Movies: You're going to have to find yourself some other urban hellhole to haunt.

Today the city of Chicago takes the wrecking ball to the high-rise at 1230 N. Burling St., marking the beginning of the end for the final building in the infamous Cabrini-Green housing project.

Known to horror fans as the home of Candyman, Cabrini-Green was a real place. Named after Frances Cabrini - religious activist for the poor and the first American canonized by the Catholic Chruch - and Congressman William James Green, the projects grew organically from a row of house built in 1942 to, by the 1960s, a cluster of highrise apartments housing more than 15,000 people.

Initially, the residents of the project were Italian immigrants and their descendants, but social economic shifts meant that residents of Cabrini-Green were predominantly African-American by the early 1960s.

Real life violence haunted the CG. Before the initial row houses were built, the area that would become Cabrini-Green was known as "Death Corner" and was infamous for the number of organized crime hits that took place there. Still, the specific decline of the project can be traced to the post-World War II years when a cash strapped city started withdrawing crucial public services from the residents (such as regular police patrols) in an effort to save money. Even the lush green lawns that surround the apartment buildings were paved over to save money on lawn care.

In the 1970s, the city installed steel fencing in all the open pathways on the outsides of the apartment buildings. This feature - the prison-like metal fencing outside every apartment's doorway - can be seen in several scenes in the original Candyman. Meant as a safety feature, it had the unintended consequence of turning the blocks in armored fortresses for gang members who could now see the police without the police seeing them. In 1970, two police were killed by an unidentified sniper who picked them off from one of the now protected walkways.

By the 1980s, Cabrini-Green's rep as a gangster haven was a national embarrassment. Mayor Jane Byrne, in an effort to rehabilitate the project's image, moved in to a Cabrini-Green apartment. Even with her impressive force of bodyguards, she didn't last more than three weeks. Byrne's retreat from Cabrini-Green was widely seen as sign that the project was past saving.

Perhaps the height of the project's infamy came in 1997, when a nine-year-old girl, known in the media as "Girl X," was found raped and poisoned in one of the Cabrini-Green stairwells. Girl X survived her assailants attack, but the attack left her blind, paralyzed, and mute. The Cabrini-Green based Gangster Disciples street gang turned into a violent vigilante posse, with orders to find Girl X's attacker and beat him to a pulp. The fact that a gang seemed more likely to find the attacker than the police speaks to how far outside the civilized norm more folks considered the CG. Eventually the police did catch the perp. He was tried and given a 120-year sentence.

The projects are going to be replaced by mixed income housing. There's some controversy about the number of houses and apartments slotted for lower income families. Activists say that the new plan will not accommodate the number of lower income families displaced by the demolition of Cabrini-Green.

It's just a rumor at this point, but Target might be building a store on the site. Maybe that's where Candyman will go.

Movies: "You are not content with the stories, so I was obliged to come."

Rewatched Candyman this afternoon. I can't imagine anybody needs a review of this film, so I'll jump straight to my random thought: No flick less justly categorized as a "slasher" than Candyman.

The Clive Barker sourced fright flick, lensed by Bernard Rose, was partially a victim of timing. Film critics, especially the collective pro-am that dominates the dialogue regarding horror films, trade heavily on taxonomic and genealogical observation (both of which speak to core competency: a bent towards the trivial and citizenship status in a large, clannish interpretive community), a strategy that leaves them constantly reaching for existing interpretive models and repeatedly cramming new works into the intellectual boilerplate of previous films. When Candyman appeared in 1992, surrounded by the rotting odds and sods of the long since creatively bankrupt "slasher" moment in American horror cinema, the slasher subgenre was the Procrustean bed the fright fancy chose to stretch the film across. To this day, Candyman is widely considered a slasher: the horror-centric Bloody Disgusting site and the post-Whedon "geek culture" list-and-link-dump UGO site both list the titular baddie in their "Top N Slashers" lists.

To be fair, they're not alone. When composer Philip Glass, who gave the film its revisionists gothic organ and chorus score, saw the finished product, he was so repulsed that he withheld the release of the soundtrack recording for nearly a decade. He had scored the film thinking he was contributing to an artsy indie flick. He felt betrayed by the director. The derogatory Glass used to describe Candyman was "slasher flick."

Either as a slam or critical observation, the label of slasher doesn't fit Candyman. Instead, what Rose delivered was curiously retro gothic tale that owes more to classic Universal monster flicks than it does cynical slaughters of the 1980s.

Candyman himself belongs the odd tradition of monstrous nobility that descends straight from Lugosi's Dracula. Displaying some typically Barkerish traits, Todd's Candyman is a cursed decadent, an envoy from some place beyond our understanding of good and evil, a Romantic and aristocratic character who, it is revealed, is something of a vampiric psychic tyrant, kept somehow in unlife by the fearful worship of the downtrodden residents of Cabini-Green, Candyman's urban Transylvania populated by updated peasants.

The plot has a love-beyond-death seduction angle utterly foreign to the golden age slasher. In fact, the plot somewhat mirrors the plot of Coppola's Dracula relaunch - which emphasized the "weird love story" that was mostly marketing BS in the original film - that appeared the same year.

The film's first coda, with Candyman dropping what's essentially a "we belong dead" line as he and his bride are trapped in a giant bonfire, evokes the two Whale-directed Frankenstein films. We even get angry "villagers" with torches!

Candyman's charms have been buried too long under the misconception that it was just the weirdo entry in the slasher flood. The misappropriation of the flick by subgenre partisans has obscured what it really was: a genuinely interesting effort at updating classic gothic tropes for a modern, urban context. I would argue that the flick wasn't completely successful, but I believe the fusion of an intellectual, urban sensibility with deeply felt traditional gothic themes prefigured quite a bit of the "New Weird" aesthetic of urban fantasy. As source of future inspiration, it languishes in a genre ghetto it doesn't belong in.

I wonder too if we shouldn't credit the film with being an early innovator in the lavish squalor aesthetic that became the signature style of some many modern horror flicks after Fincher perfected it in Se7en. John Doe's nameless city could easily contain this imagined version of Cabrini-Green and you feel like you wouldn't be surprised if Virginia Madsen's Helen came across Jigsaw's bathroom-of-death in some less used section of the project.

Time is ripe for a re-evaluation.

"It's a blessed condition, believe me": Images of African Americans in horror cinema #7.

Throughout February, ANTSS will be running images that reflect - for better or worse - the image of African Americans in horror cinema.

Virginia Masden from Candyman, 1992.