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Monthly Archives: March 2009

Raise Up Knaan is in the Building-Make Room at the Table

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Raise Up Knaan is in the Building-Make Room at the Table

by Davey D

Listen to the Breakdown FM interview w/ Knaan by clicking link below:

http://odeo.com/episodes/24382570-Knaan-is-in-the-Building-make-Room-at-the-Table

Davey DI met Somalian born rapper Knaan about 3 or 4 years ago in his current place of residence Toronto. We chopped it up back then and he assured me that it was just a matter of time before the US Hip Hop scene would open its arms to rappers from other shores. At the time that seemed far fetched because even though we all know that Hip Hop is a worldwide phenomenon, very few heads in the states can cite more than 3 or 4 artists from neighboring Canada much less from overseas. Ask folks to name artists from Africa and the conversation is all but over…

On one hand we should not be surprised. After all, Hip Hop always reflects the mindset and cultural mores of the people and places that embrace it.Hence to the degree we can hardly name off any of the Provinces in Canada it should not be a shock that we can’t name off any of her artists.

Nowadays Knaan is increasingly becoming a household word here in the states. He’s already a superstar overseas. For many he’s a breath of fresh air who reminds us just how flavorful good Hip Hop can be. His creativity and overall conversation raises the bar. His global perspectives reminds us that this is a big big world and our country is just a small part of it..

We caught up with Knaan during his visit at SXSW in Austin, Tx and chopped it up with him. We talked about his new album Troubadour which is a monster and what he was trying to get across. We talked about the challenges of knocking down doors in the US. Knaan quoted Saul Williams by agreeing with the assertion that Hip Hop has been republican in the past 10 years. Its been about money, closing its eyes to the realities outside its immediate borders and very unwilling to change.
He sees things changing for the better and that’s a good thing.

We covered a variety of topics including the recent move by Homeland security to scrutinize Somalis living here in the US as possible terrorists. We talked about the whole Somali pirates thing and discovered that what we been fed by mainstream news is a big lie. Knaan explained that the so called pirates are actually more like Coast Guards. They been patrolling the waters and stepping to foreign vessels that look at the un-centralized government in Somalia and hence feel they can do pillage the natural resources like over the top commercial fishing and illegal dumping of hazardous wastes. The Somalia pirates have been stepping to vessels for violating their water space and have taken the matter up to the UN only to have the main violators France along with the US veto any resolution..

knaanWe talked about the make up of Knaan’s album and what it was like working with Maroon 5′s Adam Levine and Hip Hop legend Chubb Rock. He explained that Levine was a real cool and basically came through and laid down vocals for free. He just wanted to show respect and appreciation for the music.

He talked about admiring Chubb Rock’s rhyme flow and how it was an honor to have the rapper turned school teacher to come through and lace him up.

Knaan also talked about his rhyme influences which actually come from the Rhythmic Poets of Somalia. These wordsmith have been around centuries before the first rappers in the Bronx

Finally we talked about the state of the world and how US and US Hip Hop fit into things. Knaan noted that the US is now going a period where many of its citizens are feeling vulnerable and at ease. he noted its the same type of uneasiness that many throughout the world feel on a day to day basis. Our economic hardships are routine for the majority of the people around the world and now that type of situation is on our shores and we will have to not only rise to the occasion be much more aware of what the rest of planet earth is experiencing.

Listen to the Breakdown FM Interview w/ Knaan by clicking the link below:

http://odeo.com/episodes/24382570-Knaan-is-in-the-Building-make-Room-at-the-Table

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Breakdown FM-Taking Over Hip Hop-An Interview w/ Zion I

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We sat down and talked with Zumbi of the group Zion I and celebrated the release of their much anticipated album ‘The Takeover’. Its a masterpiece of an album that features brother Ali, Courtney Holiday, Ty, jennifer Johns, Omega and more. We walk through many of the cuts and marvel at the group’s attempts to make a timeless album that journeys through the history of Black American music styles

In this interview we talk about everything from gentrification to life in the hood and the importance of  Black manhood and  Barack Obama.

You can peep the Breakdown FM interview by clicking the link below

http://odeo.com/episodes/24382566-Taking-Over-Hip-Hop-An-Interview-w-Zion-I

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CEDITORIAL: Why New York is not Winning

CEDITORIAL: Why New York is not Winning
Written by Big Ced

What made New York, in terms of Hip-Hop, the place to be, was the abundance of talent and the stories that needed to be told to the masses. It wasn’t the poverty or the ghetto life that separated New York from the world, it was the melting pot, the air, the uniqueness of the city that made it stand out. It was also the sights, the atmosphere, the grittiness of the city that made it a place that others either wanted to visit or stay far away from. Any way you looked at it, it was always a place that was the center of attraction.

And I’m not speaking only in terms of Hip-Hop or even music. We have the Broadway shows, Central Park, the Botanical Gardens, Coney Island, etc. I could list all the major attractions and still have more places and things that make this great city stand out. Malcolm X, the Civil Rights Movement and Gay and Lesbian protests. And let’s not forget the Brooklyn Dodgers, the Polo Grounds, Yankee Stadium, Madison Square Garden and the New York Giants. See where I’m going with this? It will never be just one event or attraction that makes us so notable.

Wall Street, the Empire State Building and the financial district. King Kong. All in the Family, the Jeffersons, NYPD Blue and New York Undercover. Union Square, the Tunnel, Studio 54 and the Palladium. Sylvias, Copelands and Amy Ruths. Damn, this could go on for days.

But the real reason for me writing this is the rumor (or is it truth) that New York Hip-Hop is dead, wack, stale, doesnt matter anymore. Why does it take Jay-Z or Nas to make NY relevant? Where are the new cats who were supposed to take off where Jay left off? Remember when Public Enemy, KRS-ONE, Das Efx, Big Daddy Kane, Kool G. Rap, Slick Rick and every other successful New York Hip-Hop artist was hot and doing it? Remember when MC Hammer, Ice Cube, Snoop Dogg, Uncle Luke, Common and any other emcee outside of NY wanted to be accepted by New York? What happened to those days?

Now we all have theories. Its time for other regions, people were sick of the NY sound, cats outside the region didnt care about being accepted by NY. Maybe we are the victims of our own arrogance. Maybe there were too many hot NY emcees and the competition with each other allowed everyone else to sneak in and take it from us. Doesnt matter, we are officially wack right now and there is only one thing that will put us back on top again! And no, its not the Jay-Z/Nas collaboration we are anticipating. NY is missing a great big factor that was the VERY reason why New York is envied, yet targeted, even by terrorists. We have something that is built in us, especially if we are born here, others gain once they move here and others elsewhere try to duplicate it with their own twist. Once we get this back, WE WILL WIN and be BACK ON TOP! Its one simple word and all the great emcees, past, current and hopefully, future heads has had and/or have. Are you ready? SWAGGER!!!

Let me repeat that word for the people who didnt read it correctly the first time, SWAGGER. Thats what we are missing! I am challenging the new breed of emcees to start incorporating that in the way they do things. I dont feel that from any of the new, what I call, mentionables. Papoose, Jae Millz, Maino, etc. Granted, all are talented, some even lyrical, but I dont feel the swaggerness from them that I feel from a 50 Cent, a Ludacris, a T.I. when those guys do ANYTHING and Im not just talking about them rapping. They all have an air about them that makes you take notice to them, something this new crop is lacking. Once those young bucks realize that the swagger will make them hot, they will get it.

And on another note, New York Hip-Hop was always known for its diversity and grittiness. I had a conversation with Uncle Luke yesterday and he stated that you cant know the streets if you are not in the streets. I agree completely, every one is trying to be Puff and Jay and anyone else who is able to afford the bling lifestyle, yet they dont want to work to get there. And another thing, STOP TRYING TO MAKE MUSIC LIKE THE OTHER HOT REGIONS AT THE TIME! We were hot because we went to the beat of our own drum, but nowadays, if Atlanta is hot, niggas from NY are trying to be like Atlanta. When are we gonna say fuck everybody and lets take the lead once again? We NEVER followed, we may have borrowed and made it ours, but we NEVER followed, but the current crop, all they do is mimic what the others are doing and until the cycle is broken and the right emcees lead the way, we will always be lagging in the Hip-Hop world, a world WE created, nurtured and controlled. Now all we can do is look as everyone else surpasses us in EVERYTHING!

In closing, cause Ive CED a lot, I am from New York, I live in New York, I will always represent New York, but no one likes being on a losing team. Right now we are the New York Knicks. Several years ago, ok, many years ago (during the Charles Oakley, Xavier McDaniels, Jon Starks days), whenever a basketball team came into Madison Square Garden, they knew they were in for a fight and a loss, now, they come into the Garden knowing it will be easy. NY Hip-Hop right now is the New York Knicks. Regardless of who is coaching, the team STILL SUCKS.

We need to get the dynasty going again, like The New York Yankees. No one was beating the Yankees in the seventies, they went through a slump and who is beating them now (In terms of constantly being one of the better teams)? We need to be the New York Yankees, not the New York Knicks, but more importantly, we need to take the game back! We need to be the leaders! We need to be the trend setters again! We need to get down and dirty once more to prove that we can get dirty and come out on top again. But until that happens, we may as well stop claiming where were from cause it wont matter. Its not what we did yesterday, its what we are doing tomorrow!

Big Ced is the founder of Industry Cosign and one of the most respected executives in the entertainment industry. You can check out his site at www.industrycosign.com

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Posted by on March 31, 2009 in Essential Hip Hop Articles

 

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Outkast Catching Heat Over New Movie

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original article-August 31, 2006

I feel bad for these cats, because they really try to do the right thing. First they had major drama from the late Civil Rights pioneer Rosa Parks. Next they had Native Americans upset with them for their stellar performance at the Grammys and now they got folks in the real Idlewild getting up in arms over what many are saying is an incredible flick. Would they rather see these guys do another gang bang, pimp, hustler movie with no redeeming value?

Outkast Catching Heat Over New Movie

Idlewild, Mich. For moviegoers, Idlewild is the title of a new film starring platinum-selling hip-hop duo OutKast. For many others, however, Idlewild is a historical landmark. Andre Benjamin and Antwan Patton, known to rap fans as Andre 3000.. and Big Boi, respectively, star in the film, which is a musical drama set in the 1930s in Idlewild, Ga.

But theres one thing Idlewild doesnt exist. At least not in Georgia.

There is an Idlewild, Mich., and some who have frequented it arent happy because outside of the name, the movie has nothing to do with the small town in northwest Michigan.

Its an insult, said Coy Davis Jr., a Grandville filmmaker who directed the historical documentary Whatever Happened to Idlewild?

As a child, Davis spent many summers from the 1950s through the 70s in the Lake County town where his family owned a cottage.

They take something with such historical significance as Idlewild, take the peripheral aspects of it and turn it into a shoot- em-up, bang-bang minstrel show, he told the Grand Rapids Press for a story published last week. It demeans me as an African-American.

I understand its just entertainment. But call it Mishawaka, call it Schenectady. Dont call it Idlewild.

Idlewild, Mich., about 60 miles south of Traverse City, was a haven for black entertainment during the segregation era. Its rich, storied history is remembered mostly in glowing nostalgic terms. It was a place where black professionals from all over the Midwest vacationed and saw performances by legendary entertainers such as Louis Armstrong and B.B. King.

According to Ronald Stephens, a Detroit native and author of Idlewild: The Black Eden of Michigan, the movie draws a few parallels to the real Idlewild, but nothing more.

Its biggest asset is it puts the name in the publics imagination in ways the small town of Idlewild, Mich., couldnt do, Stephens said.

John Meeks, owner of the Morton Motel in Idlewild and the self-proclaimed unpaid, unofficial Idlewild ambassador, said prospective filmmakers have been sniffing around the town for years, but the makers of Idlewild never came by.

A lot of people are disappointed when they find out it isnt about Idlewild at all, he said. Its unfortunate that the name is being exploited, that it has no connection to the history of one of the most famous black resorts.

The film, which opened nationally Friday, co-stars Ben Vereen, Cicely Tyson, Ving Rhames and Oscar nominee Terrence Howard, along with musicians Macy Gray and Patti LaBelle.

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Posted by on March 31, 2009 in Hip Hop News articles

 

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The future of the internet: an interview with Hip Hop journalist Davey D

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orginal article-Aug 26 2006

This interview between two old friends, JR and Davey D, alerting us to a looming corporate-government threat to our freedom of information and communication on the internet is taken from the Aug. 23 edition of the San Francisco Bay View newspaper, and we are spreading the word through this list until our website, www.sfbayview.com, is back online. A popular website that drew 2 million hits a month, it’s been badly hacked and is now under reconstruction.

Check back in a week or so for a new, better than ever, more informative, inspirational and exciting www.sfbayview.com. Meanwhile, we’ll send out a few of the stories and features from this week’s Bay View and invite you to spread them widely.

The future of the internet: an interview with Hip Hop journalist Davey D

by Minister of Information JR

I remember when I first met Hip Hop journalist Davey D in the mid-90s, and he was talking about how big the internet was going to be; 11 years later he has one of the biggest Hip Hop websites on the internet, www.daveyd.com. He has always been on the front line of trying to arm the people he has influence over to become computer literate and learn how to use the new technology and use it to our political and economic advantage.

In this current episode of the haves versus the havenots, AT&T, Verizon and Comcast are working with sellouts like Congressman Bobby Rush and others in Congress to jack up the price of internet service, which will ultimately result in less people using it.

This is a fight that we ask everybody reading this to inform themselves about as well as get involved with, because it will affect you and your family. Check out Davey D as he informs us about the Net Neutrality Act …

MOI JR: What is the Net Neutrality Act?

Davey D: Let me explain what net neutrality is. For people that are listening, it gets a little complicated, so it might seem boring, but it is real important because it is going to change the way that we communicate with one another. Right now if you go on the internet … the internet has been a real god-send for a lot of people. Whether youre trying to get news across, or whether youre trying to get your radio show, the Block Report, across to people, or whether youre just an artist trying to get music from one point to the other, the net allows for you to do that freely, meaning that youre just one click away. So in other words, if you have your Block Report, your Block Report can be as big as ABC or CNN, because the only thing that everybody has to do is know the address so that they can click to it.

And so thats been a big problem for the big media conglomerates and a lot of people in power. So lets say that you find out some dirt on a politician, you can go put it on your report, and all that you have to do is get the address to everybody, and they can access that. If they just click on it, they could get the information.

If youre an artist, and you dont have all the money that 50 Cent has, you could come out and do your tape, put the music on the web, and all you got to do is get the address so you can bump from 50 Cents site down to yours; its just one click away.

So now what you got is these big media outlets, in particular AT&T and Comcast theyre the leaders. This Congressman, who you should know, Bobby Rush, from the Congressional Black Caucus and a few of these other people have been leading the charge to change the scene.

So now what they want is they want to make it so if you go to a site, and you dont pay a certain amount of money, then the site will be slow. So lets go back to the example that we used with your Block Report versus CNN. Right now, its even. If I click CNN, Ill see CNNs site. If I click your site, I go to the Block Report. I can get the information freely.

Now theyre going to say, We want the CNN site to load up quicker and were going to have to charge you $10, $12, $13 extra dollars a month or maybe even more to have people easily get your site. So when I go to click on your site, it might take forever for it to download. If I go to click on CNN, its right there quick, fast, in a hurry.

So hopefully that makes sense to people. So they want to basically divide up the internet, so that people who dont have money, people who have a radical or different point of view, people who are competition for major record labels and industry, that their internet connection to the public will be real slow and everybody elses will be real fast. Thats the best way to kind of describe it.

MOI JR: Who are some of the key players, and how has the fight been going up until this point?

Davey D: Well, what they did in Congress was that they had a thing called the Cope Act, and the Cope Act was basically like the Community Opportunity Program something I forget the whole acronym but it was called the Cope Act. This is what Congressman Bobby Rush pushed forth.

Now his angle was that he was trying to tell people, look, if you vote for this act and we get it passed through Congress, this is going to allow peoples cable bills to drop down lower. And he also said that the money that people will have to pay is going to go for research so that the companies like AT&T, Comcast and these other service providers could come up with high speed internet.

So now on the surface, people are like, My cable bill is going down, and theyre going to use the money so that we could have a faster connection. So he might come to you as an artist and say, Man, just pay this extra money, and you could get the speed so that it is almost a hundred times faster.

It sounds good on the surface, but here is what he is not telling you. The first thing is that he got $1 million from AT&T. That should tell you something right there. The million dollars was so that he could run programs out of his own little building that he has in Chicago.

The second thing is, is that the technology is already there. About two or three years ago, I cut a deal where I was going to work with some people in South Africa actually the government over there to provide them content, and when we were talking about making the deal, we thought that we would have to Fedex all of our information. And they told us about how fast their technology was, and they said back then this was about 2003-2004 they said that the technology that they had was close to a hundred times faster than it was here in the U.S.

So in other words, if I wanted to download a movie in South Africa, I would do it instantaneously at the snap of a finger; music you can download entire albums real quick. So the speed is there. So if youre trying to get information to the masses of people, you could do it instantaneously.

Now at the time, they were saying that the U.S. was making it very difficult to get that sort of technology into the United States, that they were trying to find a way to monetize it. So they were working with Danny Glover, Michael Jackson, Will Smith, and all of these other people to get content, so that it could go to South Africa and they can take advantage of their technology. In Beruit, where I was at for a week, their technology was much faster than ours. In France, their DSL connections are about 50 times faster than it is in the U.S., and they pay only $6 a month.

So the technology is there and it doesnt need to be discovered; all theyre going to do is just open up the gate. And theyre just trying to bamboozle people by telling them, Pay some extra money and were doing research. The only research that theyre doing is just going to pick up a phone and call up somebody and say, OK, lets bring the technology in. So those are two things that we need to really keep in mind.

Right now, the main players are AT&T, Comcast, Verizon; you should really look twice when you see Verizon doing all these commercials about downloading music. Theyre trying to cultivate a habit for people so that you start to associate Verizon with music. And what will eventually happen once the Net Neutrality thing goes through, then theyll come back and be the ultimate music site. And then all of these independent artists who theyre not in favor of, who they dont have a relationship with, who cant pay whatever money, they might not be able to get on the Verizon site.

AT&T has already opened up a music portal, and theyve been advertising it as the ultimate place to get all of your musical needs. So, in other words, these companies that just provide phone service are now starting to move inside the entertainment arena in anticipation of being able to have these high-speed connections that nobody else will.

MOI JR: How do you think that that is going to affect the digital divide on Black, Brown, and low income communities?

Davey D: Youre going to see that immediately, because whats happening is that people in our community are catching the most heat. In Chicago, they just found out all of this information about Commander Jon Burge who was torturing people. Ok, now they might do a headline on the paper, but theyre not going to tell you the behind the scenes story; theyre not going to interview everybody who is there etc. etc. And people need to know about the information so that they can either come up with new strategies, find out who they need to talk to, or at least keep their eye on the case.

Well now, if you have the internet either inaccessible or somebody like you as a journalist want to provide some information or some insight, you cant communicate to one another. Thats basically what this boils down to.

Theyre trying to find ways to make sure that people who dont have a voice never get a voice. And the internet was providing that, and people were stepping up their game, starting to do their own radio stations online, do their own magazines, do their own websites, their own distribution, and all the sort of stuff that they were doing online, and it was bringing people to a point of parity with the big boys.

Now they want to change that and basically shut it off. So anything that we need to have exposed is going to be very difficult to do, because of the change that they want to bring to the internet. Some people might say that now well just go back to the traditional ways, which is, Ill go print my own newspaper or Ill start my own television station, or Ill do whatever. But what is happening with the price of energy going up and some of these new labor laws and these new copyright things that are getting ready to come down the pipe, that is going to be even more expensive than going online.

MOI JR: How can people keep up with the Net Neutrality Act. I know that you have www.daveyd.com, but how else can people keep up with some of the information in regards to this Act?

Davey D: The main site that you go to is savethenet.com or savethenet.org; thats the main one. Now just to show you how devious the people on the other side are, what they did was they used similar language to talk about this situation. So they have a campaign called Hands Off the Internet, and they have a nice little cartoon to make it seem like theyre down with the people.

So when you watch their cartoon, its like, Yeah, we dont want nobody messing with the internet, and thats why were saying Hands Off the Internet. Support that. If you see that cartoon or hear that title, Hands Off the Internet, thats AT&T trying to pull wool over your eyes and act like theyre your best friend, when really theyre trying to stifle you in the end.

The other thing that you need to know is that theyve been spending up to a million dollars a day talking to people in Congress, lobbying your Senators, so like when I called Dianne Feinsteins office, she still doesnt have an opinion. This thing has been in front of her for six months, and she still doesnt have an opinion, which means that she might be on the fence in terms of taking money from AT&T or Comcast or Verizon. So those are the people that you need to stay away from.

Savetheinternet.org or savetheinternet.com are the two places that you should go to, and they could give you all the breakdown on it.

Email Minister of Information JR at blockreportradio@sfbayview.com and listen to the Block Report at www.myspace.com/blockreportradio. Keep up with Davey D at www.daveyd.com.

POCC Block Report Radio is teaming up wit’ Flashpoints Radio to bring the people a live dialogue between some of the Bay Area’s biggest media makers  and commentators to talk about the Net Neutrality Act and how it will affect Black and Brown people, the recent hacking into the SF Bay View website and corrupting files, and independent media and its role
in shaping our world.

The guests will be Kiilu Nyasha, Black Panther radio producer, Davey D, Hip Hop journalist who runs the website Daveyd.com, and Terone Ward, the San Francisco Bay View Newspaper’s webmaster.

You can join us live in the studio on Wednesday, August 30th, at New College, 780 Valencia between 18th and 19th, in San Francisco at 5pm. The studio has seats for 40. Let’s fill ‘em up. Admission is Free…

If you’re not in the Bay Area or can’t be in the studio, listen to the show at 5pm Wednesday on KPFA 94.1 FM or www.kpfa.org. To listen later, the show will be archived at www.flashpoints.net.

For more info, email JR at blockreportradio@yahoo.com.

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Posted by on March 31, 2009 in Industry news & Views

 

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Hip-Hop In Germany

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Hip-Hop In Germany

from The Bomb Hip-Hop Magazine #46 (April/May 1996)
by Boris Heimberger

When I went to the States for the first time in 1986 I would say I was the typical European kid. I was a MOD and Ska and New Wave music was the hype. I went to a record shop while I was out there and bought some promo copies of Sugarhill records with a lot of Grandmaster Flash on it. I had read some stuff on hip-hop but had never heard of Melle Mel. Then I went to a Whodini concert and guess who was the special guest that night, Run DMC… who at that time had not discovered Adidas yet.

Hip-Hop in Germany has a similar beginning like in the US. Although strongly influenced by overseas records and movies like Wild Style, it turned and flowed in a different direction caused by a different enviroment. Graffiti and breakdancing came out big but it only lasted for one summer. But hip-hop survived in the underground with people still bombing trains and rap jams at special clubs. At that time we did not have MTV or anything comparable in Europe – but with it’s start about three years ago hip-hop broke thru to get more popular and our own industry started to grow. The German equivalent of MTV’s Yo Raps is VIVA’s Freestyle which presents a comfortable mixture of US, GB and German Hip-Hop. Low budget bands sit together on the interview couch with the Beastie Boys and a crew of VJs travel around the country to make updates.

Special clubs that play 100% hip-hop are rare. In Hamburg you will find all those special clubs clubs in the Red Light district around the Reeperbahn, which is very famous not only for their prostitutes but also for the highest density of bars, music clubs, and discos. Due to the amount of sex and crime in that area it is not a beneficial enviroment. But the advantage of no limit opening hours makes it to be the most famous area of all of Europe. Famous clubs are The Mojo (more jazz oriented), Molotow (hardcore), and The Powerhouse which is separated in two parts – one for jungle music and one for hip-hop. The Powerhouse is the most favorite for US rappers who are touring and/or hanging out after a show. Last summer I met Ice T and his Body Count Crew as well as House of Pain at The Powerhouse. There are also a lot of jams all over the city where German DJs mainly play native music intermixed with live acts. Breaking is not very big in the clubs except for The Powerhouse and I have to admit that I do not know any breakers because most of those guys are from the suburbs. Live acts always depend on the season – which is Spring to Fall. Last summer we had a open air concert featuring Ice Cube and Gang Starr that was a highlight. Unfortunately the Amerikkkas Most Wanted Tour, featuring Ice T, Ice Cube, and Public Enemy was cancelled. Word had it that it was cancelled due to a management problem, same thing happened with the Warren G concert. We’ll see what happen this year.

Like the clubs there are not any pure hip-hop radio stations, but almost everyday hip-hop dj’s have their hours to play rap music. The good thing is that there is no censorship here. Example: Everday you can hear 20 Fingers original ‘Short Dick Man‘ on the radio.

Like in the states the US Rap Music market is very big and you can find everything in the big mall record shops including local independent German releases. But shops like Zardoz in Altona normally have the brand new releases first, that’s where I found the ‘Bomb Hip-Hop Compilation‘ on compact disc. The relation of import and domestic right now is 70% import to 30% domestic right now, but domestic is increasing rapidly. CD’s have practically taken over the market out here and cassettes are almost out and are just used for black copies. I think they keep a little bit of vinyl alive for the DJs to scratch with and sample. It’s hard to describe the scene in detail because even in the city of Hamburg different styles occur due to ethnic and musical background. Germany is full of immigrants from Turkey, former Yugoslavia and of course Africa. Consequently everyones rappin’ in the lanquage that he or she prefers. Due to a grand hardcore community, rock influences in German hip-hop are much stronger than in the states.

Graffiti artists like Hesh and Daim actually earn enough money from their art to live from and other groups like Fantastische Vier (fantastic four) are mega-stars. If you meet Miro (alias sprayer Mesh, alias rapper Masquerade) you might have the impression that you have just met a lazy bum (but this probably comes from his yugoslavian background) but once he starts working his creativity of music and graffiti it definitely makes him to be the GM of his hood Altona.

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The History of Hip Hop (1985 Reprint)

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The History of Hip Hop
by Dave ‘Davey D’ Cook (reprint from 1985-The Power of Rap)

Nowadays if you ask most people to give a definition of “rap”, they’re likely to state that it’s the reciting of rhymes to the best of music. It’s a form of expression that finds its roots embedded deep within ancient African culture and oral tradition. Throughout history here in America there has always been some form of verbal acrobatics or jousting involving rhymes within the Afro-American community. Signifying, testifying, Shining of the Titanic, the Dozens, school yard rhymes, prison ‘jail house’ rhymes and double Dutch jump rope‘ rhymes are some of the names and ways that various forms of rap have manifested

Modern day rap music finds its immediate roots in the toasting and dub talk over elements of reggae music. In the early 70′s, a Jamaican dj known as Kool Herc moved from Kingston to NY’s West Bronx. Here, he attempted to incorporate his Jamaican style of dj which involved reciting improvised rhymes over the dub versions of his reggae records. Unfortunately, New Yorkers weren’t into reggae at the time. Thus Kool Herc adapted his style by chanting over the instrumental or percussion sections of the day’s popular songs. Because these breaks were relatively short, he learned to extend them indefinitely by using an audio mixer and two identical records in which he continuously replaced the desired segment.

In those early days, young party goers initially recited popular phrases and used the slang of the day. For example, it was fashionable for dj to acknowledge people who were in attendance at a party. These early raps featured someone such as Herc shouting over the instrumental break; ‘Yo this is Kool Herc in the joint-ski saying my mellow-ski Marky D is in the house‘. This would usually evoke a response from the crowd, who began to call out their own names and slogans.

As this phenomenon evolved, the party shouts became more elaborate as dj in an effort to be different, began to incorporate little rhymes-’Davey D is in the house/An he’ll turn it out without a doubt.’ It wasn’t long before people began drawing upon outdated dozens and school yard rhymes. Many would add a little twist and customize these rhymes to make them suitable for the party environment. At that time rap was not yet known as ‘rap’ but called ‘emceeing‘. With regards to Kool Herc, as he progressed, he eventually turned his attention to the complexities of deejaying and let two friends Coke La Rock and Clark Kent (not Dana Dane’s dj) handle the microphone duties. This was rap music first emcee team. They became known as Kool Herc and the Herculoids.

Rap caught on because it offered young urban New Yorkers a chance to freely express themselves. This was basically the same reason why any of the aforementioned verbal/rhyme games manifested themselves in the past. More importantly, it was an art form accessible to anyone. One didn’t need a lot of money or expensive resources to rhyme. One didn’t have to invest in lessons, or anything like that. Rapping was a verbal skill that could be practiced and honed to perfection at almost anytime.

Rap also became popular because it offered unlimited challenges. There were no real set rules, except to be original and to rhyme on time to the beat of music. Anything was possible. One could make up a rap about the man in the moon or how good his dj was. The ultimate goal was to be perceived as being ‘def (good) by one’s peers. The fact that the praises and positive affirmations a rapper received were on par with any other urban hero (sports star, tough guy, comedian, etc.) was another drawing card.

Finally, rap, because of its inclusive aspects, allowed one to accurately and efficiently inject their personality. If you were laid back, you could rap at a slow pace. If you were hyperactive or a type-A, you could rap at a fast pace. No two people rapped the same, even when reciting the same rhyme. There were many people who would try and emulate someone’s style, but even that was indicative of a particular personality.

Rap continues to be popular among today’s urban youth for the same reasons it was a draw in the early days: it is still an accessible form of self expression capable of eliciting positive affirmation from one’s peers. Because rap has evolved to become such a big business, it has given many the false illusion of being a quick escape from the harshness of inner city life. There are many kids out there under the belief that all they need to do is write a few ‘fresh’ (good) rhymes and they’re off to the good life.

Now, up to this point, all this needs to be understood with regards to Hip Hop. Throughout history, music originating from America’s Black communities has always had an accompanying subculture reflective of the political, social and economic conditions of the time. Rap is no different.

Hip hop is the culture from which rap emerged. Initially it consisted of four main elements; graffiti art, break dancing, deejay (cuttin’ and scratching) and emceeing (rapping). Hip hop is a lifestyle with its own language, style of dress, music and mind set that is continuously evolving. Nowadays because break dancing and graffiti aren’t as prominent the words ‘rap’ and ‘hip hop’ have been used interchangeably. However it should be noted that all aspects of hip hop culture still exists. They’ve just evolved onto new levels.

Hip hop continues to be a direct response to an older generation’s rejection of the values and needs of young people. Initially all of hip hop’s major facets were forms of self expression. The driving force behind all these activities was people’s desire to be seen and heard. Hip hop came about because of some major format changes that took place within Black radio during the early 70′s. Prior to hip hop, black radio stations played an important role in the community be being a musical and cultural preserver or griot (story teller). It reflected the customs and values of the day in particular communities. It set the tone and created the climate for which people governed their lives as this was a primary source of information and enjoyment. This was particularly true for young people. Interestingly enough, the importance of Black radio and the role djs played within the African American community has been the topic of numerous speeches from some very prominent individuals.

For example in August of ’67, Martin Luther King Jr addressed the Association of Television and Radio Broadcasters. Here he delivered an eloquent speech in which he let it be known that Black radio djs played an intricate part in helping keep the Civil Rights Movement alive. He noted that while television and newspapers were popular and often times more effective mediums, they rarely languaged themselves so that Black folks could relate to them. He basically said Black folks were checking for the radio as their primary source of information.

In August of 1980 Minister Farrakhon echoed those thoughts when he addressed a body of Black radio djs and programmers at the Jack The Rapper Convention. He warned them to be careful about what they let on the airwaves because of its impact. He got deep and spoke about the radio stations being instruments of mind control and how big companies were going out of their way to hire ‘undignified’ ‘foul’ and ‘dirty’ djs who were no longer being conveyers of good information to the community. To paraphrase him, Farrakhon noted that there was a fear of a dignified djs coming on the airwaves and spreading that dignity to the people he reached. Hence the role radio was playing was beginning to shift…Black radio djs were moving away from being the griots.. Black radio was no longer languaging itself so that both a young and older generation could define and hear themselves reflected in this medium.

Author Nelson George talks extensively about this in his book ‘The Death Of Rhythm And Blues‘. He documented how NY’s Black radio station began to position themselves so they would appeal to a more affluent, older and to a large degree, whiter audience. He pointed out how young people found themselves being excluded especially when bubble gum and Europeanized versions of disco music began to hit the air waves. To many, this style of music lacked soul and to a large degree sounded too formulated and mechanical.

In a recent interview hip hop pioneer Afrika Bambaataa spoke at length how NY began to lose its connection with funk music during this that time. He noted that established rock acts doing generic sounding disco tunes found a home on black radio. Acts like Rod Stewart and the Rolling Stones were cited as examples.

Meanwhile Black artists like James Brown and George Clinton were for the most part unheard on the airwaves. Even the gospel-like soulful disco as defined by the ‘Philly sound’ found itself losing ground. While the stereotype depicted a lot of long haired suburban white kids yelling the infamous slogan ‘disco sucks’, there were large number of young inner city brothers and sisters who were in perfect agreement. With all this happening a void was created and hip hop filled it… Point blank, hip hop was a direct response to the watered down, Europeanized, disco music that permeated the airwaves..

FYI around the same time hip hop was birthed, House music was evolving among the brothers in Chicago, GoGo music was emerging among the brothers in Washington DC and Black folks in California were getting deep into the funk. If you ask me, it was all a response to disco.

In the early days of hip hop, there were break dance crews who went around challenging each other. Many of these participants were former gang members who found a new activity. Bambataa’s Universal Zulu Nation was one such group. As the scene grew, block parties became popular. It was interesting to note that the music being played during these gigs was stuff not being played on radio. Here James Brown, Sly & Family Stone, Gil Scott Heron and even the Last Poets found a home. Hence a younger generation began building off a musical tradition abandoned by its elders.

Break beats picked up in popularity as emcees sought to rap longer at these parties. It wasn’t long before rappers became the ONLY vocal feature at these parties. A microphone and two turntables was all one used in the beginning. With the exception of some break dancers the overwhelming majority of attendees stood around the roped off area and listened carefully to the emcee. A rapper sought to express himself while executing keen lyrical agility. This was defined by one’s rhyme style, one’s ability to rhyme on beat and the use of clever word play and metaphors.

In the early days rappers flowed on the mic continuously for hours at a time..non stop. Most of the rhymes were pre-written but it was a cardinal sin to recite off a piece of paper at a jam. The early rappers started off just giving shout outs and chants and later incorporated small limricks. Later the rhymes became more elaborate, with choruses like ‘Yes Yes Y’all, Or ‘One Two Y’all To The Beat Y’all being used whenever an emcee needed to gather his wind or think of new rhymes. Most emcess rhymed on a four count as opposed to some of the complex patterns one hears today. However, early rappers took great pains to accomplish the art of showmanship. There was no grabbing of the crotch and pancing around the stage.

Pioneering rapper Mele-Mel in a recent interview pointed out how he and other acts spent long hours reheasing both their rhymes and routines. The name of the game was to get props for rockin’ the house. That meant being entertaining. Remember back in the late 70s early 80s, artists weren’t doing one or two songs and leaving, they were on the mic all night long with folks just standing around watching. Folks had to come with it or be forever dissed.

Before the first rap records were put out (Fat Back Band‘s King Tem III’ and Sugar Hill Gang‘s ‘Rapper Delight’), hip hop culture had gone through several stages. By the late 70′s it seemed like many facets of hip hop would play itself out. Rap for so many people had lost its novelty. For those who were considered the best of the bunch; Afrika Bambaataa, Chief Rocker Busy Bee, Grandmaster Flash and the Furious Four (yes initially there were only 4), Grand Wizard Theodore and the Fantastic Romantic Five, Funky Four Plus One More, Crash Crew, Master Don Committee to name a few had reached a pinnacle and were looking for the next plateau. Many of these groups had moved from the ‘two turntables and a microphone stage’ of their career to what many would today consider hype routines. For example all the aforementioned groups had routines where they harmonized. At first folks would do rhymes to the tune of some popular song.

The tune to ‘Gilligan’s Island‘ was often used. Or as was the case with the Cold Crush Brothers, the ‘Cats In the Cradle‘ was used in one of their more popular routines. As this ‘flavor of the month’ caught hold, the groups began to develop more elaborate routines. Most notable was GM Flash’s’ Flash Is to The Beat Box‘. All this proceeded ‘harmonizing/hip hop acts like Bel Biv DeVoe by at least 15 years.

The introduction of rap records in the early 80s put a new meaning on hip hop. It also provided participants a new incentive for folks to get busy. Rap records inspired hip hoppers to take it to another level because they now had the opportunity to let the whole world hear their tales. It also offered a possible escape from the ghetto…. But that’s another story..we’ll tell it next time.

written by Dave ‘Davey D’ Cook
c 1985

Return to Davey D’s Hip Hop Corner

 

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DJ Eddie Cheeba & DJ Hollywood-The Disco Side of Hip Hop

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DJ Eddie Cheeba & DJ Hollywood-The Disco Side of Hip Hop

Cheeba, Cheeba Y’all!
“Let’s take a trip,
Back into the past,
When the rappers had no records
And the deejays were fast.
When the great Kool Herc lead the Hevalo pack,
And Hollywood and Cheba rocked the Diplomat…”

‘AJ Is Cool’ by Kurtis Blow

 

Cheeba, Cheeba Y’all: Original House Rocker Eddie Cheba

By Mark Skillz
MarkSkillz@aol.com

http://hiphop101a.blogspot.com/2007/09/cheeba-cheeba-yall.html

T

he Fishtail Bar in the Bay Watch Resort in Myrtle Beach, South Carolina is right out back over looking the beach. Dozens of families are crowded in several swimming pools trying to beat the heat. Overhead the sound system is playing the dancehall reggae classic ‘Level the Vibes’ by Half Pint. On the surface it appears to be the most unlikely place to meet a former ghetto celeb and rap innovator. But then again it is.

Decked out in a white and green short set with matching jersey, is a middle-aged man that many would find likable. His easy-going personality mixed with his affable charm makes him the kind of guy you’d want to share a drink and swap stories with. But it’s the stories that this man with droopy eyes and a raspy voice would tell that could make you look at him cross-eyed while sipping your Long Island Iced Tea. That is unless you’re up on your hip-hop history.

Way before the bling era and rappers rubbing shoulders with the likes of Donald Trump and Paris Hilton in the Hamptons, and definitely before multi-million dollar deals, ring tones, clothing lines and sneaker endorsements, rap was the music of ghetto Black New York. That means you didn’t hear it too far beyond the infamous five boroughs.

Almost jumping out of his seat he says to me, “Most guys back then, only got $175 or $150 with a sound system to play a gig. You know what I’m sayin’? We got $500 for an hour – without a sound system.” All the while he’s tapping me on the shoulder in between sips of a Heineken. “And you’d be happy that you got that hour!” He says to me with the cockiness of a used car salesman. “We’d do one hour over here, jump in our cars and head out to Queens or Hempstead, Long Island and do an hour out there.”

That was in 1977 when the cost of living was different and so was the cost of the best deejay in New York.

Ladies and Gentlemen: meet, Eddie Cheba, who along with Mele Mel, Cowboy, Creole, Coke La Rock, Timmy Tim and DJ Hollywood is one of the founding fathers of rap.

In his day Cheba was a legend. At hot night clubbing spots like Small’s Paradise, Charles Gallery, Hotel Diplomat and Club 371, Cheba would shout into the mic: “Who makes it sweeter?” And the crowd of hundreds would shout back “Cheba, Cheba, Cheba!

He is credited with creating the old school rhyme: “It’s on and on and on on and on like the hot butter on the what?” And if you were in the club and ‘in the know’, you knew to holler back: “Popcorn!” “We had a book of ‘em”, he told me in reference to the call and response tactics that he and his friend, partner and sometime rival, DJ Hollywood came up with.

The call and response style (back then called ‘house rockin‘) that MC’s/DJ’s like Busy Bee, Kid Capri, Doug E Fresh, Kurtis Blow and Biz Markie are notorious for can be traced back to the smooth style of guys like Lovebug Starski, DJ Hollywood and Eddie Cheba.

On this day Eddie is in an upbeat mood because Tuff City Records is re-releasing the only recording Eddie ever did, a disco rap work out called ‘Looking Good (Shake Your Body)‘. A song which was originally recorded for Tree Line Records in 1980, and was backed by the owners of Club 371, it will be a part of an old school rap compilation.

Cheba’s raspy- voiced, call and response style made a special impact out in Long Island, with some college kids that called themselves ‘Spectrum Sound‘, the group would later be known as Public Enemy.

“Eddie Cheba was as important to hip-hop/rap as Ike Turner was to rock n roll”, Chuck D front man for Public Enemy informed me, “nowhere does he get his due credit for spreading it from the BX to [make it more] accessible [to] heads [outside of Harlem and the Bronx]. Cheba and Hollywood simply infiltrated the over 18 college adult bracket that simply hated on the art form. They put a bowtie on hip-hop at that time to get it through. Cheba commanded the audience with voice and a great sense of timing. These cats used rap to set up records like no other. His synergy with Easy G his deejay was simply… telepathic.”

“Now mind you”, says an emphatic Kurtis Blow, a rap pioneer in his own right, ‘let’s not get it twisted okay: Cheba was before DJ Hollywood. On that side of the family tree we have Pete DJ Jones who was the first real disco street deejay with emcee’s JJ Disco the King, KC the Prince of Soul and JT Hollywood – these guys were just announcers…the next level was the crowd response which was Eddie Cheba’s thing, he was the master of the crowd response. He had routines, he had girls – the Cheba Girls, he had little routines and he did it with a little rhythm ya know: ‘Throw your hands in the air, everybody now, we don’t need no music, come on y’all say it, so just clap your hands everybody and everybody body clap your hands! If you’re not too skinny or not too fat everybody say and ya know that!” Eddie was mad sick with the crowd response he was a master!”

As I think back on other names that rung out loud on the streets back then I ask Eddie about:

Ron Plummer: “Awww man, Plummer gave Pete Jones hell with those refrigerator sized speakers.”

Maboya: “He used to play reggae. He was one of the first ones out there to play reggae. At that time rap and reggae were not accepted – you’d play that stuff and people would turn around and look at you.”

The Smith Brothers: “They were older than us, they had an older clientele, but their sound system was good.”

But it’s the name DJ Hollywood that Cheba’s name is almost synonymous with. For many their names are almost linked together like Salt and Pepper, Butch and Sundance or Martin and Lewis. Can’t have one without the other. They were Uptown royalty when Cam’ Ron and Jim Jones were in Pampers.

Back Like Cadillac’s and Brim Hats

Edward Sturgis was born and raised in Harlem, New York’s Douglas Projects, home to such alums as Kenny Smith, Lawrence Hilton-Jacobs and fellow deejay Reggie Wells. Originally a music major Eddie got involved with funk and soul bands, but soon grew tired of the instability that goes with being in a group. He soon found that his love for music could be expressed another way: with turntables and records.

“My sister’s boyfriend Thomas was one of the first people I ever saw really mix music in a smooth way. I mean he knew how to keep the beat going, you know what I mean?” Eddie says to me while taking a drag off of his cigarette. “I said to myself ‘I wanna do that!”

Soon the Brandice High School student was spending hours a day practicing on his turntables. “I was completely locked into it. My girlfriend, who is my wife now, a date for us back then was, her sitting on my bed reading her books while I practiced.”

By 1974 he got so good at spinning records that he was able to quit his job at Bankers Trust and really concentrate on deejaying, “The money was flowing in.” He says to me with a sly smile.

On the way down the path to being a ghetto celeb he played in Uptown’s hottest spots: Charles Gallery, Hotel Diplomat (which on some nights attracted a white audience and was called LeJardin) and Wilt’s Small’s Paradise. “In 1972 when Joe Frazier beat Muhammad Ali at the Garden, he came to Small’s Paradise after the fight to hang out. I have a picture of me and him at Small’s.”

The Sound Systems in the Park

At the same time that Eddie was perfecting his craft in Harlem there was a whole other scene jumping off in the Bronx. This crowd was younger, rougher and rowdier.

“There were two different crowds”, says Kurtis Blow, who’s classic recording ‘The Breaks’ was the second 12′ inch record to be certified gold. “Grandmaster Flash calls them the shoe people and the sneaker people.”

Blow, a Harlem native, is a student of both the R&B style of guys like Pete Jones and Hollywood and the hardcore b-boy approach of the Kool Herc followers. In fact with his deep, booming bass voice and crisp enunciation Kurtis’ style was the perfect blend between Harlem’s smooth R&B chic and Bronx b-boy cool.

At the parties that guys like Eddie, Grandmaster Flowers, Pete DJ Jones, the Disco Twins and the Smith Brothers would play at, songs like ‘Do it Anyway You Wanna‘, “I Got My Mind Made Up‘, ‘All Night Thing‘, ‘Pipeline‘ and ‘Soul Makossa‘ would rock crowds of hundreds of the 21 and over crowd. Men came to the party wearing dress shoes, suits and slacks and women wore dresses.

Kool Herc, Flash, Breakout, Kool DJ AJ, Disco King Mario, Bambaataa and others rocked the teenage b-boy crowds. Their crowds would come in packs of 15 to 20 strong, wearing sneakers, jeans, hats and silver chains. They couldn’t wait to hear their favorite deejay play obscurities like ‘Give it to Me‘, ‘Champ‘, ‘Mardi Gras‘, ‘Synthetic Substitution‘, ‘Hit or Miss‘ and many other unknown records that were worshipped by this cult following.

The slight exception was in Harlem at the Renaissance Ballroom, or the ‘Renny‘ as it was called, where a promoter named Willie Gums had a thing called the ‘Rolls Royce Movement‘, “That was Lovebug Starski’s thing right there”, says Kurtis Blow. “It was the Sapphire Crew: Donald Dee and B Fats that was their thing. That was hip-hop with class. They were young people but they got dressed up for these parties. I think D.J. Hollywood might’ve played there once.”

“Kool Herc and them played in the park. We were blessed to be able to play in clubs,” Eddie says to me. “If you think about it anybody could play in a park; little kids were in the park. There was no money playing in parks. Either the cops was coming to tell you to turn it down or they were gonna unplug you from the light pole or there was gonna be a shootout or something. I played in clubs where people drank champagne and came to have fun. Besides, the park was dangerous”, Eddie says to me while looking from side to side. “You got five niggas over there drinkin’ talkin’ ’bout fuckin’ you up. Would you wanna be there?”

The Man With The Golden Voice

Before anyone could claim the title of King of New York, there was the original ‘King of Rap’: DJ Hollywood. On the streets of New York in the 70′s, Wood (as he is sometimes called) was the quintessential man. He was the first deejay to play multiple spots in one night and collect a fee of $500 per appearance. According to Cheba, “Hollywood would call ahead to Club 371 [after playing at other spots around the city] and say, “I’m on my way, have my envelope ready.”

He was a rap star before there were any records. The history of the mixtape game can be traced back to him. He used to sell 8 track tapes of his mixes for ten or fifteen bucks a pop way back in 1972. He sang, he rapped, he did vocal impressions and crowd participation. On the rap tip in the 70′s no one could touch him.

“Hollywood was ‘all city’ he could play anywhere he wanted in the city back then”, says Kurtis Blow. “Hollywood, had a golden voice, he had a round and fat voice, he had tonality, tonality almost like a singer – he had singing routines where he would sing, “Got a word from the wise, just to tranquilize, your mind your body and soul. We got a brand new rhythm now, and we’re gonna let it take control. Come on y’all let’s do it. Let’s do it’… that was Hollywood, he was the master at the crowd response but his voice…” Kurtis pauses excitedly looking for the right words and when he finds them he says, ‘his voice was golden like a God almost – that’s why I wanted to be an MC!”

“If you went out to a club – you had to go to Club 371 to hear this cat. Hollywood was the talk of the town”, an animated Kurtis Blow says to me. “Everybody was losing their minds, he had skits like ‘Throw your hands in the air, and wave ‘em like ya just don’t care. And if you got on clean underwear, somebody say ‘Oh yeah!’ And the crowd would shout back: Oh yeah! Hollywood had the golden voice, the chants the rhythm. The first rhythmic rhymes I ever heard …a cat say during the hip-hop days – we’re talking about the ’70′s. I’m not talking about the ’60′s or anything before that because rap has been around for a long time. We’re talking about the first rhymes that I ever heard DJ Hollywood say were:

 

“I’m bonnified, I’m celitified and I’m qualified to do,
I say anything your heart can stand,
It all depends on you.
I’m listed in the yellow pages,
All around the world,
I got 21 years experience with loving sweet young girls…”

During an early morning phone interview Hollywood related the story of his discovery to me. “One day in 1975, I was at home playing records, and one of the records I pulled out was the “Black Moses” album. It was not popular at the time. So, there I was listening to this album, and I put on a song called “Good Love 69969″. Isaac Hayes was singing this part that went “I’m listed in the yellow pages, all around the world; I got 30 years experience in loving sweet young girls.” That record stopped me dead in my tracks. You see, before that record I had been doing nursery rhymes. But after that record: I was doing rhymes. And not only was I doing rhymes but I was talking about love. This was another level.”

In a reflective mood the one time King of Rap recalled the next events.”I thought to myself, what if I take what he’s doing and put it with this? What would I get? I got fame, that’s what I got. I got more famous than I could ever imagine. Everybody bit that rhyme. I would go to jams and people would be saying that rhyme, and none of them, not one of them, knew where it came from. It blew my mind.”

“I knew of Hollywood cause we were both from Harlem.” Eddie remembers. “Back in the day when Hollywood would play at the Apollo Theatre the marquee would say: “The Spinners, Black Ivory, Harold Melvin and the Blue Notes and D.J. Hollywood”. He was that large.”

But Eddie wanted the spot light too.

“I was sitting in my room one day when I came up with my rhyme. I wrote it out in a notebook it went.

About a while ago and I want you to know, just who you been listening to. Just listen to me now, while I tell you how, who I am, and what I do. I’m 5’9 and a half, bow legged as you ever wanna see. Just look up on the stage baby doll, I’m talking about little old me. It’s Cheba girl and I’m so glad that you came around. So we can spend some time together maybe even mess around.

Very quickly, like Hollywood’s rap, Eddie’s rap was eagerly consumed by other deejays, whom very soon, had no knowledge of the raps origin either. ASCAP and BMI were not looking for rappers back then, and rappers were no more aware of ASCAP and BMI then they were about words like ‘publishing’, ‘writing credit’, ‘points’ and ‘royalties’. This was before records.

“Before Club 371 I was playing at a spot called “A Bunch of Grapes” this was on the East side of 125th St. You see back then, the only people that were hip to my shit were the hustlers that went to the after hours spots. That’s where my rep started at was with the hustlers.” Said DJ Hollywood.

Every other rapper today fantasizes about knowing or being somehow connected with a notorious gangster, back in the day – Nicky Barnes was that gangster. Wood played for some of the most notorious figures of the ’70′s and ’80′s, chief among them was Guy Fisher. It was Fisher who owned and operated the Apollo Theatre as a legitimate front. It was at the Apollo that Hollywood gained his rep for providing entertainment between acts for some of the biggest stars of the era, and often times he overshadowed them.

Guy Fisher was no stranger to the hip-hop set back then. Many an old timer tell stories of the days when Fisher, Bats Ross and other members of Nicky Barnes’ old crew would frequent hip-hop spots like the Hevalo and check out Kool Herc and Coke La Rock.

At the very mention of Fisher’s name Eddie becomes visibly uncomfortable. “Yes, Wood worked for Guy Fisher and them, those were Nicky Barnes’ people. I didn’t want to have anything to do with those people.” He tells me. “Yeah sure, we did parties for them, but that was it! They were nice guys outside of their business, but I didn’t want to play for them that much.”

“Why is that?” I ask.

“Because see, Hollywood might show up to Club 371 at two, three o’clock in the morning. Sometimes he didn’t show up at all. You couldn’t do that kind of shit with people like that because they would come and get you – and throw you in a bag or something.”

Havin’ Fun at Club 371

Sometime in 1978 a group of gentlemen called the Ten Good Guys wanted to expand their Bronx disco. It was called Club 371. They got DJ Hollywood to play there after seeing the impact of what he was doing in 1975 at the club ‘A Bunch Of Grapes’. Hollywood had been playing at 371 for at least three years before the owners decided to expand the club.

“Hollywood was packing em in, they had lines around the corner. They built a part two, which was called the ‘House of Glass’. They talked to Reggie Wells and we made a deal and they came to get me.”

It was at Club 371 that Eddie Cheba would meet Hollywood.

“It was Hollywood and his deejay Junebug downstairs and me, Reggie Wells and my deejay EZ Gee upstairs. I’m telling you, we had them people running up and down those steps all night long.” Eddie recalls. “My deejay EZ Gee played with me when it was time for me to rap, [that's when] he’d take over. I used to rent out a loft so that we could practice our routines. God sent EZ Gee to me.”

“371 was one of the greatest clubs of all time in the Bronx, New York, it was the first black owned club in New York to gross over a million dollars in one year and this was back in 1979, when they charged six or seven dollars to get in the door.” Eddie asserts. “They cleared a million dollars at the door – not to say how much they cleared under the table. This was one of the greatest clubs of all time: Eddie Cheba, Reggie Wells, Junebug and DJ Hollywood at Club 371 that’s where all the fame and fortune came from.”

“Everybody came to Club 371″, Hollywood recalls, “If you came in from out of town, people would be like, you gotta go here – it was like no other!”

Any old time Club 371 regular will tell you that the original chant that Big Bank Hank from the Sugar Hill Gang used in ‘Rapper’s Delight’ went: “Hotel/Motel/Holiday Inn, if you don’t tell then I won’t tell, but I know where you been!” 98.7 KISS-FM mix master Reggie Wells told me the origin of the chant had something to do with the Courtesy in New Jersey and people sneaking around after the club let out.

The club did so well that the owners went to great lengths to take care of their deejays. Reggie Wells remembers the money being so good at 371 that “all of the deejays had caddy’s back then.”

“Hollywood needed a car and didn’t have a license, so they bought him a Caddy and got him a license by sliding somebody at the DMV some money.” Eddie laughs while recalling the time. “They really took care of us.”

Reflecting on his heyday Eddie told me, “I had everything I shopped at AJ Lester’s. I was walked into any club in the city – I always got in free. Champagne? I got bottles of it wherever I went. If I walked down 125th St. in Harlem, people would see me and walk up to me and want to shake my hand or ask me for an autograph. If I had someplace to go I called a car service [Godfather's, Touch of Class and OJ's] and they would be there to pick me up. I’d say wait here until I’m done and they would. I used to sell my tapes for $20 a pop. People would be reserving tapes weeks in advance. Godfather’s and OJ’s and them used to sell my tapes. They would have a customer in a car and would be playing my stuff, the customer would be like ‘Who’s that?’ They’d say that’s Eddie Cheba. I was one of the top deejays in the city.

Like Butch and Sundance

“Me and Hollywood became really good friends. We worked together as well, but we were also friends. We used to go to after hour’s spots all over the city together and sit, drink and talk into early in the morning. We were close man.” Eddie said to me.

Soon a partnership was born. “At one point they were called DJ-Eddie-Hollywood-Cheba”, laughs Kurtis Blow.

“Let me tell you how large I got.” Eddie says as he leans back in his seat and exhales a cloud of cigarette smoke above his head. “One night we were playing in Queens at the La Chalet on Hillside Ave. Anyway, these brothers were outside shooting at each other. I mean it was a real shootout. Me and my crew, the Cheeba Crew, pulled up when all of this is going on. We were like, ‘Shit, we ain’t getting’ out of the car!’ Somebody went inside and got on the mike and said, ‘Yo y’all stop all that shit. Eddie Cheba is outside right now and he says he ain’t coming in until y’all stop that shit.” Well, the next thing we know, they drop their guns and go inside.” Eddie says to me with an amazed look on his face, “these niggas stopped shooting at each other because they wanted to hear us play.”

The partnership of Hollywood and Cheba made them the two most popular Black deejays in the city. And the best paid. “Hollywood had no problem asking for whatever he wanted.” Eddie remembers. “He could be really arrogant. He had no problem at all blowing people off. I mean Wood was really arrogant. When we first started to play together, I was afraid to ask for more money. Wood would say ‘Say you want $500.” I’d be like, “I don’t know.” Wood would say that he was getting $500, so I’d go in there and say I wanted $500 too.”

As close as the two were they didn’t play everywhere together. Eddie played in midtown clubs such as the Pegasus, Captain Nemo’s, Nell Gwynn’s, Leviticus, the Tunnel, Cork and the Bottle and the Executive Suite. But it was at Charles Gallery that Eddie started to earn his rep.

“Charles Gallery was on some other shit”, Hollywood recalls, “Those guys in there were announcers, they would get on the mike and announce the next record and shit like that. I came in there with my rappin’ – they never heard anything like it before – they threw me out of there!”

Kurtis Blow described the Charles Huggins owned Charles Gallery as a classy spot for the 21 and over crowd. Men and women were dressed to the nines. Kurtis – and his then manager Russell Simmons first saw Eddie doing his thing there on a night called ‘Wild Wild Wednesday’s‘.

But Hollywood didn’t like those kinds of clubs. Nor did he like ghetto type clubs such as Disco Fever. “The Fever was a fuckin’ drug store”, Eddie shot back, “you could get anything you wanted at the Fever. Drugs were all over the place. Hollywood did not play the Fever – and he was arrogant about it too.” Eddie says while taking a drag off of his cigarette. “We used to say, ‘Yo Wood, you need to play the Fever.’ He would brush it off and say, ‘them niggas ain’t my kind of crowd.” Hollywood’s crowd were places that catered to an older black clientele such as the many clubs in the Bronx, Harlem and Queens.

“Me on the other hand I liked playing anywhere.” Eddie tells me.

It was while playing in clubs in Queens that Hollywood and Cheba would bump into an eager young promoter that called himself Russell Rush. “Every time we played in Queens in some place like… the Fantasia, Russell would be right outside waiting for us. He was a big fan of ours. He used to beg me, he’d be like “Yo Cheba, I’m throwing a party at so and so place, could you stop by and do a little something?” Hollywood would be very arrogant and would say things like ‘tell that nigga to go away’. I couldn’t do that. I’d say ‘Russell; I’m a little too expensive for what you’re trying to do. I’ll see what I can do.’ I couldn’t blow people off like Wood could.”

Out in Long Island, Hollywood and Cheba were the rap equivalent of the Beatles. According to Chuck D, “In 1979 the whole cowboy look was in [cowboy hats and boots] and Hollywood and Cheba pimped that!”

..at-brown-225.gif” width=200 align=right border=0>One night Eddie bought Furious Five lead MC Mele Mel with him to play a gig in Roosevelt. “When he brought Mele Mel with him it was like two voices from heaven,” Chuck D says, “back then, if you didn’t have a good voice you couldn’t ‘cut through inferior sound systems. These cats were flawless. Hearing them sold me on hip-hop as being a wonderful thing for my life.”

“The night I took Mele Mel with me, out to Long Island, I dunno, he was more reserved than usual. I had to give the nigga the mike and say, “here do your thing.” I knew the nigga was bad as a motherfucker. This was just before their record ‘Superrappin’ came out.” Said Eddie.

It was also during this time that he was introduced to a young man who was trying to make a name for himself on the rap scene.

“DJ Hollywood had a ‘disco son’ named DJ Smalls, we figured a way for me get my name out there was if I was the disco son of Eddie Cheba.” Said Kurtis Blow. Although Kurtis, who would later be known as the ‘King of Rap’, would see his own career eclipse that of both Hollywood and Eddie Cheba’s, is to this day still clearly a devoted fan.

At it’s root hip-hop is a competitive art form whether its MC’s going head to head on the mike, or deejay’s crossing swords on turntables, “I was the one that did all of the battling.” Cheba tells me, “Hollywood would not battle anybody. I battled everybody. I didn’t give a fuck. Wood was not into battling. The only person he battled was Woody Wood from Queens. And me and Lovebug Starski had to push him to battle that nigga to do it.”

“Why’s that?” I ask.

“Because that nigga was stealing everything that Wood was doing. Not only did he sound like Wood, but also he got his name from him and all of his rhymes too. I told him ‘Fuck that shit, you got to battle that nigga.’ The way Woody Wood was stealing from Hollywood was a damn shame.”

In any other business imitation is considered to be a form of flattery, but in the rap game even as far back as 1976, it was almost the equivalent of stealing a brother’s hubcaps.

“At one time there were about thirty to forty me’s out there”, Hollywood says to me sounding almost as irritated today about it as he was thirty years ago. “Everybody was saying the rhymes and when it would come time to say my name – they would take mine out and put theirs in. Woody Wood was one of them people.”

“So you battled him?” I asked.

“Yeah, I stepped on him too”, Wood said as confidently as Muhammad Ali in 1975, “at that time there wasn’t nobody that could get wit’ me. I was top dog back then. I had control of everything.”

The battle took place at the Hotel Diplomat, “It wasn’t really what you would call a battle”, Wood interjects, “He did his thing first and then I did mine. No one could beat me with the crowd response thing. Woody Wood was an imitator, his voice, his rhymes he did his pronunciations just like me.”

“We were on top.” Eddie says coolly, “I had battled everyone. But as much as Wood didn’t like to battle he’d always tell me: “Eddie, whatever you do: Never battle me.”

“I thought to myself, ‘What kind of shit is that for him to say?’ I had my own ego too you know. Little did I know…”

One night the two friends went head to head in a sound clash.

“I pulled out all stops this night at the Parkside Plaza. It was a battle for the title.” Eddie remembers. “Wood’s title was on the line. Wood did his thing, but even his people weren’t really feeling him on this night. And then I went on. I rocked the hell outta them people. At the end of the battle even Wood’s people were cheering for me, you know like his main man Captain Jack and all of them people. It took 45 minutes for the judges to make a decision. And they came back and gave the trophy to Hollywood. And that’s when it hit me: No wonder he said to never battle him, it was because he had it set up for him to win regardless. Hell, the trophy already had his name inscribed on it!”

“Nah, nah, nah, nah, it didn’t quite go down like that, Mark”, Hollywood tells me in between laughing.

“You see, it’s like this I was the top dog, couldn’t nobody touch me back then. Eddie did all of the battles. One night he kept going on and on saying, ‘I’m the king battler’ and this and that. He must’ve forgot who I was. He made that happen.” Wood said to me.
“Made what happen?” I ask.
“Yo man, he wouldn’t listen. The shit was already done. I didn’t know it was done. I told him, “Ok, but whatever you do never battle me. He wouldn’t listen.”

What Hollywood meant by it being ‘done’ was that at the time he got major love from all of the promoters back then, these were people that for many years had made good money from billing Hollywood all over the city. It was in their interest for Wood to emerge as the winner in any battle. Hollywood remembers the crowd response that night being about even, but to this day swears that he had no knowledge of the fix being in.

One Night at the Jamaica Armory

One day in October 1979 Eddie and his peers heard the sound that would forever alter the course of their lives: ‘Rapper’s Delight.’

“Hollywood and Starski, you would always hear them say ‘hip-hop-da-hippit-da-hibbit-to-da-hip-hip-a-hop ya don’t stop’ and shit like that, they started it. I heard the song on the radio. I was mad when I first heard it. These people came from out of nowhere. We didn’t have the vision to see that records were the next level.” Eddie said as he thinks back to the time. ‘We were making so much money from deejaying that making records just wasn’t our thing. We couldn’t see it.”

What he didn’t know was that the first person that Sylvia Robinson approached to record ‘Rapper’s Delight’ was Lovebug Starski. Then she went to DJ Hollywood to see about he and Eddie making the record.

“One night and this was after ‘Rapper’s Delight’ had long been out and making money, Hollywood and I were at an after hours spot called ‘Poppa Dee’s‘ in Harlem. It was on 130th between 7th and Lenox Ave. I mean this was an exclusive spot. Only the hustlers could get in there – people with money. Anyway, so there we are drinking and talking and shit at like 3 o’clock in the morning when Hollywood turns to me and says, “Yeah man, she wanted me and you to do that record, but I turned her down.”

“I must’ve looked at him and said, ‘what record are you talking about?”

He said, “Yeah, Sylvia wanted us to do Rapper’s Delight first.” I couldn’t believe it. I wanted to knock him out of his seat. If I had done that record do you know what my life would be like today?”

‘Rapper’s Delight’ changed the direction of the rap movement forever. The days of guys running sections of the city or dominating the club scene were over. All you needed was a record to make a name.

It isn’t a stretch to believe that the Robinson’s wanted Hollywood and Cheba for their landmark recording, especially when you consider that both of the groundbreaking rap recordings The Fatback Band‘s (a group for whom Hollywood used to open for at the Apollo Theatre) ‘King Tim III (Personality Jock)‘ and the Sugar Hill Gang‘s ‘Rapper’s Delight‘ stylistically bore a serious resemblance to Hollywood and Cheba. Although Big Bank Hank got his rhymes from Grandmaster Caz his delivery was much closer to Hollywood’s than the Cold Crush Brothers lead MC.

One night at the Jamaica, Queens Armory the best deejays and emcees of that time got together for a jam. In some ways it was the end of an era. To this day cassette tapes of that night still circulate the streets. It was a star-studded affair; on the bill were DJ Divine and the Infinity Machine, Grandmaster Flash and his MC’s Mele Mel and Kurtis Blow, Lovebug Starski, DJ Hollywood, DJ Smalls, Eddie Cheba and DJ Easy Gee.

“…Like Earl the Pearl has got the moves, ya see Cheba Cheba has got the groove. Now ya heard the best and you’re ready to go, with the baddest deejay of all disco…”

Easy Gee bought in MFSB‘s classic ‘Love is the Message‘, cued up from the point where the sax and violins are building up to the point of climax. This was a record that guys like Hollywood, Eddie Cheba, Kool Kyle and many others knew well. It was a staple of their act. In some ways it was the main part. This was the song that showcased their skills the best. They could do their crowd participation thing, free style rhymes and party chants; all of it came together best over that song.

“Get ready now you might’ve heard on WBLS tomorrow night we gonna take the sugar out the hill at Harlem World. Sugar Hill and Eddie Cheba tomorrow night. But first we have some unfinished business to take care of right here in Jamaica…we’re gonna rundown a few of the things that we know we made famous…”

As the sax squealed and the organist rocked Eddie went into one of the many routines that made him a legend at that time.

“Go down go down go down go down, owww, go down… Get up close on the freak and shake like Jones is at its peak. Ya say who makes it sweeter? (Cheba, Cheba, Cheba)…You don’t care if I’m the one – cause all you wanna do is have some fun…”

At least for that one night it didn’t matter if there was a record selling in stores all over the country because it was the guys on the stage that night that were the real stars. It could almost be said that ‘Rapper’s Delight’ was what changed the relationship between deejay and MC. For years it was the deejays that the crowds of thousands came out to see, now because the MC’s rap could be heard on a record, the balance of power was about to change.

One by one each crew went up onstage at the Armory that night and showcased for the crowd in Queens the reasons that they were better than any group of upstarts, especially ones from across the Hudson. These guys were the originators of a new phenomenon; they were kings of a sub-culture in a time of innocence. Every empire has its time in the sun, but the sun sets on every kingdom.

Welcome Home

As we walk outside to the front of the hotel, Eddie tells me some funny stories about the club Disco Fever. If only I could print those stories. We sit on the steps and talk some more while I wait on my ride.

“I rocked the shit out of the Sugar Hill Gang that night at Harlem World”, he told me. “I pulled out all stops, I made it difficult for them to come .. me. All they had was that one record – I had books and books of rhymes – they couldn’t fuck with me.”

In the mid-80′s to everyone’s surprise hip-hop started its ascent to becoming a dominant force in music. But Eddie was nowhere to be found.

“France was some shit”, he tells me “I was the man over there.”

Sometime in the early 80′s while he was the resident deejay at the club Broadway International, Eddie got the call that would change his life. He went over to France to compete in deejay competitions and spin at clubs. Judging by his descriptions of the clubs and the audiences it sounds like he spun for the jet set crowd. “These people drove Ferrari’s and wore tuxedo’s and expensive jewelry”, he said. All together he stayed in France for eight years.

“I was a New York deejay in Paris. I was a rare commodity over there. They were so far behind what we were doing over here – I beat all of them. I did TV commercials, I spun at the biggest clubs in the country.” Eddie says, “I was a celebrity. I lived in a nice house and drove a custom made Mercedes Benz.”

“So why did you leave?” I ask him.

“Because”, he says as he frowns up his face, “I got bored over there. My daughter was growing up not knowing any of my family. I had done everything I could over there. I won the world competition; I spun at some of the chicest clubs. I got tired of it all.”

But coming back home to New York was not easy. Everything had changed. “Hollywood was over”, Eddie said looking out at the clouds, “he was on 8th Avenue messing up. Kurtis was over, he was in L.A.; Club 371 was over. Just about all of the clubs that I had spun at were over. And rap was different. I couldn’t relate to it anymore. I had been in France, I wore French clothes, and I had been living in a nice house. I couldn’t relate anymore.”

As my wife pulls up we say our good byes. I give him CD’s of the Queens Armory Jam in 1979 and mix tapes from the boat rides that he, Hollywood and Lovebug Starski had done together in the late 90′s.

“Eddie”, I ask him, “one more thing, did you know that JB Moore and Rocky Ford wanted you to do the Christmas Rappin’ record?”

“Yeah, I heard about that”, he says to me with a touch of regret. “If I had done that record do you have any idea what my life would be like right now?”

Not that the man is starving: he owns a funeral business as well as a limousine and deejay service. By no means is the man hard up for a dollar. But who among us couldn’t use a nice little royalty check every now and then?

Eddie Cheba wants to send a special shout and a big fat ‘I love you’ to all of the fans that supported him from 1972 until this day. He can be reached at EYMUSIC21@aol.com. Special thanks to Van Silk, Kurtis Blow, Chuck D, Dianne, Reggie Wells

and DJ Hollywood.

This feature originally ran in Wax Poetics please contact author for permission to use any part of this story.

 

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Prince Goes Off on Soundman & Nokia Theater Executives

Prince Goes Off on Soundman and Nokia Theater Executives

http://www.eurweb.com/story/eur51992.cfm

*Prince pulled off his scheduled three concerts in one night on Saturday, but it came with a number of sound problems that irritated the singer and a calling out of executives that he felt were responsible.

The groundbreaking promotion for his upcoming album began at the 7,100-capacity Nokia Theater Saturday evening. But during his 90-minute performance – which included his vintage hits “Controversy,” “If I Were Your Girlfriend” and “Purple Rain,” as well as three encores – he began having problems with the monitors, and constant pleas to the venue’s crew to fix them never had much impact, reported Reuters.

“This is my celebration. I don’t care what goes wrong,” Prince said midway through the set, before scrunching up his nose in disgust. NBA legend Earvin “Magic” Johnson and Rolling Stones guitarist Ronnie Wood were among the celebrities in the crowd.

The second show, at the 1,100-capacity Conga Room, began with a five-minute soundcheck and lasted about an hour. Each of the shows was promoted as being “full-length.”

The third show, scheduled to begin at midnight, kicked off an hour late as Prince and his crew grappled with sound issues, forcing fans to wait in a long line outside the 2,300-capacity Club Nokia. He began the show before many entered the venue. Toward the end of the show, he mentioned a few AEG executives by name, and told fans to complain to them about the buzzing speakers.

“I came to see Alicia Keys here, and it was the worst sound I’ve ever heard,” Prince said, noting that AEG had spent plenty of money on seating and lighting. “If you fix the sound, I’ll be here every night, and I’ll do it for free.”

Prince’s new album, the three-disc set “Lotusflow3r,” was released yesterday (March 29) exclusively at retailer Target Corp and on his website.

The Purple One was not feeling the sound glitches that plagued his concerts over the weekend. After a while he had enough and went off by naming names and urging attendees to complain..
 

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The Big Takeover: Its All About Power Not Money for Wall Street Crooks

dbanner1newparis
The Big Takeover: How Wall Street Insiders are Using the
Bailout to Stage a Revolution

The global economic crisis isn’t about money — it’s about power.

By Matt Taibbi, RollingStone.com. Posted March 23, 2009.

http://www.alternet.org/workplace/132859/

matttabbi-225It’s over – we’re officially, royally fucked. No empire can survive being rendered a permanent laughingstock, which is what happened as of a few weeks ago, when the buffoons who have been running things in this country finally went one step too far. It happened when Treasury Secretary Timothy Geithner was forced to admit that he was once again going to have to stuff billions of taxpayer dollars into a dying insurance giant called AIG, itself a profound symbol of our national decline – a corporation that got rich insuring the concrete and steel of American industry in the country’s heyday, only to destroy itself chasing phantom fortunes at the Wall Street card tables, like a dissolute nobleman gambling away the family estate in the waning days of the British Empire.

The latest bailout came as AIG admitted to having just posted the largest quarterly loss in American corporate history – some $61.7 billion. In the final three months of last year, the company lost more than $27 million every hour. That’s $465,000 a minute, a yearly income for a median American household every six seconds, roughly $7,750 a second. And all this happened at the end of eight straight years that America devoted to frantically chasing the shadow of a terrorist threat to no avail, eight years spent stopping every citizen at every airport to search every purse, bag, crotch and briefcase for juice boxes and explosive tubes of toothpaste. Yet in the end, our government had no mechanism for searching the balance sheets of companies that held life-or-death power over our society and was unable to spot holes in the national economy the size of Libya (whose entire GDP last year was smaller than AIG’s 2008 losses).

So it’s time to admit it: We’re fools, protagonists in a kind of gruesome comedy about the marriage of greed and stupidity. And the worst part about it is that we’re still in denial – we still think this is some kind of unfortunate accident, not something that was created by the group of psychopaths on Wall Street whom we allowed to gang-rape the American Dream. When Geithner announced the new $30 billion bailout, the party line was that poor AIG was just a victim of a lot of shitty luck – bad year for business, you know, what with the financial crisis and all. Edward Liddy, the company’s CEO, actually compared it to catching a cold: “The marketplace is a pretty crummy place to be right now,” he said. “When the world catches pneumonia, we get it too.” In a pathetic attempt at name-dropping, he even whined that AIG was being “consumed by the same issues that are driving house prices down and 401K statements down and Warren Buffet’s investment portfolio down.”

Liddy made AIG sound like an orphan begging in a soup line, hungry and sick from being left out in someone else’s financial weather. He conveniently forgot to mention that AIG had spent more than a decade systematically scheming to evade U.S. and international regulators, or that one of the causes of its “pneumonia” was making colossal, world-sinking $500 billion bets with money it didn’t have, in a toxic and completely unregulated derivatives market.

Nor did anyone mention that when AIG finally got up from its seat at the Wall Street casino, broke and busted in the afterdawn light, it owed money all over town – and that a huge chunk of your taxpayer dollars in this particular bailout scam will be going to pay off the other high rollers at its table. Or that this was a casino unique among all casinos, one where middle-class taxpayers cover the bets of billionaires.

People are pissed off about this financial crisis, and about this bailout, but they’re not pissed off enough. The reality is that the worldwide economic meltdown and the bailout that followed were together a kind of revolution, a coup d’état. They cemented and formalized a political trend that has been snowballing for decades: the gradual takeover of the government by a small class of connected insiders, who used money to control elections, buy influence and systematically weaken financial regulations.

The crisis was the coup de grâce: Given virtually free rein over the economy, these same insiders first wrecked the financial world, then cunningly granted themselves nearly unlimited emergency powers to clean up their own mess. And so the gambling-addict leaders of companies like AIG end up not penniless and in jail, but with an Alien-style death grip on the Treasury and the Federal Reserve – “our partners in the government,” as Liddy put it with a shockingly casual matter-of-factness after the most recent bailout.

The mistake most people make in looking at the financial crisis is thinking of it in terms of money, a habit that might lead you to look at the unfolding mess as a huge bonus-killing downer for the Wall Street class. But if you look at it in purely Machiavellian terms, what you see is a colossal power grab that threatens to turn the federal government into a kind of giant Enron – a huge, impenetrable black box filled with self-dealing insiders whose scheme is the securing of individual profits at the expense of an ocean of unwitting involuntary shareholders, previously known as taxpayers.

I. PATIENT ZERO

The best way to understand the financial crisis is to understand the meltdown at AIG. AIG is what happens when short, bald managers of otherwise boring financial bureaucracies start seeing Brad Pitt in the mirror. This is a company that built a giant fortune across more than a century by betting on safety-conscious policyholders – people who wear seat belts and build houses on high ground – and then blew it all in a year or two by turning their entire balance sheet over to a guy who acted like making huge bets with other people’s money would make his dick bigger.

That guy – the Patient Zero of the global economic meltdown – was one Joseph Cassano, the head of a tiny, 400-person unit within the company called AIG Financial Products, or AIGFP. Cassano, a pudgy, balding Brooklyn College grad with beady eyes and way too much forehead, cut his teeth in the Eighties working for Mike Milken, the granddaddy of modern Wall Street debt alchemists. Milken, who pioneered the creative use of junk bonds, relied on messianic genius and a whole array of insider schemes to evade detection while wreaking financial disaster. Cassano, by contrast, was just a greedy little turd with a knack for selective accounting who ran his scam right out in the open, thanks to Washington’s deregulation of the Wall Street casino. “It’s all about the regulatory environment,” says a government source involved with the AIG bailout. “These guys look for holes in the system, for ways they can do trades without government interference. Whatever is unregulated, all the action is going to pile into that.”

The mess Cassano created had its roots in an investment boom fueled in part by a relatively new type of financial instrument called a collateralized-debt obligation. A CDO is like a box full of diced-up assets. They can be anything: mortgages, corporate loans, aircraft loans, credit-card loans, even other CDOs. So as X mortgage holder pays his bill, and Y corporate debtor pays his bill, and Z credit-card debtor pays his bill, money flows into the box.

The key idea behind a CDO is that there will always be at least some money in the box, regardless of how dicey the individual assets inside it are. No matter how you look at a single unemployed ex-con trying to pay the note on a six-bedroom house, he looks like a bad investment. But dump his loan in a box with a smorgasbord of auto loans, credit-card debt, corporate bonds and other crap, and you can be reasonably sure that somebody is going to pay up. Say $100 is supposed to come into the box every month. Even in an apocalypse, when $90 in payments might default, you’ll still get $10. What the inventors of the CDO did is divide up the box into groups of investors and put that $10 into its own level, or “tranche.” They then convinced ratings agencies like Moody’s and S&P to give that top tranche the highest AAA rating – meaning it has close to zero credit risk.

Suddenly, thanks to this financial seal of approval, banks had a way to turn their shittiest mortgages and other financial waste into investment-grade paper and sell them to institutional investors like pensions and insurance companies, which were forced by regulators to keep their portfolios as safe as possible. Because CDOs offered higher rates of return than truly safe products like Treasury bills, it was a win-win: Banks made a fortune selling CDOs, and big investors made much more holding them.

The problem was, none of this was based on reality. “The banks knew they were selling crap,” says a London-based trader from one of the bailed-out companies. To get AAA ratings, the CDOs relied not on their actual underlying assets but on crazy mathematical formulas that the banks cooked up to make the investments look safer than they really were. “They had some back room somewhere where a bunch of Indian guys who’d been doing nothing but math for God knows how many years would come up with some kind of model saying that this or that combination of debtors would only default once every 10,000 years,” says one young trader who sold CDOs for a major investment bank. “It was nuts.”

Now that even the crappiest mortgages could be sold to conservative investors, the CDOs spurred a massive explosion of irresponsible and predatory lending. In fact, there was such a crush to underwrite CDOs that it became hard to find enough subprime mortgages – read: enough unemployed meth dealers willing to buy million-dollar homes for no money down – to fill them all. As banks and investors of all kinds took on more and more in CDOs and similar instruments, they needed some way to hedge their massive bets – some kind of insurance policy, in case the housing bubble burst and all that debt went south at the same time. This was particularly true for investment banks, many of which got stuck holding or “warehousing” CDOs when they wrote more than they could sell. And that’s were Joe Cassano came in.

Known for his boldness and arrogance, Cassano took over as chief of AIGFP in 2001. He was the favorite of Maurice “Hank” Greenberg, the head of AIG, who admired the younger man’s hard-driving ways, even if neither he nor his successors fully understood exactly what it was that Cassano did. According to a source familiar with AIG’s internal operations, Cassano basically told senior management, “You know insurance, I know investments, so you do what you do, and I’ll do what I do – leave me alone.” Given a free hand within the company, Cassano set out from his offices in London to sell a lucrative form of “insurance” to all those investors holding lots of CDOs. His tool of choice was another new financial instrument known as a credit-default swap, or CDS.

The CDS was popularized by J.P. Morgan, in particular by a group of young, creative bankers who would later become known as the “Morgan Mafia,” as many of them would go on to assume influential positions in the finance world. In 1994, in between booze and games of tennis at a resort in Boca Raton, Florida, the Morgan gang plotted a way to help boost the bank’s returns. One of their goals was to find a way to lend more money, while working around regulations that required them to keep a set amount of cash in reserve to back those loans. What they came up with was an early version of the credit-default swap.

In its simplest form, a CDS is just a bet on an outcome. Say Bank A writes a million-dollar mortgage to the Pope for a town house in the West Village. Bank A wants to hedge its mortgage risk in case the Pope can’t make his monthly payments, so it buys CDS protection from Bank B, wherein it agrees to pay Bank B a premium of $1,000 a month for five years. In return, Bank B agrees to pay Bank A the full million-dollar value of the Pope’s mortgage if he defaults. In theory, Bank A is covered if the Pope goes on a meth binge and loses his job.

When Morgan presented their plans for credit swaps to regulators in the late Nineties, they argued that if they bought CDS protection for enough of the investments in their portfolio, they had effectively moved the risk off their books. Therefore, they argued, they should be allowed to lend more, without keeping more cash in reserve. A whole host of regulators – from the Federal Reserve to the Office of the Comptroller of the Currency – accepted the argument, and Morgan was allowed to put more money on the street.

What Cassano did was to transform the credit swaps that Morgan popularized into the world’s largest bet on the housing boom. In theory, at least, there’s nothing wrong with buying a CDS to insure your investments. Investors paid a premium to AIGFP, and in return the company promised to pick up the tab if the mortgage-backed CDOs went bust. But as Cassano went on a selling spree, the deals he made differed from traditional insurance in several significant ways. First, the party selling CDS protection didn’t have to post any money upfront. When a $100 corporate bond is sold, for example, someone has to show 100 actual dollars. But when you sell a $100 CDS guarantee, you don’t have to show a dime. So Cassano could sell investment banks billions in guarantees without having any single asset to back it up.

Secondly, Cassano was selling so-called “naked” CDS deals. In a “naked” CDS, neither party actually holds the underlying loan. In other words, Bank B not only sells CDS protection to Bank A for its mortgage on the Pope – it turns around and sells protection to Bank C for the very same mortgage. This could go on ad nauseam: You could have Banks D through Z also betting on Bank A’s mortgage. Unlike traditional insurance, Cassano was offering investors an opportunity to bet that someone else’s house would burn down, or take out a term life policy on the guy with AIDS down the street. It was no different from gambling, the Wall Street version of a bunch of frat brothers betting on Jay Feely to make a field goal. Cassano was taking book for every bank that bet short on the housing market, but he didn’t have the cash to pay off if the kick went wide.

In a span of only seven years, Cassano sold some $500 billion worth of CDS protection, with at least $64 billion of that tied to the subprime mortgage market. AIG didn’t have even a fraction of that amount of cash on hand to cover its bets, but neither did it expect it would ever need any reserves. So long as defaults on the underlying securities remained a highly unlikely proposition, AIG was essentially collecting huge and steadily climbing premiums by selling insurance for the disaster it thought would never come.

Initially, at least, the revenues were enormous: AIGFP’s returns went from $737 million in 1999 to $3.2 billion in 2005. Over the past seven years, the subsidiary’s 400 employees were paid a total of $3.5 billion; Cassano himself pocketed at least $280 million in compensation. Everyone made their money – and then it all went to shit.

II. THE REGULATORS

Cassano’s outrageous gamble wouldn’t have been possible had he not had the good fortune to take over AIGFP just as Sen. Phil Gramm – a grinning, laissez-faire ideologue from Texas – had finished engineering the most dramatic deregulation of the financial industry since Emperor Hien Tsung invented paper money in 806 A.D. For years, Washington had kept a watchful eye on the nation’s banks. Ever since the Great Depression, commercial banks – those that kept money on deposit for individuals and businesses – had not been allowed to double as investment banks, which raise money by issuing and selling securities. The Glass-Steagall Act, passed during the Depression, also prevented banks of any kind from getting into the insurance business.

But in the late Nineties, a few years before Cassano took over AIGFP, all that changed. The Democrats, tired of getting slaughtered in the fundraising arena by Republicans, decided to throw off their old reliance on unions and interest groups and become more “business-friendly.” Wall Street responded by flooding Washington with money, buying allies in both parties. In the 10-year period beginning in 1998, financial companies spent $1.7 billion on federal campaign contributions and another $3.4 billion on lobbyists. They quickly got what they paid for. In 1999, Gramm co-sponsored a bill that repealed key aspects of the Glass-Steagall Act, smoothing the way for the creation of financial megafirms like Citigroup. The move did away with the built-in protections afforded by smaller banks. In the old days, a local banker knew the people whose loans were on his balance sheet: He wasn’t going to give a million-dollar mortgage to a homeless meth addict, since he would have to keep that loan on his books. But a giant merged bank might write that loan and then sell it off to some fool in China, and who cared?

The very next year, Gramm compounded the problem by writing a sweeping new law called the Commodity Futures Modernization Act that made it impossible to regulate credit swaps as either gambling or securities. Commercial banks – which, thanks to Gramm, were now competing directly with investment banks for customers – were driven to buy credit swaps to loosen capital in search of higher yields. “By ruling that credit-default swaps were not gaming and not a security, the way was cleared for the growth of the market,” said Eric Dinallo, head of the New York State Insurance Department.

The blanket exemption meant that Joe Cassano could now sell as many CDS contracts as he wanted, building up as huge a position as he wanted, without anyone in government saying a word. “You have to remember, investment banks aren’t in the business of making huge directional bets,” says the government source involved in the AIG bailout. When investment banks write CDS deals, they hedge them. But insurance companies don’t have to hedge. And that’s what AIG did. “They just bet massively long on the housing market,” says the source. “Billions and billions.”

In the biggest joke of all, Cassano’s wheeling and dealing was regulated by the Office of Thrift Supervision, an agency that would prove to be defiantly uninterested in keeping watch over his operations. How a behemoth like AIG came to be regulated by the little-known and relatively small OTS is yet another triumph of the deregulatory instinct. Under another law passed in 1999, certain kinds of holding companies could choose the OTS as their regulator, provided they owned one or more thrifts (better known as savings-and-loans). Because the OTS was viewed as more compliant than the Fed or the Securities and Exchange Commission, companies rushed to reclassify themselves as thrifts. In 1999, AIG purchased a thrift in Delaware and managed to get approval for OTS regulation of its entire operation.

Making matters even more hilarious, AIGFP – a London-based subsidiary of an American insurance company – ought to have been regulated by one of Europe’s more stringent regulators, like Britain’s Financial Services Authority. But the OTS managed to convince the Europeans that it had the muscle to regulate these giant companies. By 2007, the EU had conferred legitimacy to OTS supervision of three mammoth firms – GE, AIG and Ameriprise.

That same year, as the subprime crisis was exploding, the Government Accountability Office criticized the OTS, noting a “disparity between the size of the agency and the diverse firms it oversees.” Among other things, the GAO report noted that the entire OTS had only one insurance specialist on staff – and this despite the fact that it was the primary regulator for the world’s largest insurer!

“There’s this notion that the regulators couldn’t do anything to stop AIG,” says a government official who was present during the bailout. “That’s bullshit. What you have to understand is that these regulators have ultimate power. They can send you a letter and say, ‘You don’t exist anymore,’ and that’s basically that. They don’t even really need due process. The OTS could have said, ‘We’re going to pull your charter; we’re going to pull your license; we’re going to sue you.’ And getting sued by your primary regulator is the kiss of death.”

When AIG finally blew up, the OTS regulator ostensibly in charge of overseeing the insurance giant – a guy named C.K. Lee – basically admitted that he had blown it. His mistake, Lee said, was that he believed all those credit swaps in Cassano’s portfolio were “fairly benign products.” Why? Because the company told him so. “The judgment the company was making was that there was no big credit risk,” he explained. (Lee now works as Midwest region director of the OTS; the agency declined to make him available for an interview.)

In early March, after the latest bailout of AIG, Treasury Secretary Timothy Geithner took what seemed to be a thinly veiled shot at the OTS, calling AIG a “huge, complex global insurance company attached to a very complicated investment bank/hedge fund that was allowed to build up without any adult supervision.” But even without that “adult supervision,” AIG might have been OK had it not been for a complete lack of internal controls. For six months before its meltdown, according to insiders, the company had been searching for a full-time chief financial officer and a chief risk-assessment officer, but never got around to hiring either. That meant that the 18th-largest company in the world had no one checking to make sure its balance sheet was safe and no one keeping track of how much cash and assets the firm had on hand. The situation was so bad that when outside consultants were called in a few weeks before the bailout, senior executives were unable to answer even the most basic questions about their company – like, for instance, how much exposure the firm had to the residential-mortgage market.

III. THE CRASH

Ironically, when reality finally caught up to Cassano, it wasn’t because the housing market crapped but because of AIG itself. Before 2005, the company’s debt was rated triple-A, meaning he didn’t need to post much cash to sell CDS protection: The solid creditworthiness of AIG’s name was guarantee enough. But the company’s crummy accounting practices eventually caused its credit rating to be downgraded, triggering clauses in the CDS contracts that forced Cassano to post substantially more collateral to back his deals.

By the fall of 2007, it was evident that AIGFP’s portfolio had turned poisonous, but like every good Wall Street huckster, Cassano schemed to keep his insane, Earth-swallowing gamble hidden from public view. That August, balls bulging, he announced to investors on a conference call that “it is hard for us, without being flippant, to even see a scenario within any kind of realm of reason that would see us losing $1 in any of those transactions.” As he spoke, his CDS portfolio was racking up $352 million in losses. When the growing credit crunch prompted senior AIG executives to re-examine its liabilities, a company accountant named Joseph St. Denis became “gravely concerned” about the CDS deals and their potential for mass destruction. Cassano responded by personally forcing the poor sap out of the firm, telling him he was “deliberately excluded” from the financial review for fear that he might “pollute the process.”

The following February, when AIG posted $11.5 billion in annual losses, it announced the resignation of Cassano as head of AIGFP, saying an auditor had found a “material weakness” in the CDS portfolio. But amazingly, the company not only allowed Cassano to keep $34 million in bonuses, it kept him on as a consultant for $1 million a month. In fact, Cassano remained on the payroll and kept collecting his monthly million through the end of September 2008, even after taxpayers had been forced to hand AIG $85 billion to patch up his fuck-ups. When asked in October why the company still retained Cassano at his $1 million-a-month rate despite his role in the probable downfall of Western civilization, CEO Martin Sullivan told Congress with a straight face that AIG wanted to “retain the 20-year knowledge that Mr. Cassano had.” (Cassano, who is apparently hiding out in his lavish town house near Harrods in London, could not be reached for comment.)

What sank AIG in the end was another credit downgrade. Cassano had written so many CDS deals that when the company was facing another downgrade to its credit rating last September, from AA to A, it needed to post billions in collateral – not only more cash than it had on its balance sheet but more cash than it could raise even if it sold off every single one of its liquid assets. Even so, management dithered for days, not believing the company was in serious trouble. AIG was a dried-up prune, sapped of any real value, and its top executives didn’t even know it.

On the weekend of September 13th, AIG’s senior leaders were summoned to the offices of the New York Federal Reserve. Regulators from Dinallo’s insurance office were there, as was Geithner, then chief of the New York Fed. Treasury Secretary Hank Paulson, who spent most of the weekend preoccupied with the collapse of Lehman Brothers, came in and out. Also present, for reasons that would emerge later, was Lloyd Blankfein, CEO of Goldman Sachs. The only relevant government office that wasn’t represented was the regulator that should have been there all along: the OTS.

“We sat down with Paulson, Geithner and Dinallo,” says a person present at the negotiations. “I didn’t see the OTS even once.”

On September 14th, according to another person present, Treasury officials presented Blankfein and other bankers in attendance with an absurd proposal: “They basically asked them to spend a day and check to see if they could raise the money privately.” The laughably short time span to complete the mammoth task made the answer a foregone conclusion. At the end of the day, the bankers came back and told the government officials, gee, we checked, but we can’t raise that much. And the bailout was on.

A short time later, it came out that AIG was planning to pay some $90 million in deferred compensation to former executives, and to accelerate the payout of $277 million in bonuses to others – a move the company insisted was necessary to “retain key employees.” When Congress balked, AIG canceled the $90 million in payments.

Then, in January 2009, the company did it again. After all those years letting Cassano run wild, and after already getting caught paying out insane bonuses while on the public till, AIG decided to pay out another $450 million in bonuses. And to whom? To the 400 or so employees in Cassano’s old unit, AIGFP, which is due to go out of business shortly! Yes, that’s right, an average of $1.1 million in taxpayer-backed money apiece, to the very people who spent the past decade or so punching a hole in the fabric of the universe!

“We, uh, needed to keep these highly expert people in their seats,” AIG spokeswoman Christina Pretto says to me in early February.

“But didn’t these ‘highly expert people’ basically destroy your company?” I ask.

Pretto protests, says this isn’t fair. The employees at AIGFP have already taken pay cuts, she says. Not retaining them would dilute the value of the company even further, make it harder to wrap up the unit’s operations in an orderly fashion.

The bonuses are a nice comic touch highlighting one of the more outrageous tangents of the bailout age, namely the fact that, even with the planet in flames, some members of the Wall Street class can’t even get used to the tragedy of having to fly coach. “These people need their trips to Baja, their spa treatments, their hand jobs,” says an official involved in the AIG bailout, a serious look on his face, apparently not even half-kidding. “They don’t function well without them.”

IV. THE POWER GRAB

So that’s the first step in wall street’s power grab: making up things like credit-default swaps and collateralized-debt obligations, financial products so complex and inscrutable that ordinary American dumb people – to say nothing of federal regulators and even the CEOs of major corporations like AIG – are too intimidated to even try to understand them. That, combined with wise political investments, enabled the nation’s top bankers to effectively scrap any meaningful oversight of the financial industry. In 1997 and 1998, the years leading up to the passage of Phil Gramm’s fateful act that gutted Glass-Steagall, the banking, brokerage and insurance industries spent $350 million on political contributions and lobbying. Gramm alone – then the chairman of the Senate Banking Committee – collected $2.6 million in only five years. The law passed 90-8 in the Senate, with the support of 38 Democrats, including some names that might surprise you: Joe Biden, John Kerry, Tom Daschle, Dick Durbin, even John Edwards.

The act helped create the too-big-to-fail financial behemoths like Citigroup, AIG and Bank of America – and in turn helped those companies slowly crush their smaller competitors, leaving the major Wall Street firms with even more money and power to lobby for further deregulatory measures. “We’re moving to an oligopolistic situation,” Kenneth Guenther, a top executive with the Independent Community Bankers of America, lamented after the Gramm measure was passed.

The situation worsened in 2004, in an extraordinary move toward deregulation that never even got to a vote. At the time, the European Union was threatening to more strictly regulate the foreign operations of America’s big investment banks if the U.S. didn’t strengthen its own oversight. So the top five investment banks got together on April 28th of that year and – with the helpful assistance of then-Goldman Sachs chief and future Treasury Secretary Hank Paulson – made a pitch to George Bush’s SEC chief at the time, William Donaldson, himself a former investment banker. The banks generously volunteered to submit to new rules restricting them from engaging in excessively risky activity. In exchange, they asked to be released from any lending restrictions. The discussion about the new rules lasted just 55 minutes, and there was not a single representative of a major media outlet there to record the fateful decision.

Donaldson OK’d the proposal, and the new rules were enough to get the EU to drop its threat to regulate the five firms. The only catch was, neither Donaldson nor his successor, Christopher Cox, actually did any regulating of the banks. They named a commission of seven people to oversee the five companies, whose combined assets came to total more than $4 trillion. But in the last year and a half of Cox’s tenure, the group had no director and did not complete a single inspection. Great deal for the banks, which originally complained about being regulated by both Europe and the SEC, and ended up being regulated by no one.

Once the capital requirements were gone, those top five banks went hog-wild, jumping ass-first into the then-raging housing bubble. One of those was Bear Stearns, which used its freedom to drown itself in bad mortgage loans. In the short period between the 2004 change and Bear’s collapse, the firm’s debt-to-equity ratio soared from 12-1 to an insane 33-1. Another culprit was Goldman Sachs, which also had the good fortune, around then, to see its CEO, a bald-headed Frankensteinian goon named Hank Paulson (who received an estimated $200 million tax deferral by joining the government), ascend to Treasury secretary.

Freed from all capital restraints, sitting pretty with its man running the Treasury, Goldman jumped into the housing craze just like everyone else on Wall Street. Although it famously scored an $11 billion coup in 2007 when one of its trading units smartly shorted the housing market, the move didn’t tell the whole story. In truth, Goldman still had a huge exposure come that fateful summer of 2008 – to none other than Joe Cassano.

Goldman Sachs, it turns out, was Cassano’s biggest customer, with $20 billion of exposure in Cassano’s CDS book. Which might explain why Goldman chief Lloyd Blankfein was in the room with ex-Goldmanite Hank Paulson that weekend of September 13th, when the federal government was supposedly bailing out AIG.

When asked why Blankfein was there, one of the government officials who was in the meeting shrugs. “One might say that it’s because Goldman had so much exposure to AIGFP’s portfolio,” he says. “You’ll never prove that, but one might suppose.”

Market analyst Eric Salzman is more blunt. “If AIG went down,” he says, “there was a good chance Goldman would not be able to collect.” The AIG bailout, in effect, was Goldman bailing out Goldman.

Eventually, Paulson went a step further, elevating another ex-Goldmanite named Edward Liddy to run AIG – a company whose bailout money would be coming, in part, from the newly created TARP program, administered by another Goldman banker named Neel Kashkari.

V. REPO MEN

There are plenty of people who have noticed, in recent years, that when they lost their homes to foreclosure or were forced into bankruptcy because of crippling credit-card debt, no one in the government was there to rescue them. But when Goldman Sachs – a company whose average employee still made more than $350,000 last year, even in the midst of a depression – was suddenly faced with the possibility of losing money on the unregulated insurance deals it bought for its insane housing bets, the government was there in an instant to patch the hole. That’s the essence of the bailout: rich bankers bailing out rich bankers, using the taxpayers’ credit card.

The people who have spent their lives cloistered in this Wall Street community aren’t much for sharing information with the great unwashed. Because all of this shit is complicated, because most of us mortals don’t know what the hell LIBOR is or how a REIT works or how to use the word “zero coupon bond” in a sentence without sounding stupid – well, then, the people who do speak this idiotic language cannot under any circumstances be bothered to explain it to us and instead spend a lot of time rolling their eyes and asking us to trust them.

That roll of the eyes is a key part of the psychology of Paulsonism. The state is now being asked not just to call off its regulators or give tax breaks or funnel a few contracts to connected companies; it is intervening directly in the economy, for the sole purpose of preserving the influence of the megafirms. In essence, Paulson used the bailout to transform the government into a giant bureaucracy of entitled assholedom, one that would socialize “toxic” risks but keep both the profits and the management of the bailed-out firms in private hands. Moreover, this whole process would be done in secret, away from the prying eyes of NASCAR dads, broke-ass liberals who read translations of French novels, subprime mortgage holders and other such financial losers.

Some aspects of the bailout were secretive to the point of absurdity. In fact, if you look closely at just a few lines in the Federal Reserve’s weekly public disclosures, you can literally see the moment where a big chunk of your money disappeared for good. The H4 report (called “Factors Affecting Reserve Balances”) summarizes the activities of the Fed each week. You can find it online, and it’s pretty much the only thing the Fed ever tells the world about what it does. For the week ending February 18th, the number under the heading “Repurchase Agreements” on the table is zero. It’s a significant number.

Why? In the pre-crisis days, the Fed used to manage the money supply by periodically buying and selling securities on the open market through so-called Repurchase Agreements, or Repos. The Fed would typically dump $25 billion or so in cash onto the market every week, buying up Treasury bills, U.S. securities and even mortgage-backed securities from institutions like Goldman Sachs and J.P. Morgan, who would then “repurchase” them in a short period of time, usually one to seven days. This was the Fed’s primary mechanism for controlling interest rates: Buying up securities gives banks more money to lend, which makes interest rates go down. Selling the securities back to the banks reduces the money available for lending, which makes interest rates go up.

If you look at the weekly H4 reports going back to the summer of 2007, you start to notice something alarming. At the start of the credit crunch, around August of that year, you see the Fed buying a few more Repos than usual – $33 billion or so. By November, as private-bank reserves were dwindling to alarmingly low levels, the Fed started injecting even more cash than usual into the economy: $48 billion. By late December, the number was up to $58 billion; by the following March, around the time of the Bear Stearns rescue, the Repo number had jumped to $77 billion. In the week of May 1st, 2008, the number was $115 billion – “out of control now,” according to one congressional aide. For the rest of 2008, the numbers remained similarly in the stratosphere, the Fed pumping as much as $125 billion of these short-term loans into the economy – until suddenly, at the start of this year, the number drops to nothing. Zero.

The reason the number has dropped to nothing is that the Fed had simply stopped using relatively transparent devices like repurchase agreements to pump its money into the hands of private companies. By early 2009, a whole series of new government operations had been invented to inject cash into the economy, most all of them completely secretive and with names you’ve never heard of. There is the Term Auction Facility, the Term Securities Lending Facility, the Primary Dealer Credit Facility, the Commercial Paper Funding Facility and a monster called the Asset-Backed Commercial Paper Money Market Mutual Fund Liquidity Facility (boasting the chat-room horror-show acronym ABCPMMMFLF). For good measure, there’s also something called a Money Market Investor Funding Facility, plus three facilities called Maiden Lane I, II and III to aid bailout recipients like Bear Stearns and AIG.

While the rest of America, and most of Congress, have been bugging out about the $700 billion bailout program called TARP, all of these newly created organisms in the Federal Reserve zoo have quietly been pumping not billions but trillions of dollars into the hands of private companies (at least $3 trillion so far in loans, with as much as $5.7 trillion more in guarantees of private investments). Although this technically isn’t taxpayer money, it still affects taxpayers directly, because the activities of the Fed impact the economy as a whole. And this new, secretive activity by the Fed completely eclipses the TARP program in terms of its influence on the economy.

No one knows who’s getting that money or exactly how much of it is disappearing through these new holes in the hull of America’s credit rating. Moreover, no one can really be sure if these new institutions are even temporary at all – or whether they are being set up as permanent, state-aided crutches to Wall Street, designed to systematically suck bad investments off the ledgers of irresponsible lenders.

“They’re supposed to be temporary,” says Paul-Martin Foss, an aide to Rep. Ron Paul. “But we keep getting notices every six months or so that they’re being renewed. They just sort of quietly announce it.”

None other than disgraced senator Ted Stevens was the poor sap who made the unpleasant discovery that if Congress didn’t like the Fed handing trillions of dollars to banks without any oversight, Congress could apparently go fuck itself – or so said the law. When Stevens asked the GAO about what authority Congress has to monitor the Fed, he got back a letter citing an obscure statute that nobody had ever heard of before: the Accounting and Auditing Act of 1950. The relevant section, 31 USC 714(b), dictated that congressional audits of the Federal Reserve may not include “deliberations, decisions and actions on monetary policy matters.” The exemption, as Foss notes, “basically includes everything.” According to the law, in other words, the Fed simply cannot be audited by Congress. Or by anyone else, for that matter.

VI. WINNERS AND LOSERS

Stevens isn’t the only person in Congress to be given the finger by the Fed. In January, when Rep. Alan Grayson of Florida asked Federal Reserve vice chairman Donald Kohn where all the money went – only $1.2 trillion had vanished by then – Kohn gave Grayson a classic eye roll, saying he would be “very hesitant” to name names because it might discourage banks from taking the money.

“Has that ever happened?” Grayson asked. “Have people ever said, ‘We will not take your $100 billion because people will find out about it?’”

“Well, we said we would not publish the names of the borrowers, so we have no test of that,” Kohn answered, visibly annoyed with Grayson’s meddling.

Grayson pressed on, demanding to know on what terms the Fed was lending the money. Presumably it was buying assets and making loans, but no one knew how it was pricing those assets – in other words, no one knew what kind of deal it was striking on behalf of taxpayers. So when Grayson asked if the purchased assets were “marked to market” – a methodology that assigns a concrete value to assets, based on the market rate on the day they are traded – Kohn answered, mysteriously, “The ones that have market values are marked to market.” The implication was that the Fed was purchasing derivatives like credit swaps or other instruments that were basically impossible to value objectively – paying real money for God knows what.

“Well, how much of them don’t have market values?” asked Grayson. “How much of them are worthless?”

“None are worthless,” Kohn snapped.

“Then why don’t you mark them to market?” Grayson demanded.

“Well,” Kohn sighed, “we are marking the ones to market that have market values.”

In essence, the Fed was telling Congress to lay off and let the experts handle things. “It’s like buying a car in a used-car lot without opening the hood, and saying, ‘I think it’s fine,’” says Dan Fuss, an analyst with the investment firm Loomis Sayles. “The salesman says, ‘Don’t worry about it. Trust me.’ It’ll probably get us out of the lot, but how much farther? None of us knows.”

When one considers the comparatively extensive system of congressional checks and balances that goes into the spending of every dollar in the budget via the normal appropriations process, what’s happening in the Fed amounts to something truly revolutionary – a kind of shadow government with a budget many times the size of the normal federal outlay, administered dictatorially by one man, Fed chairman Ben Bernanke. “We spend hours and hours and hours arguing over $10 million amendments on the floor of the Senate, but there has been no discussion about who has been receiving this $3 trillion,” says Sen. Bernie Sanders. “It is beyond comprehension.”

Count Sanders among those who don’t buy the argument that Wall Street firms shouldn’t have to face being outed as recipients of public funds, that making this information public might cause investors to panic and dump their holdings in these firms. “I guess if we made that public, they’d go on strike or something,” he muses.

And the Fed isn’t the only arm of the bailout that has closed ranks. The Treasury, too, has maintained incredible secrecy surrounding its implementation even of the TARP program, which was mandated by Congress. To this date, no one knows exactly what criteria the Treasury Department used to determine which banks received bailout funds and which didn’t – particularly the first $350 billion given out under Bush appointee Hank Paulson.

The situation with the first TARP payments grew so absurd that when the Congressional Oversight Panel, charged with monitoring the bailout money, sent a query to Paulson asking how he decided whom to give money to, Treasury responded – and this isn’t a joke – by directing the panel to a copy of the TARP application form on its website. Elizabeth Warren, the chair of the Congressional Oversight Panel, was struck nearly speechless by the response.

“Do you believe that?” she says incredulously. “That’s not what we had in mind.”

Another member of Congress, who asked not to be named, offers his own theory about the TARP process. “I think basically if you knew Hank Paulson, you got the money,” he says.

This cozy arrangement created yet another opportunity for big banks to devour market share at the expense of smaller regional lenders. While all the bigwigs at Citi and Goldman and Bank of America who had Paulson on speed-dial got bailed out right away – remember that TARP was originally passed because money had to be lent right now, that day, that minute, to stave off emergency – many small banks are still waiting for help. Five months into the TARP program, some not only haven’t received any funds, they haven’t even gotten a call back about their applications.

“There’s definitely a feeling among community bankers that no one up there cares much if they make it or not,” says Tanya Wheeless, president of the Arizona Bankers Association.

Which, of course, is exactly the opposite of what should be happening, since small, regional banks are far less guilty of the kinds of predatory lending that sank the economy. “They’re not giving out subprime loans or easy credit,” says Wheeless. “At the community level, it’s much more bread-and-butter banking.”

Nonetheless, the lion’s share of the bailout money has gone to the larger, so-called “systemically important” banks. “It’s like Treasury is picking winners and losers,” says one state banking official who asked not to be identified.

This itself is a hugely important political development. In essence, the bailout accelerated the decline of regional community lenders by boosting the political power of their giant national competitors.

Which, when you think about it, is insane: What had brought us to the brink of collapse in the first place was this relentless instinct for building ever-larger megacompanies, passing deregulatory measures to gradually feed all the little fish in the sea to an ever-shrinking pool of Bigger Fish. To fix this problem, the government should have slowly liquidated these monster, too-big-to-fail firms and broken them down to smaller, more manageable companies. Instead, federal regulators closed ranks and used an almost completely secret bailout process to double down on the same faulty, merger-happy thinking that got us here in the first place, creating a constellation of megafirms under government control that are even bigger, more unwieldy and more crammed to the gills with systemic risk.

In essence, Paulson and his cronies turned the federal government into one gigantic, half-opaque holding company, one whose balance sheet includes the world’s most appallingly large and risky hedge fund, a controlling stake in a dying insurance giant, huge investments in a group of teetering megabanks, and shares here and there in various auto-finance companies, student loans, and other failing businesses. Like AIG, this new federal holding company is a firm that has no mechanism for auditing itself and is run by leaders who have very little grasp of the daily operations of its disparate subsidiary operations.

In other words, it’s AIG’s rip-roaringly shitty business model writ almost inconceivably massive – to echo Geithner, a huge, complex global company attached to a very complicated investment bank/hedge fund that’s been allowed to build up without adult supervision. How much of what kinds of crap is actually on our balance sheet, and what did we pay for it? When exactly will the rent come due, when will the money run out? Does anyone know what the hell is going on? And on the linear spectrum of capitalism to socialism, where exactly are we now? Is there a dictionary word that even describes what we are now? It would be funny, if it weren’t such a nightmare.

VII. YOU DON’T GET IT

The real question from here is whether the Obama administration is going to move to bring the financial system back to a place where sanity is restored and the general public can have a say in things or whether the new financial bureaucracy will remain obscure, secretive and hopelessly complex. It might not bode well that Geithner, Obama’s Treasury secretary, is one of the architects of the Paulson bailouts; as chief of the New York Fed, he helped orchestrate the Goldman-friendly AIG bailout and the secretive Maiden Lane facilities used to funnel funds to the dying company. Neither did it look good when Geithner – himself a protégé of notorious Goldman alum John Thain, the Merrill Lynch chief who paid out billions in bonuses after the state spent billions bailing out his firm – picked a former Goldman lobbyist named Mark Patterson to be his top aide.

In fact, most of Geithner’s early moves reek strongly of Paulsonism. He has continually talked about partnering with private investors to create a so-called “bad bank” that would systemically relieve private lenders of bad assets – the kind of massive, opaque, quasi-private bureaucratic nightmare that Paulson specialized in. Geithner even refloated a Paulson proposal to use TALF, one of the Fed’s new facilities, to essentially lend cheap money to hedge funds to invest in troubled banks while practically guaranteeing them enormous profits.

God knows exactly what this does for the taxpayer, but hedge-fund managers sure love the idea. “This is exactly what the financial system needs,” said Andrew Feldstein, CEO of Blue Mountain Capital and one of the Morgan Mafia. Strangely, there aren’t many people who don’t run hedge funds who have expressed anything like that kind of enthusiasm for Geithner’s ideas.

As complex as all the finances are, the politics aren’t hard to follow. By creating an urgent crisis that can only be solved by those fluent in a language too complex for ordinary people to understand, the Wall Street crowd has turned the vast majority of Americans into non-participants in their own political future. There is a reason it used to be a crime in the Confederate states to teach a slave to read: Literacy is power. In the age of the CDS and CDO, most of us are financial illiterates. By making an already too-complex economy even more complex, Wall Street has used the crisis to effect a historic, revolutionary change in our political system – transforming a democracy into a two-tiered state, one with plugged-in financial bureaucrats above and clueless customers below.

The most galling thing about this financial crisis is that so many Wall Street types think they actually deserve not only their huge bonuses and lavish lifestyles but the awesome political power their own mistakes have left them in possession of. When challenged, they talk about how hard they work, the 90-hour weeks, the stress, the failed marriages, the hemorrhoids and gallstones they all get before they hit 40.

“But wait a minute,” you say to them. “No one ever asked you to stay up all night eight days a week trying to get filthy rich shorting what’s left of the American auto industry or selling $600 billion in toxic, irredeemable mortgages to ex-strippers on work release and Taco Bell clerks. Actually, come to think of it, why are we even giving taxpayer money to you people? Why are we not throwing your ass in jail instead?”

But before you even finish saying that, they’re rolling their eyes, because You Don’t Get It. These people were never about anything except turning money into money, in order to get more money; valueswise they’re on par with crack addicts, or obsessive sexual deviants who burgle homes to steal panties. Yet these are the people in whose hands our entire political future now rests.

Good luck with that, America. And enjoy tax season.

Another bigtime culprit is former Texas Senator Phil Gramm. He’s the one that led the charge to gutting key regulations that allowed the greedy to go all out and stuff themselves to death. He’s a true Axis of evil
Wanna know why we are in so much trouble? This dimwit Joseph Cassano was the one who who came along and almost singlehandidly destroyed AIG.. He’s a real piece of work..remember his face..
 
 

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Davey D’s Adventures at SXSW#3 Invincible, Homeboy Sandman & King Asoka

dbanner1newparis
More adventures at SXSW with Davey D.  This time it’s a nice freestyle session w/ NY, Detroit & Dallas representing. Big shout oyt to Homeboy Sandman, Invincible and King Ashoka who all did their thing.
 

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Destablization, Demonization & Domination-The Mexican Drug War

Davey D

In the Bay Area we all know the infamous story about AK 47s and all sorts of high powered firearms being found on an abandon train in Richmond.

We all heard the stories in LA about how the local gangs at the height of the crack wars were able to come across guns left behind by military personel on a train yard.

We heard about how dirty cops in the Bronx was hitting off Larry Davis with weapons. Pick a city anywhere in the US and there’s a similar story.

It was just last week at the Powershift Summit in DC that such stories surfaced about guns being flooded into our neighborhoods sparking off drama for a new generation of folks..

It is with all this in mind that I read the following story about American arms dealers and the bloodbath going on in Mexico, 3 things immediately came to mind. 1-Destablization 2-Demonization and 3-Domination.

The guns in the hands of warring factions leads to destablization. It doesn’t matter whether its in the hood, the barrio or in another country like Mexico. Guns make it easy to escalate conflict. Especially if one feels they have tactical advantage over another. Anyone who’s lived in a drug infested neighborhood, need not have me tell them the drama guns bring.

Once destablization kicks in, we have demonization. The media has a field day broadcasting all the horror stories about uncontrolled violence. Sadly we have our own folks buying into and promoting the madness. So we start to nickname our cities ‘Lil Beruit, Lil Saigon, Lil Vietnam, Fort Apache, Killa Kali, Killadelphia The Killing Fields. Pick a name that evokes images of bloodshed and mayhem and we are likely to hold it up for the world to see as if its a badge of honor. We hold it up as a way to show how tough we are because we survived living in such conditions.

Sadly many go off and even tell war stories about gunshots and murders as if we actually did them ourselves. Y’all know what I’m talking about. I been to too many places where the conversation switches to how tough our hoods are and how we somehow survived. In fact there used to be time where those convos indicated how Black and how down you were. It meant you were in touch with the hood.

Well anyway this sort of thing further demonizes a community resulting in police task forces and an entire ‘war on drug industry’ stating that more police are needed to calm things down. The media usually finds a sympathetic victim of some horrendous crime who is on TV begging for more police to come in. We have preachers leading the charge vowing to stop the violence and before long, their wishes are answered. Drug task forces, new weaponary, new surveillence technology and even talk of the National Guard being deployed all show up at our door steps. If a particular neighborhood is being gentrified (translation-lots of young rich white folks are moving in..), the police presence becomes higher.

Our neighborhoods become backdrops for ambitous politicians seeking to show how tough they are on crime. Our community members become poster children for everything wrong in America. Everyone gets paid and we go to jail in increasing numbers.

Next comes Domination-This is the end result of a destablized community that has been demonized. Outsiders come in, move everyone out or wall everyone in and make sure there’s an armed presence there to keep everyone civilized.The end game is to control, resources, the economy, the politics and the people. This happenes to us all across the country and its about to happen in Mexico.

The pattern is the same-American Guns and we know have a horrific drug war. We next have all sorts of news pundits from Lou Dobbs to 9-11 whistle-blowers like Alex Jones all pointing to the so called Brown threat south of the border. Complicating this scenario is in some places where you have gang activity you’ll have on the news Black and American born Brown faces who have one too many run ins with gang members calling for more law and order and even espousing the same heated rhetoric as a Lou Dobbs.

Next we have all sorts of money headed to the border to keep law and order, keep Americans safe and yes the goal will be the eventual demonination of an area. Something to think about..

-Davey D-

Return to Davey D’s Hip Hop Corner

Mexico’s Drug War Bloodbath: Guns from the U.S. Are Destabilizing the Country

By Silja J.A. Talvi, AlterNet. Posted March 18, 2009.
http://…com/d2o5nn 

Mexican drug cartels have easy access to thousands of American gun dealers just on the other side of the border.

 

 

A minute is all the time that it takes for an employee in one of almost 7,000 gun shops dotting the U.S./Mexico border to accept a wad of cash from an eager customer, fill out a triplicate sales slip, and slide a nice, new Taurus .45 caliber pistol across the counter. Or two, or three, or twenty, as the case may be. Add those handguns to the countless tens, perhaps hundreds of thousands of pistols, sniper and assault rifles, semi-automatic machine guns, shield-piercing bullets, grenades, plastic explosives, as well as anti-tank weapons outfitted with self-propelling rockets — plus countless thousands of drug warriors, of one sort or another, who are ready, willing, and able to use them. If it looks like you’ve got a battle on your hands, you do — the Mexican drug war has hit boiling point.

Mexican authorities have been quite vocal in the past year about the role that the U.S. is playing in the escalation of gun violence in Mexico. Last year, no less than 20,000 weapons were seized in drug-related actions, raids, arrests, and shoot-outs; nearly all of them were sold in the U.S. (The Mexican government has finally been given electronic access, by the U.S. Department of Justice, to be able to trace the origins of registered weapons, but only if they are used in the commission of crimes.)

Last month, the U.S. government’s own Bureau of International Narcotics and Law Enforcement Affairs, released its policy-shaping “2009 International Narcotics Strategy Report.” As the bureau had to admit, “U.S.-purchased or stolen firearms account for an estimated 95% of the Mexico’s drug-related killings.”

Nowhere in the report was it emphasized, however, that there are at least 6,600 licensed gun dealers in the four states adjacent to the Mexico border. Or that legal loopholes grant thousands of other unlicensed gun “enthusiasts” and collectors across the country to sell their wares, without inspection or oversight, at weekend gun shows across the country.

“A vast arms bazaar is rampant along the four border states, enabled by porous to nonexistent American gun laws,” The New York Times editorialized on February 27, 2009, after the indictment of George Iknadosian, a gun-shop owner facing federal charges for knowingly providing weapons to members of the Sinaloa cartel. “There should be immense shame on this side of the border that America’s addiction to drugs is bolstered by its feckless gun controls.”

The shame is warranted, and worth pondering. The action that needs to be taken, on the other hand, can afford no such luxury, because the people who have the misfortune to live in one of Mexico’s deadly drug war zones have already become the casualties of our demanding drug habits, our orgiastic worship of guns, and our obsession with profit without concern for consequence.

In the international munitions and intelligence-gathering marketplace, the U.S. is the #1 supplier/dealer of arms, military transport, law-enforcement and detention equipment, surveillance technology, and “non-lethal” weaponry. On the higher end, weapons deals are usually on the up-and-up, insofar as they’re attached to complex military aid packages, contracts with private contractors, and international “drug interdiction” agreements of the sort that Mexico has with the U.S. through the $1.3 billion Merida Initiative. Other times, the large-scale transfer of weaponry is far less “legitimate,” as in the urban battleground that Mexican law enforcement and military forces now find themselves contending with, courtesy of the weaponry provided to Reagan and Bush-era Central American “allies.” These weapons of war have found their way back up north — and into the hands of Mexican drug cartels.

Nearly every governing body or law enforcement entity imaginable (including Mexico’s equivalent of the FBI, its federal drug control agency, and Attorney General’s office) has been infiltrated by the cartels and wracked with espionage, graft, and corruption scandals. But Mexico is right to insist that the U.S. truly acknowledge the extent to which its own citizens (and policies) create and sustain the consumer market for illicit drugs. There’s no getting around the fact that Americans have the highest illicit substance use and abuse rates in the world, and Mexican drug cartels are but the latest of our transnational network of “suppliers.”

In the 21st century, the drug trade is like any other major industry in that it has been fully globalized — sin fronteras, without borders. In just so happens that Mexico’s narco-cartels are now in the lucrative position of picking up where other players in the transnational drug trade have left off — or, more to the point, were temporarily or permanently forced out because of individual arrests, sting operations, asset seizures, or other interdiction efforts. Even if the Gulf, Sinaloa, Juárez, and Tijuana cartels were to be completely dismantled tomorrow, there will always be some enterprising individual, group, or full-fledged criminal syndicate to step in where others have been derailed. Why? Americans have a seemingly insatiable appetite for mind-altering substances, whether in the form of cocaine, heroin, hallucinogens, tranquilizers, uppers, downers, and painkillers of all kinds. And what a profit-generating market this is. According to the National Drug Intelligence Center, wholesale drug profits amount to somewhere between $18 billion and $39 billion annually for the Columbian and Mexican drug cartels. Internationally, the illicit drug trade is estimated to generate at least $320 billion per year.

In light of that, the international drug war coordinating agency known as the United Nations on Office on Drugs and Crime (UNODC), has become a bit more forthcoming about pointing out the causal and interconnected variables linking the U.S. with their “supplier” nations.

Leading up to the International Commission on Narcotic Drugs, which was called into session on March 11th in Vienna, UNODC Executive Director Antonio Maria Costa oversaw the preparation of several reports to measure the extent of progress toward a “drug-free” world, as outlined by an United Nations meeting and strategy in 1998. These reports, “The Threat of Narco-Trafficking in the Americas” (October 2008), and “Organized Crime and its Threat to Security: Tackling a disturbing consequence of drug control” (March 2009), are unsurprisingly opposed to the decriminalization or legalization of drugs. But they do, somewhat surprisingly, sing a different tune about the U.S. role in the international drug trade than in previous years.

Noting that 95% of the world’s population does not engage in illicit drug use, and that there are far more deaths attributable to alcohol, tobacco, and legal drugs, the “Organized Crime” report highlights a “disturbing consequence of drug control,” by way of “creation of a lucrative black market for controlled substances, dominated by powerful crime cartels and resulting in unprecedented violence and corruption.”

“Drugs are a commodity,” as the UNODC states. “Profits are ploughed back into increasing the capacity for violence and into corrupting public officials. Together, violence and corruption drive away investment and undermine governance to the point that the rule of law itself becomes questionable.”

In his preface to “The Threat of Narco-Trafficking in the Americas,” Costa makes another bolder-than-expected statement: “Tackling the threat of narco-trafficking in the Americas is a shared responsibility. No country is immune from the problem: all participate, either as a source of drugs, a transit country for trafficking, or an importer.”

On this point, Costa is absolutely right. By now, it has been clearly and abundantly demonstrated that Americans aren’t just the biggest consumers of illicit drugs in the world, but that the sheer number of our gun shops — and the ease with which weapons can be purchased — are significantly responsible for the level of gun violence in Mexico. Still, as recently as August 2008, by comparison, FBI Director Mueller’s speech at the 5th Annual Border Security Conference made no mention whatsoever of the role of American-sold weaponry in the violence on Mexican streets. (Instead, he attributed the situation, as many American drug warriors do, to “gangs,” “stronger border security,” and “progress” by the Mexican government in taking down drug cartels.)

The cartels are swimming in money, while everyday Mexican citizens in several parts of the country are swimming in terror and fear, edged in between violence between the narco-traffickers (and their School of Americas-trained assassins, The Zetas), the federal police, and the military. But never mind all of that, because there are bigger things for Americans to worry about.

For the past month, the crisis of drug-related violence in Mexico has (finally) become the focal point of numerous Congressional subcommittee hearings, press conferences, and high-level Cabinet meetings. (It took nearly 6,300 murders last year, and more than 1,000 since the beginning of 2009, to get this country to start paying attention.) U.S. Attorney General Eric Holder has called Mexican drug trafficking cartels “a national security threat,” while President Obama met with Joint Chiefs of Staff chairman Admiral Michael Mullen to discuss options to support the Mexican government, including surveillance and reconnaissance. And last week, Roger Rufe, director of operations for the Department of Homeland Security (DHS), appeared before a Congressional subcommittee to explain that DHS is ready to act, if necessary, to secure border towns. The Defense Department and National Guard would only be called in, he assured members of the House, if a “tipping point” were reached — without explaining what such circumstances would entail.

For their part, television news networks ranging from FOX to CNN have set about creating a hysterical flutter of speculation about the likelihood of about teenage Latino “sleeper cells;” hypothetical collaborations between Hezbollah and drug cartels; the “nightmare scenario” of a crazed, drug-fueled invasion from Mexico; and the perceived need to militarize our border to new heights.

None of this would seem to be of particular comfort to the people of Ciudad Juárez. They wouldn’t have much time to contemplate why CNN anchorman Don Lemon would take the time to argue with a Texan mayor about the “spillover effect” that the town of McAllen knows isn’t taking place; or why FOX News’ Geraldo Rivera turned to “terrorism expert” Bernard Kerik (disgraced Homeland Security nominee, former Taser-executive, and multiple felony-charged former NYC police commissioner), for his opinion on whether the U.S. federal agencies and military forces should be moving into Mexican territory to get the situation under control. (Although the connection was never made clear, Kerik and NYC comrade Rudy Giuliani were hired in Mexico City, several years ago, as high-level policing and counterterrorism preparedness consultants to the government.)

And that’s because, across the border from El Paso, Texas, the people of Ciudad Juárez (pop. 1.5 million), exist for this moment in time underneath the unyielding thumb of Mexican military occupation. Daily life is being dictated by the commands and checkpoint interrogations of nearly 8,000 federales (black-riot-gear-clad federal police officers) and fatigue-green-clad military troops (nicknamed the “green tsunami” by Juárez media), who have taken complete control over local law enforcement agencies. Stationed across the state of Chihuahua, but concentrated in Juárez, most of these troops are exclusively trained in wartime offensive strategy and tactical maneuvers that leave little or no room for anything but a violent outcome. Although barely reported in the U.S. press, citizens of Juárez (and other cities or towns) have accused the military of serious human rights violations since President Felipe Calderón launched his 2006 crackdown on narco-trafficking, including beating people for “confessions,” electrical torture, rape, and the practice of enclosing heads in plastic bags filled with water to simulate (or achieve) drowning.

Calderón wasn’t without public support for the crackdown on drug cartels, who were battling each other—with increasing displays of public violence–for dominance in the drug business. Indeed, crime had long since been an issue in border cities like Juárez owing, in large part, to the constant influx of hopeful migrants and dislocated workers looking for employment in one of the legions of foreign-owned factories, assembly plants built by foreign companies looking to cash in on the low-wage workforce handed to them by the North American Free Trade Agreement (NAFTA). Among other developments in the post-NAFTA border region, hundreds of young women have disappeared, raped, and been murdered in Juárez, by the hundreds, and they still do. Drugs are readied for cross-border journeys here in ways that are both mundane (e.g., kilos of cocaine hidden in the frame of a car) and mind-boggling (e.g., 140 pounds of marijuana strapped to the back of a man flying, in darkness, in an “ultralight,” a motorized aircraft resembling a hang glider.) Increasingly, many of the drugs stay in Juárez, and other parts of Mexico, something that has led to large-scale addiction the likes of which the nation has never seen.

But just as the acts of gruesome sexual violence, murders and disappearances of young women in Juárez have gone beyond the realm of random sexual violence, so, too, have the escalating cartel v. cartel-military v. cartel battles over ‘narco-turf’ gone beyond what anyone would reasonably consider “drug-related crime.” In this border city, nearly 2,000 drug-related murders have occurred since January 2008, including more than 200 murdered in the first two months of 2009.

In this sense, the people of Juárez are the actual, immediate victims of (our very own) drug war “spillover effect.” It’s too late for the thousands of people who have already lost their lives to related violence, but it’s not too late to pull the plug on the easy flow of weaponry to Mexico. And it’s certainly not too late for the American people to recognize and resolve, once and for all, that this is a war that cannot be won: not under any circumstance, not by any country, not by any political leader, and not with all the firepower in the world.

For the sake of Mexican people, the welfare of all of our global neighbors, and yes, for ourselves, it’s time to close this ill-begotten book on the war on drugs, once and for all.

Silja J.A. Talvi is an investigative journalist and the author of Women Behind Bars: The Crisis of Women in the U.S. Prison System (Seal Press: 2007). Her work has already appeared in many book anthologies, including It’s So You (Seal Press, 2007), Prison Nation (Routledge: 2005), Prison Profiteers (The New Press: 2008), and Body Outlaws (Seal Press: 2004). She is a senior editor at In These Times.

Many are pointing to the American gun dealers who have businesses along the border as a major cause for the bloodshed in Mexico. They supply arms to both sides, make akilling while so many are being killed
 
Guns in communities having conflict always leads to destablization, later followed by demonization and then demonination by outside forces that have an interest in controlling resources.
 
 

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