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Author Topic: The Battle To Save New Orleans Public Housing  (Read 103 times)
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« on: March 11, 2008, 07:43:01 AM »

http://www.zcommunications.org/zmag/viewArticle/16793

At a press conference last December 18 at New Orleans’ City Hall, Martin Suber of the Coalition To Stop Demolition explained the purpose of the fight to stop the razing of the city’s four largest public housing complexes (aka “The Big Four”): “They’re using New Orleans as an experiment, to privatize schools, cut back on bus service, and knock down housing projects. That’s what we’re fighting against and that’s why people have come from all over the country to support us.” 

In less than two weeks the Coalition had: 

Shut down a City Council meeting after the council refused to take a stand on the demolitions, on December 6. 
Influenced a city housing committee to refuse to grant a demolition permit for one of the four public housing complexes, on December 10. 
Stopped demolition work at that same complex after it began illegally on December 11. 
Blocked demolition equipment from entering another housing complex after demolition had started there on December 12. 
Stormed the federal building at noon December 13 and shut it down for a half an hour, while carrying on a shoving match with federal guards. 
Drew fire from HUD Secretary Alphonso Jackson, who threatened to cut off over $137 million in aid to the city’s public housing agency and deny housing vouchers to displaced tenants unless the demolitions went forward. Jackson is currently the subject of three federal investigations. 
Shut down the headquarters of the Housing Authority of New Orleans (HANO), which HUD took over in 2002. The protesters dressed in pajamas, sported red Santa’s helpers caps, were surrounded by colorful mock gifts and displayed a banner reading “Homes For the Holidays” as they sang carols modified with housing and human rights lyrics. 
Won a lawsuit in state court based on an unearthed city code mandating a New Orleans City Council vote on the demolition of public housing. HUD was planning to start demolition of Big Four on December 15. 
Garnered implicit support from House Speaker Nancy Pelosi and Senate Majority Leader Harry Reid as they fired off a letter to George W. Bush demanding a 60-day moratorium on the demolition of public housing in order to resolve the growing crisis. 
The City Council announced that it would act on the demolition issue at its next scheduled meeting on December 20. So the Coalition To Stop Demolition held its press conference at City Hall on the 18th “to implore the City Council to take the right step and to be on the right side of history, so we can bring our people home.” But two days later the City Council locked hundreds people out of its chambers, let the city’s police force attack, arrest, and eject people who protested this injustice, stood by as cops unleashed pepper gas and tasers, and then voted unanimously to approve the demolition of the Big Four. 


March  on HUD office in in December—photo by Laura Ayers
 
One Flood After Another 

Before the storm surge of Hurricane Katrina ravaged New Orleans on August 29, 2005, about 5,100 families lived in low income public housing in the city. Another 2,000 units were vacant, awaiting renovation. There were 9,000 families on the waiting list as well. Most of the public housing consisted of three story brick buildings built in the 1940s. Nicolai Ouroussof, the New York Times architecture writer, recently wrote of the Big Four, “Some rank among the best examples of pubic housing built in the United States, both in design and quality of construction.” 

The original idea was to offer poor people a place to live in federally subsidized low income housing while they worked to achieve the dream of home ownership. But in New Orleans, as in many U.S. cities, the historical legacies of racism and poverty and the failure of society to redress these injustices largely limited advancement from “the Projects,” as they came to be known. 

As inner cities decayed and cutbacks in federal support grew, public housing’s promise diminished. These factors, combined with corruption and neglect in public housing agencies at local and federal levels, led to deteriorating conditions. The Projects were stereotyped as centers of violence, drug dealing, and “babies having babies.” In reality, these problems were rooted in conservative policies that replaced the War on Poverty with the War on Drugs, affirmative action with police action, more and better schools with bigger and fuller prisons.

In 1989, during the first Bush regime, Congress established the National Committee on Severely Distressed Public Housing. The committee found that 86,000 of the nation’s 1.3 pubic housing units were “severely distressed.” HUD’s response to these findings, during the Clinton administration, was to introduce the HOPE VI program in 1992. HOPE VI’s goals basically were to encourage the privatization of public housing by demolishing as many public housing units as possible, then leasing the sites to developers to build “mixed income” housing. This resulted in drastic reductions in low income public housing units, thus leaving many former tenants largely out of the mix. 

In New Orleans, for example, the St. Thomas pubic housing complex, west of downtown near the Mississippi River was almost totally demolished and 80 percent of its former residents were displaced, laying bare HANO/HUD promises that 80 percent would be able to return. 

When Katrina struck, the floods forced many public housing tenants to flee. Many became internally displaced refugees, scattered to Houston, Atlanta, and beyond. According to the UN Declaration of Human Rights, all displaced persons, including internal ones, have a right to return to their homes. 

But in New Orleans HANO/HUD did not recognize that right. Instead the agencies declared that public housing, most notably the Big Four, was too badly damaged and instead of fixing it up and allowing residents to return, it locked them out. Steel plates were bolted over windows and doors in some of the complexes, while in others entrances were left open to the elements and thieves.


Protest at B.W. Cooper public housing complex—photo by Edwin Lopez, neworleans.indymedia.org
 

Those residents who did return were mostly barred from their homes. In some cases they were prevented from retrieving their possessions and in others they found that all their belongings had disappeared. Some of those who go into their apartments said all they needed was a good cleaning and a new paint job. But anyone found doing such work in their own home was put out by housing authority and/or city police. People who protested this treatment by occupying their apartments were arrested. Chain link fences topped with barbed wire were thrown up around public housing complexes to keep former residents out. 

HANO did give out Section 8 housing vouchers to some former tenants who returned. But this necessitated dealing with private landlords over scarce housing, plunking down often large deposits, and paying much higher utility costs. 

Midway through 2006, HUD announced its final solution to the public housing problem in New Orleans: total demolition of the Big Four, to be replaced with “mixed income” housing constructed and managed by private developers who would be granted 99 year leases. The Big Four consist of Lafitte (896 units), St. Bernard (1436 units), B.W. Cooper (1,550 units), and C.J. Peete (723 units). HUD plans to destroy all 4,605 low income units and replace them with a total of 1841, a 60 percent reduction. Of these remaining units, only 744 would be low income, resulting in an almost 84 percent loss of low income housing units. 

HUD public records indicate, according to the coalition, that the total cost of this “redevelopment” would be $762 million. Thus the average cost of the 1,841 units would be $414,000. Demolition opponents also pointed out that, “The $762 million does not include current subsidies on displaced residents which is estimated at $1,000 per displaced family per month—approximately another $100 million so far. Nor do these estimates include the millions in no-bid contacts already let out by HUD and HANO since Katrina for consultants, lawyers, and contractors of all sorts.” 

The public housing crisis in New Orleans is a crucial part of the city’s overall affordable housing crisis. Though homeowners finally received a good deal of financial relief in 2007, owners of rental property still have not. Pre-Katrina, over half of the city’s residents were renters. Rents have doubled and tripled in increasingly scarce habitable units and even more so in the 20 percent of the city that did not flood. 

The city’s homeless population, believed to be about 6,000 before the storm, has increased to 12,000, according to various estimates. Homeless encampments have been growing, one in a park directly across the street from City Hall, another below an interstate overpass. Towards the end of 2007, FEMA declared that it would start closing down the trailer parks, which still housed 50,000 across the state, including those in New Orleans.

All these factors make the destruction of 4,605 low income public housing units in the Crescent City all the more critical—and some call it criminal. 

Lockdown Of Democracy 

The Coalition To Stop Demolition came together in the fall of 2007. It consists primarily of displaced public housing residents, New Orleans African American community organizations such as Peoples Hurricane, local housing groups such as C3/Hands Off Iberville, and human rights organizations.   

The coalition’s basic demands are: (1) to fix up housing in the Big Four so that its former residents can return to their homes; or (2) if there is demolition, there must be an enforceable guarantee of one for one replacement of all the low income public housing units that would be torn down. 

As of late November, prospects of success looked bleak. A federal judge had refused to support a lawsuit to stop the demolitions. HANO/HUD was soliciting bids for demolition work. The agencies had set December 15, less than three weeks away, as the date for the demolitions to begin. A U.S. Senate bill mandating one for one replacement of demolished New Orleans public housing units, had been blocked by Senator David Vitter (R-LA). 

Confronted with looming catastrophe, the coalition put out a national call for support, asking people to come to New Orleans, or to organize solidarity actions in their home communities. In so doing, the coalition also asked supporters to agree to a Pledge of Resistance, which read, in part: “I believe in the fundamental right of housing, and I will not be a witness to the denial of this right to the peoples of New Orleans and the Gulf Coast. I pledge myself to resist the denial of this right by all civil and humanitarian means available, including civil disobedience. 

The immediate positive response to this call bolstered the coalition’s ranks both in New Orleans and around the country and significantly contributed to successful actions in December. The power elite, both locally and in the nation’s capital, realized it was losing the initiative and responded with repression. It started at the top, with HUD Secretary Alphonso Jacksons’s December 13 threat to cut back funding and cut out housing vouchers, as previously reported. At the same time Jackson went on TV to berate demolition protesters as ignorant fools who were trying to deny poor black people affordable housing. 



Mavis York, Common Ground volunteer, blocks a bulldozer at the B.W. Cooper public housing complex, December 2007—photo by Edwin Lopez, neworleans.indymedia.org
 
Then on December 15, originally HUD’s demolition day, New Orleans police, without provocation, charged into a celebratory street party adjacent to the St. Bernard public housing complex. The NOPD attacked and arrested videographer Rick Rowley of Big Noise Films while he was working at the scene, later charging him with crossing a police line. The cops also snatched Cheri Honkala, founder of Philadelphia’s Kensington Welfare Right’s Union and slapped her with a charge of impersonating a police officer, for directing traffic. The police also singled out for attack and arrest a young African American man they called “Big Mouth” because of his outspoken behavior at previous coalition actions. 

Sunday, December 16, the Times-Picayune, the city’s only daily newspaper, joined the clamp down, representing the media component. Its lead story, “Far From Full,” challenged the credibility of demolition claims that there was a shortage of public housing in the city—and, by inference, the credibility of the coalition. A subhead, in red letters, blared, “There are hundreds of units available right now.” A few days later the paper ran a story defaming one of the most vocal of the coalition’s public housing residents. Meanwhile local talk shows featured callers who railed on about outside agitators, welfare queens, and crackhead killers rampaging though “the Projects.” 

On Thursday, December 20, City Hall was a fortress. When the public came through the main entrance, they were asked if they were going to the City Council meeting. If the answer was yes, they were ordered to go back out and wait at the side of the building. In the hallway leading to the council chambers police officers waited to block citizens who dared venture beyond. Further down the hall there was a metal barrier and behind the barrier another line of cops stood guard. HUD, HANO, their developers and supporters were by and large not subjected to these measures, but instead escorted into the chambers through separate entrances. 

Outside, demolition opponents waited to be let in, like prisoners in a fresh air holding tank, behind metal gates. On the other side of the gate, a heavy police presence made sure no one went any further. 

Sometime before 10:00 AM, the scheduled time for the meeting to begin, police opened the gates and let some people shuffle in single file. By 10:30, over 100 people were still waiting outside, where it was starting to rain. The crowd began chanting. “Housing Is a Human Right,” along with “Stop the Demolitions Now.” As time dragged on and the rain got heavier, however, “Let Us In!” became the chant of choice. 

Meanwhile, inside the chambers, demolition opponents realized many in their protest had been locked out even though there were more than a few empty seats. Angered by this obvious injustice, they began calling out for council members to allow more people in. Their protests were ignored or mocked. Anger grew, names were called, and a chant of “Let Them In!” went up. 

The small army of police in the chambers ordered the protesters to shut up and sit down, Those who refused to obey were seized and thrown out. In some cases the police physically abused and tasered protesters, arresting 15. 

Chants grew louder, a few rattled the gates, which the police had secured with a pair of handcuffs. More police arrived on the scene, including some on horseback. A SWAT team lurked nearby, and the Louisiana National Guard was on hand as well. 

At little before 11:00 AM, a handful of lockouts began pulling the gates back and forth. They finally broke the handcuffs and the gates fell open. Everyone seemed surprised. No one rushed in at first, then only a few made tentative moves to enter. Suddenly officers behind the gate began spraying gas into the crowd on the other side. Then cops exploded into the crowd, using more pepper gas and tasers. Just as quickly the police attackers withdrew and secured the gates again, this time using a chain and padlock. Bodies lay sprawled on the ground. People carried the injured to a nearby lawn. Two women had taser wires coming out of them, one in her stomach, the other out of her back and had to be hospitalized, as did a number of others. People helped those who’d been gassed flush it away with water and milk.

After caring for the injured, the locked out regrouped and took up their chants once more, after someone cried out, “Let them know we’re still out here.” People who’d been pepper sprayed joined the chants and took up their cameras again. The rain turned torrential, then into a full blown thunderstorm. Protests continued for over an hour until the crowd dispersed peacefully.   

Inside the chambers City Council members vacated their seats to chat with each other while demolition opponents spoke. Late that afternoon the Council played out this cruel farce and voted unanimously, before an almost empty house, to support HUD’s demolition plan. 

The next day the coalition was back at City Hall. At a press conference it announced its refusal to honor the Council’s vote and vowed to continue resistance. As the first week of the New Year neared completion, HUD’s demolition of the Big Four had yet to begin, and the Coalition To Stop Demolition was still at large. 

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Mobile-friendly version Immortal Technique Biography

Born Felipe Andres Coronel on the 19th of February 1978, hip-hop artist Immortal Technique is a controversial figure in the U.S. His songs speak of the need for social justice and equality among all races, with special emphasis on the people of color or Latin Americans, but they also cover topics such as the fight against unfair imprisonments or militarism and many others.

His biography is hence quite intriguing, to say the least, and, just like the best anti aging cream is probably going to be lingering over the shelves of all cosmetic stores for many years to come, Immortal Technique’s songs are going to remain hot, fresh and sought after for a really long time. Due to the fact they speak about topics which are to be considered taboos, his lyrics continue to be listened to with the exterior shutters down in most homes.

Immortal technique was born in Peru, in El Hospital Militar de Lima; several years later, his family moved to America in order to escape the harsh living conditions in Peru. Even though they could not afford to buy any terrain a vendre there, they managed to move to Harlem in the ‘80s. Immortal Technique went to Hunter High School, but just like a hip replacement recall is never of good omen, his grades and behavior weren’t any good during high school either. He was the school bully, he harassed other students and he was not afraid to get involved in scandals with drug dealers from around the area. And while his interactions with these drug dealers were not as numerous as used cars in Phoenix are, they still managed to leave an ugly mark on his biography.

Plus, his graffiti did not actually resemble any Dreamweaver templates, but he was famous for his controversial acts of vandalism. His violence against others almost got him expelled in 1996, but he somehow managed to finish high school and even attend college at Pennsylvania State University. This time, his college experience only lasted for two years; he was then charged and convicted and he was eventually imprisoned in Pennsylvania.

In prison, just like a SEO San Antonio company would focus on booting a web site’s ranking, Immortal Technique also focused on boosting his own social ranking. He began studying the policy of religious history, and, finding the inspiration he needed, he began putting his thoughts in lyrics. In 1999 he was paroled and, even though he was first considered some sort of Agen Bola, as no one had heard of him at first, he began to attend freestyle battles he started winning.

From there on, his career started to bloom, as he gave birth to albums such as “Revolutionary Vol 1” in 2002, “Revolutionary Vol 2” in 2004 and “Revolutionary Vol 3” in 2008. He also became a political activist and started to sing about political injustice (check out his opinion on the imprisonment of Mumia Abu-Jamal or the songs on George W. Bush). Despite of the fact that his albums might not have gotten the type of positive reviews African mango reviews are usually comprised of, this has not stopped him from getting involved in future projects, including an important film collaboration. He might not approve the work of the CNA Financial Corporation, but we all need to eat, right?




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The History and Growth of Rap Music

If you are a music enthusiast, then it is very likely that you have come across a genre of music called rap music. Rap music is area that has very clear distinguishing features most notably the rapid and rhythmic chanting of the lyrics perfectly timed to the beat and musical accompaniment that forms the base of the song. Rap music traces its roots to the development of the hiphop subculture which predominantly carries four complementary musical styles namely: rapping, dancing and in particular break dancing, scratching or more popularity known as DJing, and graffiti writing which others dub as vandalism. Another sub-element of this genre is beat-boxing which also features heavily in the repertoire of many rap artists. If you thought this was an easy musical genre to characterize, then you were poorly informed: consider, many research papers and doctoral dissertations have been written on the subject of rap music and its accompanying stylistic elements.

The history of rap music, or hip-hop music, is composed of a series of rapid development phases that have all culminated in the popular rap versions of today. Before rap music took off in the 1990s, it was predominantly referred to as disco rap in the late 1970s. The three rappers who had a hand in coining the term “rap music” were DJ Hollywood, Lovebug Starski, and Keith Cowboy, the last one being officially credited with the term hip-hop. Rap music original began with improvisations and freestyle singing to add an element of unpredictability to the songs in parties and other gatherings. Even in the 1960s to 1970s, the initial elements of rap music where already sown in urban subcultures particularly in New York City where adhoc performances in the streets led to a coalescing of influences in the wake of the Civil Rights era. Like the iPhone 5 release date, it had a slow and steady rise building into an explosion of creativity and style that has made it into what it has become today.

At this very early stage of rap development, it was particularly tied to emcee-ing more than it was associated to any specific song. It predominantly tied songs together as an adlib in between. It was born out of the creative inputs of DJs who had to work with self-imposed musical constraints such as the 4/4 time beat and sampling or sequencing sections of other songs to create a smooth flow of uninterrupted musical stimuli. These were eventually married with electronic equipment such as drums and synthesizers, and ultimate melodies to give it that bite and identity. In a sense, rap music artists were basically like a video game designer who had to figure out each artistic component at every turn until it developed into a more coherent musical genre that became the rap music we know today.

The first recorded version of rap music came alive in the early 1980s when DJs decided to make records out of their freestyle MCing. This necessitated the documentation of song lyrics so they do not change during each and every rendition. The age of the stromanbieter for rap music was gone paving the way for more organized chaos. Still, the freestyle and improvisation element remained a part of many DJ interludes as the song goes through certain sections that did not require too much rap singing.

Likewise, as a consequence of the hip-hop records, the influence of rap began to spread faster than ever before. Artists no longer had to travel far to get their music heard. Now, records from New York City and Philadelphia can be reproduced and transported to cities like Los Angeles, New Orleans, Dallas, Baltimore, Washington, D.C., and Seattle among others for people to appreciate and enjoy. This was primarily the reason for rap music’s rapid growth. Like Christmas mini lights, cities formed the nodes through which rap music would spread to other parts of the country. From small beginnings to grand achievements, the birth certificate translation to true stardom took a matter of years for rap music to be realized. Since then, its take-off and rise has been meteoric.

In this regard, it is almost impossible to talk about rap music but not discuss the golden age of rap. This was the era from the late 1980s to the mid 1990s when rap grew at an astounding rate fueled by the creative contributions of many artists from all over the continental United States and in many parts of the world. The primary trait of the Golden Age or Rap was that it was an almost unbroken wave of transformative music with every single pushing the boundaries of the genre. From this age and in the succeeding Gansta Rap age came names like Run-D.M.C., Dr. Dre, Ice T, MC Hammer, The Wu-tang Clan, Snoop Dogg, and The Notorious B.I.G. among others. The list of names can virtually fill a Sharepoint Hive without any problems.

According to social studies published in 2005, teenagers and children are more familiar with hip-hop and rap music more than any other musical genre. Up to 65% of all children from ages 8 to 18 hear hip-hop music on a daily basis, making it their routinary keratin hair treatment session, almost to the point that it has become an intrinsic part of their lives. With the diversification of the genre to include the more stylish R&B or rhythm and blues, it is not difficult to explain how rap music has continued to pervade radio station, TV and movie song line-ups. The marriage of rap and jazz which paved the way for R&B is itself a phenomenon that warrants all sorts of social analysis.

And with its very strong following, it is safe to say that rap music is here to stay. Years from now, when you open your TV on a bright Saturday morning, there’s a big chance you would be watching the next stage in the evolution of rap music, and there’s an even better chance you would be dancing or singing to that tune.

Immortal Technique Rapper Biography

Immortal technique is the stage name for which rapper Felipe Andres Coronel is popularly known. His lyrics characterized by its unique mixture of socialist commentary of social class hierarchy, religion, wealth, poverty to contemporary issues touching on governmental and institutional racism. Perhaps you may have come across information about this popular icon as you undertake research for that mba online, or for whatever course you are undertaking, be it bachelors in criminal justice, performing arts degree, governance systems, online nurse practitioner programs, history, or any other course for which you have to do online research.

The rapper was born on the 19th day of February 1978 in Lima, Peru. During the internal conflicts that took place in their country at the time, his parents migrated to Harlem, New York. Probably, in the process of migration to the country, they may have used boats at least once in the journey. Like many American teenagers, the rapper was engaged in various acts against the law that led to his arrest several times, which in one his public interviews admitted that they were selfish and at best childish acts. After completing his incarceration terms, he took up a political science course in a bid to mend his seemingly torn life, while living with his father.

After completing his studies, he was not lucky enough to secure a job in his field of study owing to the unemployment situation prevailing in the entire United States. Like many American fresh graduates who take up it jobs, nursing jobs, waiter and nursing jobs among many other common jobs that may not necessarily need a specialist, he took up a working in a restaurant to earn a buck from which he could live on.

Through his deep interest in championing for equality between the elite and the under privileged in society, and being not a Mesothelioma Lawyer, the rapper begun his music career basing his lyrics on such issues as injustice, exploitation and mistreatment of the poor. This is captured clearly in his desire to keep control over his production, since he strongly believes that in the music industry, the producers normally make a large profit while the artist for who credit belongs, normally end ups earning peanut amounts at the end of the day.

His popular sediments are captured in his albums that include the revolutionary, both volume one and two, and the 3rd world and the middle passage album. the rapper is increasingly involved in prison visits and working with migrant rights activists, though which he speaks to youths and the unprivileged in the society trazer amor de volta. His investments are largely in farmland in Latin America, which like soweto properties is an unpopular investment option for many celebrity figures. His advice to the youth is not much on taking up an aacsb online mba or an online criminal justice degree, but rather it is based on exploiting ones talents and living soberly within the law.

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