Tuesday, August 09, 2005

favela fever

An Interview with DJ Marlboro June 2003
Andy Cumming

In a famous quote, Chuck D refers to rap as the black CNN. In many respects Rio or baile funk could be referred to as favela CNN. That is, it's used as a medium to convey how the people who live in the Brazilian favelas really feel using their own language, idioms and slang. baile funk is basically a strain of Miami Bass breakbeat, but much cruder and ruffer in it's production. There is a healthy anything-goes and fuck-fashion attitude to using samples, and classic late 80's Todd Terry can meet the riff from Doo Wah Diddy.

The scene is scorned upon by the Brazilian electronica scene-makers as well as the middle-class media. It's prole-like unpretentiousness and complete lack of "cool" makes it a scene apart from the rave and club scene dominated by São Paulo and the fashion conscious Paulistas. But ironically, baile Funk is the original Brazilian electronic dance music stemming from the incredibly popular Rio sound-systems of the 70's.

These sound systems consisted of speakers, decks and some coloured lights and had a preference for playing soul. By the middle of the seventies there were over such 300 sound-systems in Rio and each one had it's faithful public. Some of them, such as Soul Gran Prix and Black Power, would get between 5 to 15 thousand people on a Saturday night. In December 1976 the first sound system LP was released, "LP SOUL GRAN PRIX", which was a compilation of American LP tracks produced by Ademir Lemos. In the seventies, when Disco dominated the dancefloors, most of the sound systems changed to this new rhythm - then along came Hip-Hop.

In the eighties the club scene in Rio was divided into two halves, there was the Zona Sul (the South, a rich part of the city with Copocabana etc.) where there was a preference for rock and Zona Norte (the North, a more deprived, working class area where they danced to American black music - disco funk and charme ( a slower more melodic funk).

In the middle of the eighties, Miami Bass appeared in Florida, it's imagery of beaches, sunshine and ‘big-bootied’ black women combined with the strong Latin American presence in Miami may go a long way to explaining it's immediate popularity in Rio. Some even say that it caught on in Brazil way before the United States. Another reason that the Brazilians took to Miami Bass so eagerly is attributed to the similarity between it's bowel-quaking bass, and the Surdo (the large, deep bass drum used in samba schools). Needless to say the sound-systems immediately picked up on this sound.

The scene has a reputation for violence, sex and bad Portuguese grammar!! All things which the press latched onto last year with unrelenting shock, horror headlines. In 1989 DJ Marlboro produced the LP Funk Brasil with rapping in Portuguese, and from thereon in, tracks sung in Portuguese were increasingly introduced into the bailes with the result that from the mid-nineties, a Funk DJ's set would consist entirely of material produced in Brazil.

DJ Marlboro is THE funk DJ in Brazil, an originator, award winner and tireless promoter of the scene. He DJ's, produces and hosts the renowned radio show Big Mix in Rio. This interview took place during the recent Eletronika Festival in Belo Horizonte, just before he played a storming set which climaxed with him with his T-shirt over his head manically scratching with his CDJ 1000's.

Andy: Last year we saw funk fever here in Brazil, where it wasn't exactly fashionable but incredibly popular.

DJ Marlboro: Yeah but look, just one thing, it's that old story. The people who get to know funk discover it every time it becomes successful. For example, I've been DJing for 23 years, so in this time I've seen the highs and lows of funk, I've seen funk go through this fever 3 or 4 times.

A: Yeah, I was in a used vinyl shop the other day and I was surprised to see a funk compilation you had produced dating back to 1991, I didn't realise how old it was.

DJM: Exactly! This is the cool thing, the following happens, a lot of things become fashionable, funk no! Funk is a thing from Rio de Janeiro, it's part of the Carioca (People/culture from Rio) culture. And out of the blue this sudden success comes with all its repercussions, people think that funk came from that moment. And when, just as quickly funk returns to the ghetto, to the communities, to the favela, it seems as though its finished. But it hasn't finished, it's there just as it's always been. The best time for funk is when people don't know about it, for those of us who are funkateers that is.

Do you know why? When people exploit artists, exploit the whole scene, there's persecution, prohibition and a whole load of things that would have been better off without success, but we continue growing and the culture continues developing its roots. Nowadays Rio has a paper called Jornal do Brasil where they did a study and found that Rio had 500 bailes ( dances/parties), more than 500 bailes a night at the weekend, with an average of 2000 people in these parties. That's an average of a million people!! That's a carnival every weekend! I reckon it's better to stick with 500 bailes than grow to a million in the whole of Brazil and then have the media exploit the scene.

Funk isn't considered a cultural movement, it's exploited with this image of women with big butts, you never see the many sides to funk, so people look and they think that funk is pornographic, funk is violent... but funk is all of this, it's violent, romantic, playful.

Funk is a way of expression that was born from the common people, it's a working class expression, nothing reflects as much as what the people are thinking as the funk movement you know?

So a lot of the time, the songs are badly interpreted, songs that talk of the favelas, drug trafficking, what the police do etc. People say that funk apologises for this, but really it's just telling it as it really is. If they're singing about the dealers and the police killings and this horrifies you, then it's even more horrifying because it exists and in reality the people are singing it, because it happens and now they want to shut funk up because it's singing about what the people are living.

A: So where does funk come from?

DJM: Funk comes from Miami Bass. Over 30 years ago there was the Black-Rio movement in Rio de Janeiro in the era of soul, where we played James Brown, Parliament, the Blackbyrds. In that era there were two types of baile, where people went to halls and set up sound systems; there was the rock baile where they played Bachman Turner Overdrive and all that, which was white and there was the black baile where they played soul. They stayed separated for a time and the Big Boy arrived on the scene, you know Big Boy?

A: Err..No.

DJM : Well he's dead now, but he played this sound 30 odd years ago, he had the baile de Pesada (Heavy Dance) which he started where he played soul and rock, rock and soul. There wasn't a difference and people came from the suburbs and brought their own characteristics with them.

Before, those who liked rock would go to the suburbs for their parties and there was a kind of rivalry between black and cocota (whites who play rock), just playful, no fighting or violence, just having fun. And then at this same moment, Brazilian soul was born, which gave us Tim Maia, Sandra de Sá, Cassiana, Gerson King Combo, Banda Black Rio etc.

Soon after this came the Disco craze which swept through the world and the white dances became discotheques quickly, but the soul dances continued playing soul. The rock bars virtually disappeared becoming disco-bars.

Stuff that was played in the soul dances, like Kool and the Gang, started to make music which was more disco, y'know "Ladies Night" etc... and Brazilians like Deodato were producing and creating a more commercial sound with brass and stuff and this moved closer to funk and the two different bailes came together as one, and the crowds mixed together.

When the Roland 808 was launched in the States, it was criticised by musicians at the time because they were after a more acoustic, natural sound, and the 808 had this really electronic sound, so the price fell and the people from the ghetto started to adopt it into their sound. When this music arrived in Brazil, it was really successful. The sound systems had the massive speakers to deal with this heavier sound of the 808 beat and we really got into it. This sound, that was to become Miami Bass, started to dominate the bailes with it's stronger beat.

However we never called it Miami Bass, because for us it was always funk. So this Funk/Miami Bass that came over in 1988/89, 2 Live Crew and all of that, started to become nationalised with rapping in Portuguese and the melodies from Pagode ( a strain of samba) and Forró, mixed with the Miami Bass beat to create something more characteristically Brazilian.

We have this thing of mixing our language, our style so that in 1993/94, the percentage of stuff played in the bailes was gradually increasing, so that nowadays 100% of the tracks are national, made in Brazil, and the funk made here is completely different from anywhere else in the world. So we do shows in France, Favela Chic, in Miami, Boston, New York, New Jersey....

Funk is an alienated music, it's not considered MPB or national music, but funk is as national as Samba, which was African or Axé, which was Jamaican. We Brazilians are a mixture who adapt things, we're white, black, Indian. Everything from this land is a mixture, so why can't we create something original from this mixture? If you want to hear something essentially Brazilian you'll have to go in to the Amazon and find a tribe of Indians living in the jungle who have been completely untouched by any influence from civilisation.
[
I spy Marlboro's case which contains only CDs and MDs.]

A : You don't play vinyl? Are any Funk tunes pressed onto vinyl?

DJ M : As Funk became nationalised, we tried recording in vinyl but the quality in the Brazilian factories was really bad. I mean our sound was turning into a powerful sound. It needed to be a quality recording, so we recorded onto Minidisc and then when the technology became possible we recorded on to CD, which gave more opportunities for performance. I use the CDJ 1000 which is really good for scratching and stuff.

A: What about the incessantly negative reaction from the media?

DJ M : The bailes in Rio have survived such a long time because we do the bailes to please the public. We work with music that doesn't need to recognised or be successful in the rest of the world. We play tracks that are popular in the bailes full stop. We don't need media and marketing.

We have gone through various prohibitions, but it's like carnival which was also persecuted. The police come and smash our equipment, but I smile because it was the same story with carnival 50 years ago. Today we are marginalised so I just hope that in the future we have the same acceptance and respect that carnival has now. When the media helps that's ok, but when they don't everyone thinks that we're finished. But we're there, still strong. The best thing is to stay in the underworld ok, we're underground by nature!

For a taste of baile Funk flavour, hunt down the following:Kátia & Julinho Rasta - Rap de Felicidade DJ Marlboro - Cerol New Funk Melô de Mulher Feia ( version) MC Gallo - Toma Juízo Marcio de Cacuia - baile de Dendê Marquinho - Guerreiro

Tuesday, August 02, 2005

Da Spinback

By jimi izrael

Not since Iceberg Slim's lost novel Doom Fox have I been so anxious about the release of a book — but Randall Kennedy's Nigger: The Strange Career of a Troublesome Word promised to be an event unlike that of any literary release I am aware of. Kennedy's book caught a lot of press and Diane Rhem-ing on public radio, and even found its way into an episode of the popular Fox drama Boston Public.
At 176 pages (subtracting endnotes and acknowledgments) Nigger is a quick read, even for black folk. Kennedy writes with a smooth, scholarly erudition that engages the reader to consider the word thoughtfully. He starts with a cursory history, the various appearances of the word in our hallowed halls of justice and finally our use of the word in popular culture. At one point, Kennedy suggests that white folks should be able to use "nigger" as black folk do. Says Kennedy:

There is nothing necessarily wrong with a white person saying "nigger," just as there is nothing necessarily wrong with a black person saying it. What should matter is the context in which the word is spoken – the speaker's aims, effects, alternatives. To condemn whites who use the N-word without regard to context is simply to make a fetish of nigger.
Here, Kennedy and I can't agree. There is too much variation about the mean of "nigger" and that variance is fluid and dependant on too many factors for white folks to grasp. It's their paternal, entitled need to dissect, dominate and disintegrate other cultures that has them crying "double standard." "Why can't we use it," they wail. But they did — for hundreds of years. In fact, they may have worn it out. Enough blacks have bled and hung to earn the right for the community, not white folk, to adopt this word and apply any idiomatic meaning they deem fitting. All peoples reserve the right to define themselves through their own lenses and not that of the dominant culture — why should black people be any different? Italians, Jews and other Europeans use words like "wop" and "kike" among themselves, and couldn't imagine a world where black people were demanding equal access to these terms. Only one white person has ever called me a nigger to my face, and that was enough for me.
I was eight, and Jonathan was my best friend at summer camp: we met at summer camp and became inseparable. On a hot summer day, perfect for a cool drink, his camp credits had nearly run out: naturally he turned to me. But my credits were low too, so I suggested we share. Dairymens Orange Drink was the nectar of the Gods at Centerville Mills. Cartons were traded like jailhouse smokes. In lieu of bartering my stockpile of candy and insects, I'd just spend the credits. As I calculated my credits, we ran headlong to the commissary and copped a carton.

The container was sweating, dewy to the touch. The humidity was suffocating, and the thought of the frosty elixir on our parched lips found our faces anxious. We sat under the shade of the Big Tree, and I folded open the carton melodramatically, like I had seen Billy Dee open Colt 45. We looked at each other with overdone relief as I stood up dramatically, poised to take a sip.

"Whey' a minnit," Jonathan interjected at the critical moment.

"Whut!?" I countered, holding the carton nearly to my lips.

"Mah daddy say a why'man always drink a'fore a nigger. Er'yone knows that."

I lowered the carton before my chest, looked away for a moment…slowly and uncertainly…handed him the carton.

He opened his mouth and poured without swallowing. He wiped with his sleeve, belched and thrust the container at me with a smile. The carton was light: merely a corner and some lumps of concentrate on the bottom. His pallid face was lit with smirking orange lips: drink up, boy, it said.

I didn't know much about inflection and intonation at that age, but I knew enough to know that the nigger that Jonathan thought I was differed from the nigga I was on my block. As a kid, I wore nigga among my friends like a fresh afro, a member of a proud and exclusive fraternity. I wasn't just a member…I was the president, B. I was yo' nigga, he was mah' nigga, thems was mah niggas, and dat nigga must be crazy to think otherwise. My moms used to ask where I learned the word, but I didn't know. Probably from the same people who taught me how to arm fart and draw naked ladies: my niggaz.

Who knows where the "-a "suffix emerged in the history of the word — Kennedy seems reluctant to entertain the different connotations given to different spellings. Lately, this has been attributed to black youth culture, affectionately referred to as the hip hop generation. Well, since that includes anyone born after 1965, that includes me — and I say, the kids are alright. "Nigga" denotes a commonality, a bond in struggle that makes me comfortable in a way the Afro-American, African American and all the rest of those monikers-of-the-week don't. I see this quiet movement among some in the black community to eradicate the word as an attempt by the black "haves" to distinguish themselves from the black "have-nots." I have a few hoity-toity friends that rebuke me and rebuff me and my usage of the word, and them niggaz get on my gottdamn nerves. Them niggas eat ribs and greens easy and greasy — just like you — and the BMW they lease doesn't make the police baton upside their heads swing with any more grace or attention to technique. We're all in together, Delacroix — live it now or learn it later.

Kennedy notes that other cultures have taken "nigger" as term of endearment as well, using it in much the same way that black folks do. Kennedy:

Whites are increasingly referring to themselves as niggers . . .and miscues are bound to proliferate as speakers and audiences mis-judge one another.
Miscues? That's the understatement of the year, Jack.
White folks want to join the club, so they embrace other terms they consider affectionate and duly familiar. I've been called "holmes," "homie," "boy," "homeboy" and "bro" more times than I care to mention. I think Kennedy's secret agenda is to pick up where Colin Ferguson left off — because there would be a trail of dead honkeys wearing FUBU from here to Johannesburg if white folk get it in their mind that they can ever again in the history of humanity form their lips to utter this word in mixed company. Even Eminem — as crazy as he is — knows better.

I teach my son that there are no "bad words," but a time and place when he will know how to use and abuse the English language thoughtfully and with due care — just like his Daddy. White folks are just like children — they have no concept of propriety and way too much attention to proper enunciation.

I wondered if Nigger would be a usage guide, a detailed etymology or something of an owner's manual: after all, these kind of books aren't written for black folks. Despite the refusal to acknowledge the important meanings attached to the varied -a, -uh and -az suffixes (a gross, inexcusable fumble) it is all of these things, and an intriguing, important read. Still, it bears mentioning that much of the content of books like Kennedy's, Lawrence Graham's Member of the Club and Lena Williams' It's the Little Things just reiterates home truths. We already know how f----d up white folk can be. These books are for largely meant for well-meaning white folk looking to get invited to your next barbecue, hoping to get in and out of your house alive without making any egregious faux pas. Buying these kinds of books makes white folks think that at least they are trying, and there doesn't seem to be any shortage of brothers and sisters trying to cash in on their guilt. Right On — I got next.


First published: April 25, 2002

Monday, July 18, 2005

180+ arrested after non fatal cop shooting

We begin today with a case of a police dragnet in New York City. On June 14th, Officer Christopher Wiesneski of Queens was shot in the leg with his own gun while trying to arrest a man smoking marijuana. During the next three days, police mounted a massive dragnet in the community. A total of 181 black men in the Queens neighborhoods of Cambria Heights and Laurelton were arrested on misdemeanor charges and quality of life violations. Some who were were arrested report that they were grabbed by the cops, handcuffed and not given any explanations at the time of their arrests.

The police department and Mayor Bloomberg have remained silent on the matter despite calls from City Councilman Leroy Comrie, Queens Representative Gregory Meeks and Democratic Mayoral candidate Fernando Ferrer to give an explanation for the cops behavior.


Marq Claxton, a retired New York Police detective and is member of the group 100 Blacks in Law Enforcement Who Care. Marq is spearheading the efforts to file a lawsuit against the NYPD.
Read article by Juan Gonzalez.

JUAN GONZALEZ: We are joined in the studio by Marq Claxton. He’s a retired New York Police detective. He’s a resident of the neighborhood and is a member of the group 100 Blacks in Law Enforcement Who Care. Claxton is spearheading the efforts to file a lawsuit against the NYPD on this matter. Welcome, Mark Claxton.

MARQ CLAXTON: Thanks for having me.

JUAN GONZALEZ: Talk a little bit about the incident and how you became involved in it, and what the reaction has been in the community.

MARQ CLAXTON: As you indicated, on the 14th, there was a police officer who alleged that he was shot by a young male black. We became involved with it when we received several calls to our hotline number from some of the individuals who had been stopped, detained, searched, and/or arrested. So, we contacted several people and we found a disturbing pattern that really yells racial profiling. And when you look at the numbers that you mentioned, it's clearly an indication that there is some systematic arrest -- mass arrest initiative that occurred on Queens and our questions are what's the justification for it?

AMY GOODMAN: Can you describe what happened? 180 black men arrested?

MARQ CLAXTON: That's off the charts. I mean, and if you believe those numbers, we happen to believe that the numbers are actually higher than that, it's a very disturbing set of circumstances, and those numbers for a police precinct, are really off the charts on the first day it's reported that there were over 93 arrests. That's just arrests. Who knows how many summonses and stop and frisks occurred in addition to that.

AMY GOODMAN: On what grounds?

MARQ CLAXTON: That's a good question. I attended a community meeting just last Wednesday, and the executive officer of the precinct pretty much established that this is what occurs after a police shooting. Now, my 20 years of police experience, extensive detective investigative experience, that is not what occurs. It appears that in the white communities, when there's an incident such as this, the police will go door to door and ask questions. In the black community what they engage in is mass arrests, which lead to interrogation and interviews.

JUAN GONZALEZ: And for our national audience who may not know the Cambria, Laurelton section of Queens. I mean, that's essentially a very middle class neighborhood. It's not one that has a high crime rate to begin with, right?

MARQ CLAXTON: Right, it's a solid working class, middle class, primarily black community. It's a very quiet community. It's a very engaging and homey kind of community. It's not in any way considered the deep inner city. So, you have a hard working class out there. It's a largely Caribbean community, as well. And that's Cambria Heights, Queens Village, Laurelton, Rosedale. That's Southeast Queens Corridor.

AMY GOODMAN: Juan, you describe some of the people you talked to, some of the people who were arrested.

JUAN GONZALEZ: Yes, I talked to several young men all in their early twenties who were just standing out on a street corner about 2:00 -- 2:30 in the afternoon talking to two groups of young men, when suddenly police, plainclothesmen, came up, guns drawn, threw them all on the ground and handcuffed them all, wouldn't tell them why they were being arrested or anything, and they ended up spending 24 hours through the system. Eventually, they found out they were being charged with disorderly conduct. But then they got before a judge, all of the charges were dropped, and they were all marked for what's called A.C.D., Adjournment Contemplating Dismissal. And I'm trying right now to find out exactly how many of those people who were arrested – and this is all minor misdemeanor charges: urinating, driving without a license, having alcohol in the street. How many of them were actually just dropped when they came before a judge, because to put that many people through the system -- many of these are actually what's called violations where you normally would get a summons, isn’t that?

MARQ CLAXTON: Correct. As a matter of fact, those things that you mentioned, urinating in public, drinking -- open container violations, disorderly conduct, those aren’t even -- they don't reach the level of crime. Those are, in fact, violations of law. What occurred here is similar to, if you can imagine, driving in your car and running a red light, being pulled over by the police officer, being handcuffed, taken to the precinct, interrogated by the detectives and taken to central booking.

AMY GOODMAN: And, of course, what this means when you apply for a job, for example, it says, have you ever been arrested?

MARQ CLAXTON: Right. If you consider this in the context of the recent report regarding unemployment, particularly in the black community, and the reality of the difficulty of the job market in New York and the nation as a whole, it’s very disturbing. And so many of these young men who are completely innocent, who have never had any previous police contact now have to explain this A.C.D., Adjournment in Contemplation of Dismissal, or even perhaps convictions. And it's disturbing. It sets them up for their future. And I think it's alarmed the community out there, and we are staying vigorously involved in it.

AMY GOODMAN:
Now, this is all happening as this hate crime has been committed that is getting a lot of attention right now. Howard Beach man, who was just arraigned and charged with first degree assault for fracturing the skull of a man, and it turns out your paper once again, Juan, The Daily News, is now breaking another story about this Nicholas Minucci, and what he did as the World Trade Center Towers were going down in 2001.

JUAN GONZALEZ:
Right, there were actually three white men who supposedly attacked three black men in the Howard Beach section. Of course, Howard Beach is infamous back in -- nearly 20 years ago when another racial incident there that really divided the city. A similar attack on a black man walking through the neighborhood. This Minucci apparently was arrested or had an incident on the day of September 11, when he allegedly attacked a Sikh man with some other individuals where they were basically attacking them, saying that you f-- Arabs.

AMY GOODMAN: Why don't you blow this up.

JUAN GONZALEZ: Why don't you blow this up, right, as they were beating them. So that, Minucci apparently has a history. Also one of the other men arrested along with Minucci in this latest incident apparently is the son of a police detective. And so, it's not clear what the facts are around this case, except that one of the men, who was badly beaten, had a fractured skull and is in stable but critical condition in the hospital.

AMY GOODMAN: And the man with the fractured skull is named Glen Moore.

JUAN GONZALEZ: Right, but amazingly, the two – I think the important thing to understand is the police department has really gone very heavily after these men. And I think they should, but at the same time, when you have an incident like what happened in Cambria Heights, which is an instance not of a violent attack by individuals but of a systematic attack on the black community by the police department itself, the department is not even investigating or trying to get to the bottom of what happened out there, right?

MARQ CLAXTON: Absolutely. They seem just very reluctant to deal with this governmental violation that occurred out in this hard-working community. I think that what occurred in Howard Beach may be a convenient distraction for this administration to avoid the issues such as what occurred in Cambria Heights, Queens, and the surrounding communities, as well.

AMY GOODMAN: Well, Marq Claxton, we want to thank you very much for being with us, retired New York Police detective, who is involved in spearheading efforts to file a lawsuit against, well, his own department, the New York Police Department for what happened in Queens.

MARQ CLAXTON: The people's department.

Tuesday, July 12, 2005

Gnostic Chess

The Origins of Chess

Continued Extracts on Gnostic Elements in Chess
by Dr. Ricardo Calvo

3:1 HINTS AMONG ISLAMIC GNOSTICS

Ziriab was the Persian musician who introduced chess from Baghdad to Cordoba in 822. The arabist Levi-Provençal indicates that Ziriab, arrived at the sea port of Algeciras/Gibraltar in 821, and was received there by a Jew named Mansur al Jehudi. Ziriab became the most popular personality in Cordoba during the caliphate of Abderrahman II, and promoted many cultural initiatives in the Cordoba court. He is best known for adding a fifth string to the "laud", the Arab sitar.

He brought Zoroastrian knowledge as well, reflected in new astronomical celebrations and a lot of habits which soon became popular in Muslim Spain. Among them, the reference to number 13 as being connected with bad luck when misused, a superstition still widespread today all over the world.

Since the time of Alderman I, Al Annuals, as Muslim Spain was named, was a refuge for the Ummayyads. This turn of events took place the very moment the Abbassides seized power in Baghdad. This context must be borne in mind when looking at the relationship between Cordoba and Baghdad. "The proper fashion in Cordoba and in other small provincial courts was to imitate everything coming from Baghdad" says the arabist Henri Peres about the 9th and 10th century of Muslim Spain. Chess was certainly in fashion. The Ummayad emir of Cordoba Mohammed I (852-886) played passionately against a servant named Aidun, who according to Ibn Hayyan was a strong chess player.

Traces of Gnostic knowledge appear very soon in Cordoba with the disciples of the "Brothers of Purity". As early as the middle of the 9th century, the whole Gnostic Encyclopedia had been translated and divulged by the mathematician Maslama al-Magriti ("from Madrid"!) and his disciple Al- Qirmani. A few centuries later, the kabbalist Abraham ben Ezra, also from the "school of Cordoba", published a Hebrew poem on chess ascribing its invention to "men of insight". Moreover, in other treatises he mentions the first "magic square" of Saturn (3x3), which in my opinion was the first step in the whole context of numerological correspondences in future chess.

As seen in Chapter 2, other hints about the origins of chess appear in the two legends of Firdawsi. Abu al Quasim Mansur (not his real name, but an honorific tittle), nicknamed Firdawsi (932/42-1020/25) is the most reliable source for pre-Islamic chess in Persia. In his "Book of Kings" he describes chess as an Indian invention brought to Persia during the brilliant period of Cosroes I the Great (531-579) also named Nushirwan or Anushirawan. (Antonius van der Linde. "Geschichte und Literatur des Schachspiels". Berlin 1874. Ed Olms, Zürich 1981. II, pp 245 ss.)

The wisest man in the Persian court, Buzurdjmir, rediscovered the chess rules, the movement of every piece and its initial placement, with no other help than a deep study of the board itself . Buzurdjmir, the legendary wise man in Firdawsi's story, discovered the secret and told the Persian king:

"O King of victorious fortune! I have studied these black figures and this chess board, and, thanks to mighty Ruler of the World I have realized completely the laws of the game".
As I have shown in Chapter 2, this method can be followed step by step until one arrives at the invention of a Safadi magic square which explains everything The story tells also that Buzurdjmir made his discovery "thanks to the Ruler of the Universe". If we accept that the wording of Firdawsi's Epos and/or his sources (which are very reliable and can be traced back till the middle of the 6th century) is a very careful one, it is interesting to remember that Buzurdjmir "thanks to the Ruler of the Universe" could be translated as "the factor 13" of Oskar Fischer, which enables a systematic rediscovery of chess movements.


Firdawsi means "the paradisian" and it gives another hint about the relationship between Gnostic authors and chess origins. As the historian M. Joel showed (Manuel Joel. "Blicke in die Religionsgeschichte" (1880), I, p.163. Quoted by Sholem JM, note in p. 395), "paradise" is an old talmudic allegory for Gnosis because of the tree of wisdom which grew there. Sholem points out that Origen ("Contra Celsum" VI, 33) indicated that the Gnostic sect of the Ophites used the same metaphor. Also St. Paul ( II Corinthians, 12,2-4) describes a man who "was caught up into paradise and heard secret words that man may not repeat" From this, Sholem concluded that Paul was privy to a strict Jewish tradition with roots in the "Testament of the 12 Patriarchs" and other esoteric-rabbinic sources from his time.

There is a second chess author also nicknamed Firdawsi who lived in Turkey some 400 years after his Persian namesake. This Firdawsi al-Tahihal was a poet and historian at the court of Sultan Bayazid II (1481-1512), but the interesting point is that his chess treatise, completed in 1508, mentions much older sources and is preserved in two manuscripts under the title "Shatranjj nama-i kabir".

The content, as judged by the index of chapters, defines a Gnostic approach. The number of pages is 64, and there are 8 chapters. The first one relates the invention of chess with the prophets Idris, Jimjid and Solomon. Idris appears again explaining chess rules in chapter 4, and chapter 5 explains the story of grains of corn linking it with Alexander the Great ("Iskander") . Other chapters are more technical, but in the end, Firdawsi quotes several of the antecedent sources he had used, including Safadi, and significantly, the Gnostic "Brothers of Purity". Thus, the connection between chess authors and ancient Gnosis, Semitic as well as Hellenistic, is reinforced convincingly.

3:2 REJECTION OF DICE AND CHANCE ELEMENTS
A most revolutionary feature in the invention of the chess is the deliberate exclusion of the dice which were widely used in many other games on these types of boards. After excluding the element of " luck ", redemption or victory depends basically upon individual effort and degrees of personal enlightenment. This is a message implicit in chess. Destiny and Hazard have no place in such an ethical system.

Averbach used it as the axis of his theory that chess arose as a consequence of Hellenistic influences which persisted from the time of Alexander the Great in the NW of India, and which underwent a revitalization during the 2nd. though the 4th. Centuries of our era. The aspect which stresses freewill as a pivotal factor is, therefore, the message engraved in the invention of chess even from its very beginning. In other words, chess could be defined as Greek thought pronounced in Gnostic language.

This is also the picture given by the Xiang-qi or Chinese chess. The game of chess (as we know it) has been associated throughout its development with astronomical symbolism, a feature that was more overt in related games now long obsolete. The battle element of chess seems to have developed from a technique of divination in which it was desired to ascertain the balance of ever-contending Yin and Yang forces in the universe. According to the Chinese literature this "image-chess" (hsiang chi) was developed during the reign of the Emperor Wu of the Northern Chou dynasty (+561 to +578), and the date of the first treatise on the subject is definitely named as +569. The preface of this by Wang Pao still exists. It appears that the pieces on the board in this divination technique represented the sun, moon, planets, stars, constellations. This "image-chess" derived in its turn from a number of divination techniques which involved the throwing of small models, symbolic of the celestial bodies, on to prepared boards. Thus there was a dice element as well as a move element, and there were many intermediate forms between pure throwing and placement followed by combat moves. All these go back to China of the Han and pre-Han times, i.e. to the 4th. or 3rd. Century, and similar techniques have persisted down to late times in other cultures. On a parallel line of development numbered dice, anciently widespread, followed a related line of development which gave rise in +9th Century China to dominoes and playing-cards. (Joseph Needham. "Thoughts on the origin of chess" Cambridge 1962).

Many of the Arabic chess manuscripts begin with a philosophical discussion about fatalism, symbolized by dice (hazard=azahar=flower, the flower indicating the Ace in Islamic dice) and the voluntarism implicit in chess. Later Islamic authors stated it more explicitly. I am particularly partial to the wording of the anonymous Arab author in the chess MS translated into beautiful Spanish by Pareja:

"As for their intimate sense, with the two games, chess and nard, the inventor intended to reproduce a lively outlook upon one of the most stubborn controversies known to mankind. Indeed, humanity and human consciousness is divided between the opposed doctrines of "free will" and "predestination". Essentially the conflict between the ability to choose freely or to act without election is mirrored in the respective achievements of chess and nard.

One of those schools proclaims that the movements of the men, their acts and the happy or unfortunate consequences which come of them flow, by necessity, from a "primum mobile", a first cause which is external to them and their abilities, insofar as it is none other than an overarching "God" who who grants and prohibits.

Subsequently, this school was divided. Those entertaining orthodox religious tendencies believed that this cause reflected divine ordinance with regard to all creatures and creation, which it was not the role of man to thwart, much less question. In opposition, those of more naturalistic tendencies were of the persuasion that whatever causes came to bear upon the universe could be divined though inquiry into the favorable or adverse movements of the celestial spheres.

The second school proposed that man's most prosperous outcomes came about through the appropriate exercise of knowledge, individual perception and volition. Conversely, ill-starred, or adverse outcomes were also dependent upon the poor exercise of free will, with misfortunes arising through the abandonment of free election or perversions of otherwise well informed, "good" judgement.

The inventors of nard patterned the rules of this game to suit the opinion of the first school, so that the two dice carry out the function of an "external" cause, thereby demonstrating the futility of human effort or the vanity of those who preferred to view personal decision making abilities and human effort as central to the development of actual circumstances. In nard, one sees with great clarity how victory in this game is nothing short of capricious. The spoils of competition play no obvious favourite as the "Unseen Hand" is viewed as capable of assisting the inept, ignorant player in overcoming the wiles of more intelligent and capable opponents. In nard, to be embraced by the kindly disposition of the dice - the external cause - or abandoned by it, spells all there is to know about how victory is achieved or denied.

On the other hand, the inventors of chess accommodated the laws of the second school. Implied in the dice-free aspect of chess is an external cause that works through the agency of each individual, and cannot be strictly typed. Rather, it grants two players equality of pieces and opportunity and an impartial theater of operations that will unavoidably correspond to the respective abilities of individuals to interpret a winning outcome according to intellectual skills received from God. Thus the game is based on free will, making it patently clear how those who best understand how to improvise freely with skill and willful determination are more likely to overcome those who make poor use of their abilities.

The inventor linked this game with the art of the war, partly because war is among the most important of worldly affairs and partly because intellectual dexterity and free election are factors that lead to victory or defeat. As is evident, the desired result is only due to well calculated combinations, whereas defeat may easily be attributed to defects of planning and strategy. Through such features, chess mimics all other ordinary matters one might encounter in the business of life."

Based mostly on Arabic materials, The Codex of Alfonso X of Castile (1283 C.E.) deals extensively with this question, describing chess as a "brain game" ("seso"), dice as a game of luck ("ventura") and the "nard" / backgammon group of games as intermediate between the other two. In allegorical style, Alfonso summarizes the discussion, deciding in favour of chess as being the more superior of the group - "the most honest of all games", as he put it..

The problem of freewill and human fate appears in the Islamic world during the 7th century as a result of theological contests against Jews and Christian sects in Syria and Iraq. Pareja (LRM, p.112) mentions the role of St. John Damascene, and before him, the Muslim Mabad al-Guhani, executed in Basra in 80/699 because of his ideas about freewill in human destiny.

With its source in the Quran, the conflict began once Mohammed employed both opposing attitudes, in favour or against freewill, according to the compelling needs of the particular moment of Islamic development. It has been noticed that during a time when the Prophet had to struggle against powerful opponents, a Sura written in Mecca is in favour of freewill, which is understandable. In contrary fashion however, once Islamic preeminence had consolidated, the texts dictated afterwards during the Medina period, insist in absolute divine omnipotence and predestination in human fate. Pareja concluded that "being this the trend during the last part of Mohammed teaching, the community of his followers adopted it and the orthodox doctrine derived predominantly from determinism" in the sense expressed by many Surae (Quran 16/95;16/39;6/39 among others).where the message is: "Allah guides those He wants to preserve, and He leads to confusion those who He wants to destroy". An example among many others is Sura VI (Cattle, Livestock):

"39. Those who reject our signs are deaf and dumb,- in the midst of darkness profound: whom Allah willeth, He leaveth to wander: whom He willeth, He placeth on the way that is straight."
Therefore, fundamentalism could not look with sympathy at the voluntarist message implicit in chess philosophy. The whole question had important political implications too. A serious rupture inside Islam happened because of the first struggle for leadership after the death of Ali in 40/660, who was married to Fatima, a daughter of Mohammed. These are the roots of the Shíia, the party supporting the rights of Ali and his descendants which avails an issue that splits the Muslim world even unto modern times. Shiite veneration of Ali borders upon the mythical (Pareja LRM pp.220-221) with regard not only to the war accomplishments of their model but also because of his wisdom and secret knowledge. Two books of esoteric content about the future history of the world are attributed to Ali (Pareja LRM, p.210). The ill-fated son of Ali, Hussain, killed in the battle of Karbala (61/680), is a persistent focus of mourning among Shiites. On the other hand, Sunnites (from sunna: "the way to be transited") accepted the new chain of Ummayad Caliphs through whom the separate order became established. Hussain is referred to in the "hadith" or tradition as a chess player, who used to hail other players during their games (Murray p.191). In contrast, his murderer , the founder of the Ummayad dynasty, Yazid ben Muawiya (D. 64/683), is mentioned by Ben Khallikan as a player of nard (Murray p.193). Muawiya also appears in a story which depicts him as a poor chess player and a bad loser:

"He was a bad chess player and a slave girl played very well. When she met a better chess rival, Muawiyya ordered that the couple was buried alive inside a box". (Wieber. op. cit. pp. 218-219).Perhaps this story was inserted "a posteriori" by the Abbasid late propaganda to deteriorate his image (Wieber op. Xit pp. 60-61).

The whole chess issue was not merely rhetorical, because its political implications were explosive. The Ummayad Caliphs could be regarded as having usurped the rights of Ali, Fatima, Hussain and Muhammads family. Therefore, the doctrine of determinism and divine decree gave them a justification to reinforce their authority, basing its origin in GodÕs wishes. Byzantine emperors had been doing the same. According to Pareja. the court poets of this period hailed the Ummayad rule in Damascus as "foreseen in the eternal projects of Allah". History shows many other later examples of dictators all over the world justifying their crimes upon the basis of GodÕs decree.

The voluntarism implicit in chess explains the scarcity of references to our game during Ummayad rule and its possible scrutiny from the legal point of view. Wieber (p.64) in his exhaustive reappraisal, concludes that the first reference in Arabic literature, although not completely solid, dates from around 720 A.D. The next, which is more secure, was in the year 750, and the third one, this time incontestable, arrives in 791 under Abbasid Caliphs. "Byzantine influences had been hegemonic in the cultural world of the Ummayads, but were progressively substituted under the Abbasids by others of Iranian kind, because the strength of the new dynasty had its roots in Persia" (Vernet, p. 16). As such, Chess appears to have been regarded as a weapon during the terrible civil war. Written references to Islamic chess flourish in the first Abbasid period, and to some extent, these can be read as political propaganda inserted "a posteriori".

From the moment of this first rupture within Islam, chess suffers though the influence of two opposite forces deciding upon its survival and configuration: One, having clear Persian roots, shows an infusion of oriental knowledge and a rationalistic approach. It has frequent historical or political links with Shiite movements and is, in general, favourable to chess. The other orientation is reluctant or even hostile to the acceptance of the game. This has pure Arabic roots, and is inclined to traditional, orthodox thinking in every conflicting matter of judgement. Both tendencies alternate among the ideological leaderships during the first centuries and their discrepancies were reflected inside the Sunnite schools of jurisprudence. With reference to games, evidence of debate appears frequently in most of chess manuscripts and other texts such as the following comment by Masudi (Wieber, op. cit. P. 151):

"A Muslim theologian says: Chess is 'mutazilla', and nard is 'gabr'. Because the chess player relies only upon his free-will and his wishes, whereas a nard player must obey the decree of dice". 3.

3:3 "CHESS IS MUTAZILLA"
"Gabarites" (from gabara, "to press with violence") denied the freedom of human decisions, and man as well as all other beings was subject to the divine decree, gabr, of Allah. "Mutazilites" were named so because of the term mutazila, which gives the idea of separation, dissidence, retirement and abstention. They were supporters of freewill and of rationalistic methods in dogmatic maters, as well as the analysis of written questions. The founder of the mutazzila-movement was Wasil ben Atá (D. 748, during the civil war).

The question of freewill was packed together with other conflictive issues such as the intermediate situation of the sinner between the believers and the unbelievers, or whether the Quran had been created or not. The passionate, and frequently bloody confrontations related to delicate implications such as the famous passages in which Mohammed appears talking to Moses. The most radical theological school, the "Hanbalites" vehemently supported the idea that, to the letter, all the words in the Quran were dictated by Allah himself, preserved through eternity and therefore of an uncreated nature. (Pareja LRM, p.127) Geographically, the center of the Mutazillite movement was the city of Basra. Older than Baghdad, there concentrated the followers of freewill and neo-Pythagorean groups such as the "Brothers of Purity"

During the 9th century, in Basra and afterwards in Baghdad, a secret society of Gnostic philosophers exercised great intellectual influence. They called themselves "Brothers of Purity" and published a sort of Encyclopedia consisting in 50 "letters" or chapters on the most varied philosophical subjects. In one of the chapters "Magic Squares", numbers are shown on boards ranging from 3x3 till 9x9. The Arab title of this famous work is "Rasa-il ijwan al-safa". It influenced many other works in later years, especially in Muslim Spain. (See for instance E. Garcia Gomez. "Alusiones a los Ijwan al Safa en la poesia ar bigo andaluza". Al Andalus (1939), pp 462-465) .

They didn't give explanations about the secrets implicit in the numerological arrangement of the Mercury chess board, because they acted as a "neo-Pythagorean" secret society. Knowledge belonged only to the initiated, and initiation was done step by step. The master of each group was highly respected. Disciples were chosen following rigid criteria, including heiromancy and physiognomic observation. Several names are known, as for instance, the Jew Sharon Ben Samuel, nicknamed the "Father of all secrets". The group was multiracial and showed a peculiar inter-religious approach. The Andalusian Al-Dabbi, who studied in Baghdad at the end of the 9th century, wrote that they were "Muslims of all sects, both orthodox and unorthodox, Unbelievers, Zoroastrians, Materialists, Atheists, Jews and Christians". He also states that in the meetings and discussions, all they put aside the dogmatic books of their respective religions, and referred only to the "free reason".

A significant characteristic of the "Brothers of Purity" was their interest in esoteric and philosophical areas, among them the importance of Fate and Freewill in human destinies. We know that this school was a voluntarist one, thanks to two famous Andalusian disciples. The first is Mohammed Ben Massara (883-931). He was a follower of the Egyptian mystic Du-l-Nun, created a school in Cordoba and his disciples were prosecuted by the Caliph from 951 on because of "their doctrine of Free-will, their negation of the physical reality of infernal punishment and their pantheistic ideas based in neo-Pythagorean gnostics such as Philo, Porfirius and Proclus "(9).

The second is the poet Ibn Hani of Sevilla (D. 973), referred to by his enemies as "man of corrupt habits", a formula customary during the waves of fundamentalism. He went to Egypt to serve the Fatimites and two verses of one of his poems in honour of the ruler Yafar ben Ali express indirect chess connections:

"It shall be what you want, not what the Fate wills Take a decision! You alone are the Almighty!"

Therefore, Islamic fundamentalism could not look with sympathy at the voluntarist message implicit in chess philosophy. The whole question had important political implications too. 3.

3:4 POLARIZATION BETWEEN TWO PLAYERS:
A feature of many circles of Gnostic thinking of all times is "dualism", the acceptance of two polar principles and their "emanations": Light and Darkness, Good and Evil . Dualism was peculiar to Iranian religion in ancient and medieval times. A lucid evaluation of dualism as a fundamental element of the Gathas is that of W. B. Henning: "Any claim that the world was created by a good and benevolent god must provoke the question why the world, in the outcome, is so very far from good. Zoroaster's answer, that the world had been created by a good and an evil spirit of equal power, who set up to spoil the good work, is a complete answer: it is a logical answer, more satisfying to the thinking mind than the one given by the author of the Book of Job, who withdrew to the claim that it did not behoove man to inquire into the ways of Omnipotence".

As Sarton states "Dualism, such as was elaborated in the Zoroastrian religion, is rooted in the deepest recesses of the human conscience". The inventor or inventors of the chess game expressed implicitly such message in a codified manner from the moment they designed chess as a battle between two armies. or, more important, such polarization fitted in well with the "Zeitgeist" during the chess expansion.

The following passage from the Gathas (Y. 30.3-4) is fundamental to understanding Iranian dualism: "The two primeval Spirits who are twins were revealed [to me] in sleep. Their ways of thinking, speaking, and behaving are two: the good and the evil. And between these two [ways] the wise men have rightly chosen, and not the foolish ones. And when these two Spirits met, they established at the origin life and non-life and that at the end the worst existence will be for the followers of Falsehood and for the follower of Truth the Best Thinking."

Islamic hostility to dualism also influenced the Zoroastrian communities in Persia. In fact, condemnation of dualists was almost a topos in Muslim refutations of Manichean, Mazdakite, and even Mazdean doctrines; the last was, however, given special attention. The intellectual atmosphere during the middle of the 8th. Century, is summarized by R. Frye as follows: "It is clear that the religious situation under the early Abbasids was quite fluid, with gnostic ideas entering Shiite beliefs, with dualism, early mysticism and a host of other tendencies in the air".

After the Muslim conquest of Persia and the exodus of many Zoroastrians to India and after having been exposed to both Muslim and Christian propaganda, the Zoroastrians, especially the Parsis in India, went so far as to deny dualism and to view themselves as outright monotheists. After several transformations and developments one of the defining features of the Zoroastrian religion thus gradually faded and has almost disappeared from modern Zoroastrianism.

An extreme form of Zoroastrian dualism is represented by the sect of Mani, or "Manichaenism. As with the problem of decree and destiny, the polarization implicit in chess had an expression in the confrontation between Manichaeans and orthodox Muslims. The former created a syncretic movement named the Khurramdin (in Persian, literally "the happy religion") which was half Muslim half Manichaean. Its leader was a certain Yusuf ben Ibrahim. This group, based mainly around Bukhara and Samarkand, was prosecuted actively . Yusuf and many of his followers were executed by the caliph Mahdi in 161/778. After this came a more serious revolt led by a certain al-Muqanna "the veiled prophet of Khurassan" who claimed to be a reincarnation of other prophets. From 775 to 785 the movement spread in Transoxiana. A similar group of rebels directed by Babak in Azarbaidjan was also prosecuted and destroyed.

Frye has also described a persistent Zoroastrian influence among Christian and Jews living in Iran during early Islamic times. Christians were almost exclusively Nestorians and the top post of their church from 780 to 823, in the hands of Timoteos I, was able to secure under the Abbasids not only its maintenance but also its expansion. "In the middle of the ninth century a regular missionary activity to the Turks and to China began... In the end the Nestorian were victorious and some entire tribes in Mongolia were converted. Ruins of Christian cloisters in Turfan and elsewhere in Chinese Turkistan have been found and Syriac inscriptions testify to the success of the Nestorian mission as late as Mongol times.

Sects of mystical kind flourished also among the Jews from Iran, and famous names are Anan ben David in the time of caliph Mansur (754-775), and later Benjamin of Nivahand, Daniel ben Moses from Qumis, as well as Musa al Nikrisi from Gurgant, a friend of al-Beruni. "The history of eastern ???? is very little known and much work is needed before one can even begin to reconstruct the history of Jews in Iran. We know the names of Jewish scholars of heretical bent from the east, such as Abu Isa from Isfahan, Yugdan of Hamadan, Mushki from Qum and, the most famous of all, Hivi from Balkh", summarizes Frye (op.it. p.138).

Iranian dualism spread widely east and west of the Iranian world, especially through Manicheism. Traces can still be found in Central Asian and particularly Tibetan cosmogonies. In the West, although the connections are uncertain and the historical development difficult to reconstruct, religious dualism can be identified in the beliefs of Priscillianus and his followers in the late Roman empire, the Paulicians in the Byzantine empire, and later, the Bogomils.

Has this religious atmosphere influenced the design and the evolution of the chess game? Speculation is unavoidable, because of lack of documents. But chess evolution, its ideological acceptance and its spread in Central Asia and China can be considered as possibly linked with the religious situation. There is however a good case in favour of such philosophical and religious elements joining the game of chess in this path. A geographical coincidence between the areas where pre-Islamic chess can be detected, and the central Asiatic roads and cities tightens such ties. 3.

3:5 DESIGN OF THE GAME AS A MODEL OF WAR
The oldest board games identified as such in Egypt are related to astrology and divination. Then follow mathematical exercises implicit in the boards, games of alignment and race games with dice like "Senet". Hunt games seem to be a later achievement, but whatever the respective antiquity of the different kinds of play could be, war games like chess or draughts should be in any case posterior to magical-astrological-mathematical exercises upon boards.

Above all other chess designs (astrological, mathematical etc.), symbolic war was the most successful choice. Again, this fact could have originated as the result of intellectual harmony between the chess message and the ideas stirring within gnostic groups.

These ideas can be perceived in a poem by the Andalusian gnostic Ibn Hani, a former member of the "Brothers of Purity". Significantly, the poem was written during his exile in Fatimite Egypt due to the intrigues of Islamic fundamentalism in Cordoba. The poem describes a battle between two parties, the Darkness of the night and the Light of the rising sun, giving a long enumeration of the stars involved in the fight, and thereby attesting to his astronomical knowledge. The poem was published and translated by the great Spanish arabist E. Garcia Gomez. ("El libro de las banderas de los campeones de Ibn Said al Magribi". Madrid 1942. pp 55 and 204). The mystical image of stars as armies seems to be an old Semitic one. The reference comes from Isaiah, 40,26

"Lift up your eyes on high and see who has created these: he leads out their army and numbers them, calling them all by name". Hence the term "Yahveh Sebbaot" in the famous Keduschai in Isaiah 6:3. "'Holy, holy, holy is the Lord of hosts', they cried one to the other. 'All the earth is filled with his glory!'". The expression "Sebbaoth" also reappears in the "Sanctus" of Christian liturgy in its original Hebrew form. "Sebbaoth" can be translated as "armies" or as "stars". (Also in Arabic the root "sb" means "the rise of a star"). There are many other examples in the Bible of this image. For instance in Psalm 147, 4, Deuteronomy 17,3, II Kings 17,16, Jeremiah 8,2, Baruch 3, 34 (Vernet, p. 54. Notes 120-121)

Allegorical armies were seen as indications of the geographical location of chess origins. The kabbalist, mathematician and analysts of the Bible Abraham ben Ezra (1089-1164), in his famous chess poem, refers to the inventors of chess as "men of insight", without mentioning any specific country or period of time. He doesnÕt mention anything about India, and a man of his erudition and so critical minded would certainly have surveyed all the relevant aspects of chess origins for any written evidence.

His references to chess are biblical. Red pieces are considered as "Edomim" and the black men are the "Kuschnim". Among the greatest authorities in biblical analysis, Ben EzraÕs choice of words must be borne in mind in the question of chess origins, insofar as the question seems to have prevailed in Muslim Spain or amid his travels to northern Africa, Palestine, and later through Italy, and France.

The terms are somehow misleading. Edom, the eldest son of Isaac was betrayed by his brother Jacob, who stole his hereditary right in exchange of a dish of red beans. Edom, the red, gives the name of the land to his tribe, the Edomites, who occupied Palestine centuries before the arrival of the Israelites. Located south of Moab in the area to the south and west of the Dead Sea, in Greek and Roman times this territory was also known as Idumea. Several names of its kings are quoted in Gen. 36, 31-33: Bela, son of Beor, and his successor Jobab. (Because of this name, there is a rabbinic tradition considering Job a rich Edomite, thus dating the book to the time of Israel's captivity in Egypt and even attributing its redaction to Moses, a theory rejected by modern scholars.)

Moses asked for permission to traverse their territory, but the Edomites refused, which initiated a hostile relationship lasting for centuries. During DavidÕs reign, Joab slaughtered the Edomites and one of the survivors, Adad, is mentioned in I Kings, 11:14 as a foe of Solomon, perhaps leading a guerrilla war against him. The seventh Davidic King, Joram, fought also against Edom, which was occupied around 800 B.C.E. by the tenth Davidic King Amasias (II Kings, 14:7).

Kush offers some difficulties. The second river of the Paradise "is Gihon, which encircles the land of Chus" (Gen 2:13) and some interpretations refer to the Kassites as a tribe living eastwards from the Tigris with a period of splendour occurring between 1600-1200 B.C.E. In Gen. 10:6 Kush is mentioned as a son of Cam and therefore, the black Kushnim have been traditionally identified es Ethiopians (river Gihon would then be the Nile. However, the next verse states that sons of Kush were Seba and Evila, clearly eponyms of Arabic tribes. The land of Kush is not the actual Ethiopia, and would rather be situated in northern Sudan. It was an Egyptian province during many centuries, with its capital in Nepata, near the site of Meroe in the Upper Nile. Around 736 B.C.E., the relationship of power reversed and at the same time when Assyria destroyed Israel, the Ethiopians were dominating some parts of the Nile delta. Their first contact with Israel occurs in II Kings, 17:4, at which time Ethiopia had conquered southern Egypt and created the XXV Dynasty to whom king Oseas asked for help against the Assyrians.

Thus, an old Kabbalistic tradition seems to have connected the chess invention with Gnostic groups in Egypt and Mesopotamia. 2.

3:6 THE "ISKUNDREE" GAME
Keats has recently shown "an enigmatic board game" in a Hebrew manuscript from the Vatican Library. Its signature is 171 (Asseman, Bibliothecae apostol Vatic, Codd manuscr. Catalogus. Romae 1756, vol I, pp 134 ff) and the date is allegedly the 13th century. Its content refers partly to chess, but there is also a square board of 9 x 9 cases, almost half of them bearing the numbers from 1 to 9, and the indication that the playing stones are 4 "challengers" and 3 "defenders" arranged upon the long diagonal. To explain the game, the Hebrew text provides seven chapters and a long list of possible situations such as: "In case of 1 and 9, 1 defeats 9. In case of 8 and 1, 8 defeats 1. In case of 1 and 1 the challenger defeats the defender"... and so on.

The same text, but without diagram, appears in the pseudo-Aristotelian "Secretum secretorum", an interesting didactic work aimed at the education of medieval princes and kings. Its Arabic name is "Sirr al-asrar" and the first known compilation was done in Bhagdad in the 8th century by Yahya ibn al-Batrik, a Christian-Nestorian who worked as translator in the court of al-Mamun. According to him, he found the original book in the temple of Hermes Trismagestis (referred to as Homer the Greatest) in a volume written in letters of gold. Yahya translated the text first to the "rumi", and then into Arabic. The term "rumi" refers more frequently to Byzantine Greek or other Christian languages, but other times indicates Syriac, usually employed as a link of transmission between Greek and Arabic. So, the origin is most probably Hellenistic.


The "Sirr al asrar" had three translations in Europe. The first one,in Latin, was done in Spain by Johannes Hispalensis, a Jew also named Avendehut (a corruption of Ibn Dawud) who was working in Toledo between 1135 and 1153. The second one, also in Spain, was a Hebrew version from the 13th century done by Judah al Harizi around 1190-1218, Edited and translated by Moses Gaster. "Journal of the Royal Asiatic Society" 1907. pp. 879-913; 1808, Part I. pp. 111-162 ) and differs from the others because of a chapter on alchemy. Derived from this version is the Latin translation by Philip of Tripoli. In the 13th century, the circle of translators of King Alfonso the Wise produced a translation into Castilian under the tittle "Poridat de las poridades" or "Secret of the Secrets". I have been using the edition by Lloyd A. Kasten (Madrid 1957).

The content starts with the attribution of the work to Aristotle, teacher of Alexander the Great. The King had already conquered Persia and had difficulties in matters of government, so he asked for help in a letter to Aristotle, who refuses to travel to Persia because of his age, but sent instead the treatise of secrets. There are 8 chapters, dealing with matters such as royal behaviour, justice, military tactics, physiognomy, medical preventions and even astrological mineralogy.

In the chapter dealing with war secrets appears the text which the Hebrew manuscript connects with a diagram of 9 x 9. The King should never begin a battle without using first several esoteric calculations which must be known only by the initiated, because it serves as a prediction of the final result of the contest. The secret method applies not only to war, but to any dispute between two parties, collective or individual.

The method consists in the Gematric inquiry of the names of the contenders. After obtaining its numerical value, 9 units must be subtracted once and again until the final result ranges from 1 to 9. Then the list of all possible situations ("in case of 2 and 9, 9 wins against 2", etc.) foretells which party shall obtain the victory. When the names of both contenders have the same final value, the list explains, depending if the number is impair (unpaired? - impaired?) or not when a challenger defeats the defender.

One of the examples is as follows: The Gematric value of Moses is 345. Subtracting 9 units successively the final result is 3. The Hebrew letters of Amalech sum 340, and the division by 9 end finally in 6. Then, according to the list, 6 wins against 3 and Amalech would defeat Moses. Because of this, Moses decided that his troops should be led by Josuah, whose Gematric value is 397, with a final figure of 1 after subtracting 9 many times. The 1 triumphs against the 6 of the defeated Amalech. The same reason, the text says, explains the victory of Abner against king Agad, (The story is interesting, but I checked it with a calculator and saw that the given calculation is wrong, because the real rest of Amalech after subtracting 37 times 9 is 7 and not 6, According to the list, both Moses (345 and 3 als end rest) and Josuah (397 and 1 als final rest) would win against the 7 of Amalech, but 6 would have defeated the 1 as well as the 3.)

The text says that this is the "great prove of the prophet Daniel" (an anachronism if Moses had actually used it) and that "men of science" call it "the calculation of Alexander". So, the diagram in the Vatican manuscript is titled the "iskundree game". The rationale of the game remains enigmatic.

The "iskundree game" occurs in the Talmud (Shebuoth 29 a) and Keats gives a list of interpretations: A game played with pieces on a board (Rashi), a game played with small pieces of wood (Rabbenu Nissim or Nissim Gerondi, 14th century), a childrenÕs game with counters (Nathan ben Jechiel), a game with little dogs (Rabbi Hannanael ben Hushiel). An interesting point is another Talmudic reference (Kiddushin 21 b) where two judges are conducting an argument, and one says to the other: "When you were at Mar Samuel's academy you wasted your time playing iskundree". Keats points out that this reference gives unambiguous evidence for iskundree as early as the third century AD.

Iskundree refers to Alexander and is also a toponom for many cities in Persia and central Asia which preserved a Hellenistic heritage. The number of Iskundree cities varies in the references.. Plutarch (De Alexandri Fortuna 1, 5. Moralia p. 328e) says there were 70. In the Arabic literature appears a long list of at least 30 cities in India, Iran and the middle east, including todayÕs Alexandria ("al-iskandariyya"). Mohammed Murtada. Tadi al-arus, III, 276).

It is an interesting fact that several of them were built following the chess pattern of 8 x 8 streets. The first book of Ramayana, (5:12) the city of Ayodhya is described as "charming, because of its ashtapada design, as if the squares had been painted". But van der Linde pointed out that ashtapada boards of 8 x 8 had no colours at all, and were drawn only with lines. The passage is therefore dubious.

Apart from Alexandria in Egypt, other cities designed in this form are ( See: Encyclopedia of Islam. "al-Iskindiriyya") Jundishapur, founded by the Sassanid emperor Shapur ((240-270) and Nishapur, in the time of Cosroes. The references of old Arab geographers Hamza al Isfahani ( 912) and Mustawfi (1340) who are the sources quoted by Le Strange. "Lands of the Eastern Caliphate". Cambridge, 1895, p.386 (Cfr Murray, p. 33)

From "The Encyclopedia of Islam", (H.A.R. Gibb, J.H. Kramers, E. Levy-Provençal, J. Schacht. Leyden 1960-London/ N.Y 1973) the following cities can be considered in the question of the place where chess was possibly born.( The notes are from Richard N. Frye, "The Golden Age of Persia" Chap. 3: Central Asia before the Arab conquest. Weidenfeld. London 1975.)

In Sogdiana: Alexandria Eschate, 50 km to the NE of Tashkent, several toponoms point towards probable foundation by Alexander. Its inhabitants expanded creating colonies in Mongolia and China. Cfr. S.G. Klyashtornyi, "Sur les colonies sogdiennes de la Haute Asie". Ural-altaische Jahrbücher (Wiesbaden 1961), XXXIII,pp. 95-7.

Their religion was Mazdeism, but there are also traces of Manichaeism, Nestorianism and Buddhism. Kudama (BGA, VI, 265) mentions Samarkand al-Dabusiyya, the actual Ziandin in the zone of Bukhara, Al-iskandariyya al-Kuswa (identified as Khudjand), in the Ferghana valley as also having been founded by Alexander.

In Southern Bactria (Afghanistan) the capital was Balkh, called "the mother of cities" by the arabs. The tradition says that Zarathustra taught there. Alexandria Paropanisades has a dubious identification (Gazna or Begram, north from Kabul).

In NW India (Gandhara or Punjab) there are many "Sikandara" ( Times Atlas of the World. Map 30): Alexandria Bukephalos, in the right side of river Hydaspes, near the actual Djalalpur, and another. Alexandria in the river Acesines (Cenab), near its confluence with the Indus . Alexandria "para Sorianois", is also in India. Alexandri Portus is the actual Karachi. In northern Bactria, (Khuttal or Tadzikistan) there were several Iskondrt besides Balkh. Alexandria Oxiane (in the Oxus: Djaybun) Alexandria Eschate, different from the other, in the upper Oxus superior, and other Alexandria in Bactria and Sogdiana are also evident.

Rusta pretended that his home city Isfahan was founded by Alexander. Another trace is Eskandari, 110 Km to the west of de Isfahan. Khwaritzm, at the Aral Sea, was also Iskundri. Merv was the strategical connection between central Asia and the Sassanid empire, fortified by Antiochus I (Strabo XI.516). Herat, the crossing of roads towards India. The cultural center of Jundisapur impressed the arabs especially because of its medical school. Greek neo-Platonists took refuge there when Justinian closed the Academy. It was a center of translations from Greek, Sanskrit and Syriac. 2.

3:7 LINKAGE OF VICTORY WITH THE "SHAH-MAT" IDEA
The idea of "Shah mat" is a characteristic feature of the Persian chess game which doesnÕt appear in fourhanded chess, in astrological chess or when chess is played with dice. Also in other war games, as in checkers, victory is obtained by mere captures, and most probably the same happened in basic forms of protochess. The three jumping pieces, Rook, Knight and Elephant were comparatively less powerful in movement than an enemy king, which could easily occupy cases out of its line of action, as Kohtz has shown.

The German historian Johannes Kohtz (1843-1918) supposed that in the protochess the Rook was also a jumping figure, with a mobility limited to a third case. So, the squares accessible to a Rook in h1 would be f1 and h3 and later in the game f3, d3, d1, b1, b3, b5, d5, f5, h5, h7, f7, d7 and b7. His theory makes a lot of sense, (in spite of Murray's rejection after long arguments by post), because the three jumping pieces (Alfil, Knight and Rook) represent a diagonal, hook-curved and rectilinear movement of the same range. It also expresses a perfect ranking order: The King and the Knight are the only pieces which can move to any of the 64 cases. The Firzan has half of the board = 32. The Rook half of it = 16 cases. And the Alfil, half of it = 8.

The striking fact, unnoticed by Kohtz in his last work of 1917, is that a jumping Rook produces also the same magic sum of 260 in the Safadi or in the Mercury board. For instance: 57 - 6 - 43 - 24 - 40 - 27 - 54 - 9 = 260. The same happens in the previous and more common magic square of Mercury. The four corners of each quadrant of 4 x 4 in the magic board sum half of the constant, 130. This reinforcement of Kohtz's theory seems to me decisive.

The marvelous Safadi board has, in all probability, predetermined the different movements and classes of pieces in protochess. However, once the Arabs acquired the game from the Persians, the Rook evolved into a long ranged piece, becoming the most powerful element of the chess army. This evolution can be explained logically as a necessity once the idea of check mate has appeared, again according to Kothz In the first legend of Firdawsi, the game rediscovered by Buzurdjmir was as follows:

"The sage has invented a battlefield, in the midst (of which) the King takes up his station. To left and right of him the army is disposed, the foot-soldiers occupying the rank in front. At the kingÕs side stands his sagacious counsellor advising him on the strategy to be carried out during the battle. In two directions the elephants are posted with their faces turned towards where the conflict is. Beyond them are stationed the war horses, on which are mounted two resourceful riders, and fighting alongside them on either hand to left and right are the turrets ready for the fray."
By the number of pieces it is easy to know that in this game the board was of 8 x 8 squares, though nothing is said about the rules of movement or the aim of the game. This gap is filled in the second Firdawsian chess legend about two half brothers Gau and Talhend (two typical Persian names), the latter being killed by the former during a civil war. To explain to the queen of "Hend" who was the mother of both how her son came to die, the game of chess, which represented a battle, was invented. But it is a different game. The board is 10 x 10 and had perhaps a dividing line in the middle, as in todayÕs Chinese chess because the text says:
"This (the game) represents a trench and a battle field on to which armies had been marched. A hundred squares were marked out on the board for the maneuvering of the troops and the kings." -- which is also a board of 10 x 10 cases where is impossible to build a "perfect Caissan magic square" like SafadiÕs. This time the movement of the pieces is described; There are three pieces jumping to a third square in diagonal, rectilinear or hook-curved direction. But there is a fourth piece which was the most powerful of all: "None could oppose it, but it attacked everywhere in the field".
This piece must be the long-ranging Rook, the most powerful figure of the set. Again, according to the Kohtz's theory, instead of the previous jumping Rook, the long ranking Rook was adopted as well in the 8 x 8 board as a necessity once a checkmate becomes the main goal of the game. Check and checkmate have already appeared, as the beautiful text explains:
"If a player saw the king during the struggle he called out aloud, 'King, beware!' and the king then left his square, continuing to move until he was hemmed in. This occurred when every path was closed to the king by castle, horse, counsellor or the rest of the army. The king, gazing about in all directions, saw the army encircling him, water and trenches blocking his path and troops to left and right, before and behind. Exhausted by toil and thirst, the king is rendered helpless; that is the decree which he receives from the revolving sky".
Where did the new idea came from? Since the moment when the fate of the king decides the victory in the game, the value of this piece increases enormously because of its "divinity" and inviolability. In a way, chess has become a monotheistic game. The cultural atmosphere in ancient Persia fits well with the implicit idea. In contrast to Greece, were a king was only "primus inter pares", basically equal in his human nature to his subordinates, a Persian "Shah in Shah" was worshiped almost as a God.

"The ruler possessed a special quality in the eyes of his subjects, which was called 'farn' or 'farr' in New Persian, 'farrah' in Middle Persian, 'xvarana' in Avestan. Originally meaning 'ife force', 'activity' or 'splendour', it came to mean 'victory', 'fortune' and specially the royal fortune". (R. Frye.op.cit. p.8)

There is a well known story in the biographies of Alexander the Great. At his beginning, he was a "normal" Greek leader, but after conquering the Persian throne he warmed to way Persian courtiers treated him as a God. He intended to receive the same "proskinesis" from his countrymen, but Callistenes refused to genuflect and was murdered in revenge by AlexanderÕs hand. The "agon" in chess and its voluntarist message points basically to a Hellenistic background. But "Shah-mat" in chess, an expression which has kept its Persian root in all languages during the chess evolution, may have its origin in the influences irradiating from Persian cultural ground.

The Jewish Gnosis of the earliest times and several circles based in Hellenistic and Persian areas may also have left its trace. According to Gershom Sholem in his "Die jüdische Mystik" (op. cit. p. 47), the main point of spiritual considerations was, "without doubt" the mystic of the Throne, the so-called Merkaba Gnosis, inspired in the famous vision described in Ezekiel 1.

""Die Thronwelt bedeutet für den jüdischen Mystikern, was für die hellenistischen and frühchristlichen Mystiker dieser Epoche, die die Religionsgeschichte als Gnostiker und Hermetiker kennt, das "Pleroma" ("Die Fülle"), die Lichtwelt der Gottheit mit ihren Potenzen, Äonen und Herrschaften ist. Der jüdische Mystiker schöpft, wenn auch von verwandten Antrieben geleitet, seine Sprache aus dem ihm gemässen religiösen Begriffswelt"

Merkaba Gnosis is relatively well documented. Its oldest form originated in chapter 14 of the Ethiopian "Book of Henoch" and its literature flourishes particularly between the 5th and 6th century C.E. The ideological - geographical connections are mainly Sassanid Iran and the Byzantine empire, whereas it coincides also in places and timing with the appearance of a game characterized by "basileomorphism", as scholars call the spiritual flow inside the Merkaba movement. So, the "Shah" in chess, and its inviolability fits in well with the intellectual atmosphere of reverence towards the image of God as a King so characteristic of the Jewish Gnosis of this period and in this area.


Conclusion:
The precedent considerations clearly show a chain of esoteric traces in the origins of chess. Protochess board-games which seem to have been born in Egypt and Mesopotamia, were transmitted by the Hellenistic culture and are closely connected with a significant role played by ancient Gnosis in Iran.

Thursday, April 28, 2005


www.convictedartist.com. Posted by Hello

"Aztec Autumn"

this description was given to me by a real chicano fuck that fake shit.

the beauty of the woman actually doesnt have a sexual value to it. her beauty represent the splendor of the Aztec Empire. the Aztec calendar in the background is the representation of the knowledge, and artistic skills the Aztec's possessed. and the sad look in the woman's face represents the downfall and Annihalation of the Aztec culture.
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Thank you Luis Gonzales for the translation of this great picture
-R J Noriega


i love reggaeton but my man tego is a funny looking dude Posted by Hello

Thursday, April 21, 2005


See back in the days female rappers didnt have to moonlight as video hoes. Posted by Hello

Roxanne Shante: An Incredible Journey
By Nolan Strong

Roxanne Shante’s name recently surfaced and grabbed headlines due to a recent lawsuit she filed against R&B diva Janet Jackson.

For those old enough to remember, Shante was [is] one of the most well known and well respected early figures from rap. As part of Marley Marl’s Juice Crew, Shante, at the tender age of 14, caught everyone’s ear in 1984 with “Roxanne’s Revenge.”
The record contained the 14-year-old delivering an amazing verse in one of the first of many responses to U.T.F.O’s hit “Roxanne, Roxanne.”

The hit took her for a ride on the rollercoaster of the music business and the experience was so difficult, Shante hopped off the bizarre ride by the time she was 18-years-old.
She compares Hip-Hop to a ‘bad boyfriend’ and reveals that the rap game didn’t treat her as well as “he” could have.

Despite the pitfalls, Shante held on and now runs a successful psychology practice in New York. Her story is inspirational, at the least.

AllHipHop.com: Why are you suing Janet Jackson?

Roxanne Shante: Personally, I don’t have a problem with her. I just figured, maybe it was just an oversight that they didn’t pay the invoice for using my voice on the record. I figured you know, maybe this is something that she over looked with the breast popping out, it just caught up in the mix. So I fell back off of it, like when they get around to it, they’ll get around to it. But then someone contacted me from their office, trying to say that it wasn’t my voice, which really infuriated me.

AllHipHop.com: What song is it?

RS: It’s song #13 on Damita Jo, "Like You Don't Love Me." It’s the familiar “So Fresh” words that everyone samples. Any true hip-hop head is gonna say, when we hear those words “so fresh,” we know that’s Shante.

AllHipHop.com: Do you own the rights to those earlier recordings now?

RS: Yes I do.

AllHipHop.com: That came out on the Pop Art record label out of Philadelphia, right?

RS: Yes. I’ve owned the masters for over 9 years. What people will try to say is that they took it from the Biz Markie record, “Nobody Beats the Biz,” but it doesn’t come from that, it comes from “The Def Fresh Crew.” Biz was on the Pop Art label too.

AllHipHop.com: Is this the first type of lawsuit you have had to go through like this?

RS: Usually it doesn’t have to go as far as a lawsuit. Usually they rectify it and admit that it’s my voice. All it takes is one true hip-hop head in the circle to say “you know what, that is her voice.” I don’t care how many times you try to say it’s not; you know that is her voice. So let’s just pay her for it. She could pay me for what she would pay for one of her handbags. It wasn’t a big deal. I don’t feel like I am being wronged by the industry or anything like that though.

AllHipHop.com: So you’re happy with life?

RS: Out of all the old school rappers that I quote unquote know or socialize with, I am ok and I am fine. Shante is happy. Life after Hip-Hop for me has been better than Hip-Hop had ever been to me.

AllHipHop.com: What are you up to know?

RS: I am a psychologist with a private practice in Manhattan. I also do a lot of voiceovers for certain cartoon characters, I do a lot overseas.

AllHipHop.com: What cartoon characters?

RS: I can’t really discuss it yet, but I can say is that it’s three little girls who are superheroes involved.

AllHipHop.com: With your private practice and your other endeavors doing well, do you ever plan to come back to Hip-Hop?

RS: I love Hip-Hop. It will always be a part of me. But Hip-Hop is like a bad relationship for me. When I dated Hip-Hop, it didn’t buy the things for rappers that it buys now. I talk about Hip-Hop like it was a relationship. It was like a man. It wasn’t that good to me. I enjoyed it, but everyone else was making me a commodity and really taking advantage of me. It turned it into something I didn’t like. So it would have to be incredible for me to come back.
AllHipHop.com: How did people take advantage of you?

RS: Well, you know my age.

AllHipHop.com: How old were you?

RS: I was 14, with no parents, no guardian, and no accountants.

AllHipHop.com: What happened to your parents?

RS: They weren’t around. I was on my own. I didn’t really have any guidance. So I was just going and doing as I was told. So when you had people like Marley Marl telling me after a show that I am supposed to split the money evenly, I believed that.

AllHipHop.com: Was your relationship with Marley Marl more than a friendship and business relationship?

RS: Umm..uhh..My relationship with Marley was, I don’t know how I can explain it. My relationship with Marley wasn’t as good as it should have been. I am not a scorned woman or a mad girlfriend.

AllHipHop.com: You were only 14 when this all happened? When did you know you wanted to get out of it?

RS: When I was 18.

AllHipHop.com: So what did you do, take the money that you made from the rap game and go back to school?

RS: No. When I left the rap game, I left with absolutely nothing. I left with nothing. I couldn’t even get books. They would say "Don’t worry about it Shante, I’ll meet you at Barnes and Nobles and we’ll get the books.” I couldn’t even get them to help me with books. They supported the negative things, but they couldn’t support the positive.

AllHipHop.com: How did you make it through school?

RS: There was a clause in my contract that said they had to pay for my education. Regardless of how far it went. And what happened was, they felt like she’s 14. By the time I was 15 I was pregnant with my son. They felt like they could through that in there because they thought I would never use it. I mean they were like “look at her now.” They thought I was going to get on drugs. I didn’t. And as long as they had my school covered, I was good. I didn’t get school loans, so I had to copy pages out of other people’s books. I would stand in front of the machine with a bunch of nickels and make copies. Page for page for page for page. And every time I copied a page, my love for Hip-Hop was going away, more and more and more. My story isn’t a happy one, but it had a happy ending. I was straight out of the group home; they dangled the custody of my son over my head because I was so young, so Hip-Hop became a labor of love. If you don’t do this, this is what’s going to happen. One day I was finally like you know what? Forget it. It was right around the time I became a Vegan.

AllHipHop.com: How old were you when you decided to be a Vegan?

RS: 18. I would see people devouring meat and then acting like animals. I just figured it had something to do with the food.

AllHipHop.com: Did it help calm you down? Did you notice a change in your own behavior?

RS: I noticed that my own anger subsided, incredibly. I wasn’t as hurt or as mad as I was in the beginning. What’s gonna be is gonna be.

AllHipHop.com: What were you hurt and angry about?

RS: I was hurt and angry at the fact that it wasn’t the way it was supposed to be. We were all supposed to come out of the projects together, go buy houses together, go buy cars together, we were supposed to do it all together and be a family unit, which is what I thought we were. When your young and you’re getting $5,000 a show and no one says to you, you know what? You’re the headliner. So, you need to pay Marley like he’s your DJ. [Fly] Ty like he’s your manager? I didn’t do that. They came to me and would say ‘you did a show and there are 5 of us. We’re all supposed to get $1,000 each.’ I believed that.

AllHipHop.com: Do you still talk to any of those guys?

RS: I still talk to Ty. I realized that anger isn’t going to get me anywhere or for me to hold grudges. I don’t talk to Marley. I talk to Biz everyday. They were my siblings in the family, so you can’t hold them accountable for what the mother and father did. You can’t be mad at your brother’s and sisters. You can’t start hating your label mates. Even when they start to learn more. It does hurt when they learn, but don’t share.

AllHipHop.com: Psychology. What made you go into that profession? Was it because of what you had been through in your life?

RS: I know what made me choose psychology was the fact that I knew where my loyalty lied. I knew why I felt what I felt. But I couldn’t understand why they did the things they did. I needed to know to be able to foresee this, should this ever happen again. I never saw the signs. I never saw them for who they were. It’s just like how you can be in a relationship with someone, and you say “I know we can make it, I know it can work out.” But in all reality you may be seeing what you want to see and you’re hoping that person feels the same. I had my good times and my bad times. Had something’s that I wanted to do and a lot of things I was supposed to do.
As time went on, you set yourself up for certain positive entities in your life. And one of the most positive entities I have come across in my career in Hip-Hop is The Royalty Network. The Royalty Network is something that every Hip-Hop artist should be familiar with them.

AllHipHop.com: I know them, my friend Alyssa used to work there.

RS: Well they picked up where Suge’s intentions left off. When Suge came along in the industry, he came into the industry like a savior for us. And I mean the artists who were being slaved out of their royalties, their writing and publishing. It was like there’s this guy named Suge getting people out of their contracts and making deals.

AllHipHop.com: Did Suge help you get out of your deal?

RS: Laughs…You know? He didn’t. But everyone was trying to find Suge, because he was doing what we needed at that time. People were being abused. The Royalty Network came along at the right time. They work for me or other rappers and entertainers. You can fall back and they can help you get what’s yours. Sometimes the percentage that you get is better than sitting home and not getting anything. There’s a lot of people and artists out there who have Royalties out there, but do not know how to go get them. They just chalk it up as a loss. The Royalty Network doesn’t accept losses. I was I would have found them 20 years ago.
One last thing. I can still rhyme with the best of them. I never lost that. If Roxanne Shante was to do another record, know that the people involved are going to be incredible, their persona, the budget, the producers, their offer was incredible.

AllHipHop.com: So if everything is incredible you’ll come back?

RS: Definitely.

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Pay respect to the Architect. She laid down the formula all Femcees have followed. From Queen Latifah to Crunks stars Princess and Diamond. all of them oh her a favor for telling it as it was.
-R J Noriega

Tuesday, April 12, 2005


AFRIKA BAMBAATAA!!! Posted by Hello

DJ SMURF : BEFORE THERE WAS CRUNK

By K-Star
http://www.we-the-voices.com/

Right now, at this moment, the South and most of the nation is ablaze, a new single called, “Wait” [The Whisper Song] by the Ying-Yang Twins is heating up speakers everywhere as the weather begins to do the same. This track, with its whispery verses and thumping bassline, was the creation of ATL legend – DJ Smurf aka Mr. Collipark. The Godfather of Crunk sits down with We The Voices to discuss his history and the future of Crunk music and Ying Yang

We The Voices: “When did your career begin? What was the first song you ever recorded?”

DJ Smurf: “Back in the late 80s, being a DJ, like 1987-1988. Man, the first song was “To the Walls”. It was a bass record back in 1992.”

We The Voices: “Crunk seems to be a phenomenon right now that everyone is making serious money off of – in what direction do you think the music is headed towards? How was crunk music when it was just regional?”

DJ Smurf: “It’s heading in the direction with what Ying Yang is bringing to the table. Pretty much the South is on it’s own. What Ying Yang is doing is bangin’ in the clubs. All of that was bred from “Whistle While You Twerk”. We don’t get the credit that we deserve. “Wait” is a hot record in the club. Changing up the game is something that comes with the territory in this business

We The Voices: “How was that first experience meeting the Ying-Yang Twins?”

DJ Smurf: “They weren’t a group when I first met him. D-Rock was recording bass music when he was 15-16 years old. We were both signed to Ichiban Records, which was an indie label in Atlanta. I had done a remix with him and that’s how we hooked up. I came into the studio and that was the first time I met Caine. After I had done the remix, I had wanted to get D-Rock for my album, “Dead Crunk,” which had Lil' Jon and Ludacris before their shine. D-Rock had done this joint with me called, “One on One” and I saw him and Caine and it was a wrap since then.

We The Voices: “What do you think is the testament to your success?”

DJ Smurf: “Ying Yang. We started from nothing. No money, no nothing. They don’t know the real story about Ying Yang and how much we built from the ground up. When you put that much work into something when no one gives you nothing – it’s upsetting when someone wants to hate on you and your crew.”

We The Voices: “You’ve come a long way in this industry – what do you think has been the most difficult obstacle to face?”

DJ Smurf: “Getting paid for selling records. From selling “Whistle While You Twerk” to going over to Koch and selling 400,000+ -- AND having to fight, it’s horrible. Labels give you too many excuses. They love to pay you when the pie is little, but let that shit grow big and they forget to pay you what they owe. No one expected us to succeed. They thought that we’d be okay. When we sold all those records they owed us a check and getting a check from a label is hard work, let me tell you! No one wants to put money on you if they feel that you can’t deliver…”

We The Voices: “With the success that you’ve accumulated over the years – are you more sought after as a producer?”

DJ Smurf: “I’m gonna tell you some real shit, very little industry people cared little about Ying Yang. Before, “Get Low” no one cared who produced the beat, since “Wait,” my phone has been ringing off of the hook. A lot of cats think that the beat is crazy.

We The Voices: “Coming into the game in the late 80s – early 90s has that influenced your sound any?”

DJ Smurf: “My sound is what we brought to the table with “Say Ai Yi Yi” and “Whistle While You Twerk.” Caine wasn’t with the bass music, he’s a street dude. D-Rock and I was with this bootyshakin’ music to the core. Slowed down bass music. It wasn’t bounce music like how that New Orleans music is. It was different… it was ours.

We The Voices: “How do you feel about the music nowadays?”

DJ Smurf: “I’m bored with it. Since the South is running shit, we ain’t got nothing else to watch out for. We got very few TRUE artists down here that’s doing shit. I mean I can put my momma in the studio and churn out a hit! That’s how bad I feel the music is right now. With this new Ying Yang album, I don’t feel any pressure to sell albums. “Wait” [The Whisper Song]… TVT wouldn’t put that out as a single. We just felt the beat and felt that that was the heat. I haven’t felt this way, really, since the first album. There’s going to be some shit on this album that’s going to fuck up some people’s faces. We’re on some next level shit.”

We The Voices: “What’s next for you?”

DJ Smurf: “We gonna shoot the video for “Wait” [The Whisper Song]. Caine wants to branch out and do the music he wanted to do. D-Rock wants to go ‘head and work on his music, this gives me time to build up the record label. I got something in the mix with Maroon 5 and Three-6-Mafia on the works. I’m trying to get into everything. D-Rock wants to act and get into the movies.