’s White damsel. Lending’s Oscar nominated documentary – Legacy – chronicles a group of impoverished, Chicago non-whites with all the typical pathologies – violence, drug addiction, absent father, employment difficulties. In fact, within two hours of Lending’s first interview with the family, the fourteen year old male is fatally shot. For whose entertainment shall we sing our agony? For the amusement of Suspected White Supremacists, we broadcast our misery.


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