Friday, January 27, 2012

The Man Who Saw Through Whitey



(The following book review by T.J. English appeared on
The Daily Beast on Jan. 27, 2012.)

In the two decades that James “Whitey” Bulger served as a secret FBI informant while extorting citizens, peddling cocaine and killing people to protect his Boston-based criminal empire, there is only one federal agent who tried seriously to shut him down: Robert Fitzpatrick.

For his efforts, Fitzpatrick was frustrated at every turn, not by Bulger and his fellow gangsters, but by his own FBI.

After being introduced to Bulger in 1981, Fitzpatrick warned his regional supervisor that Whitey was “sociopathic… untrustworthy… likely to commit violence” and suggested that he be “closed” as an informant. Not only were his memos and recommendations ignored, some in the FBI sought to discredit Fitzpatrick and destroy his reputation.

The aggrieved former G-man finally has the opportunity to tell his side of the story in Betrayal, an explosive memoir of his years as Assistant Special Agent in Charge of the FBI’s Boston office. The book has the feel of an ongoing therapy session, as Fitzpatrick seeks to make sense of a sprawling conspiracy of agents, cops, judges, criminals, and politicians who for decades enabled Bulger and made it possible for his campaign of corruption and terror to infect an entire city. Currently, Bulger awaits trial on nineteen counts of murder, after having been on the lam for sixteen years.

It is a sickening story, one that Fitzpatrick and his co-author Jon Land allow to unfold slowly, like a toxic oil spill that envelopes and destroys the surrounding ecosystem – in this case, the entire criminal justice system of the state of Massachusetts.

It is now common knowledge that Special Agent John Connolly, Bulger’s primary handler in the Bureau who is presently in prison on murder charges, and former state senator William “Billy” Bulger, Whitey’s powerful politician brother, formed a support system that made it possible for the Bulger era to sustain itself. But in Betrayal, Fitzpatrick broadens the conspiracy, detailing the culpability of a vast matrix of enablers, including, most notably, the late-Jeremiah T. O’Sullivan, who, as lead prosecutor for the state’s Organized Crime Strike Force, undermined potential prosecutions of both Whitey and Billy Bulger, and Lawrence Sarhatt and James Greenleaf, successive special agents in charge of the FBI’s Boston office, who buried reports, including Fitzpatrick’s recommendation that Bulger be “closed” as an informant.

Fitzpatrick does not attempt to portray himself as a hero; the dominant tone of the book is one of frustration and astonishment as the author, who was sent to Boston by FBI headquarters in Washington D.C. with the expressed task of evaluating Bulger’s “suitability” as a top-echelon informant, encounters malfeasance and corruption at every level.

Early in the book, he describes being a young boy at the infamous Mount Loretto orphanage in Staten Island, NY, where he encountered bullies and institutional abuse. Late at night, he sought solace by laying in the dark and listening to the popular radio program This Is Your FBI. Fitzpatrick’s belief in the FBI as both an avenue of personal salvation and an institutional force for justice haunts the book, as the reality of corruption and careerism crushes his idealism much the same way Bulger strangled, shot and mutilated his murder victims.

Fitzpatrick came to Boston well suited to deal with subterfuge and corruption. He had gone undercover in the Deep South in the mid-Sixties in an attempt to penetrate and bring down white supremacist organizations. In the 1970s he’d been one of the lead agent on the ABSCAM investigation, a sting operation involving corrupt public officials that led to numerous high-profile arrests, including the indictment of a sitting U.S. senator.

In Boston, Fitzpatrick spent nearly a decade trying to unravel what he calls “the Bulger arrangement.” As a veteran G-man who had trained budding agents on the proper cultivation of criminal informants at the FBI academy in Quantico, VA, he recognized all the telltale signs of a disaster in the making. He saw that Connolly and his supervisor, John Morris, were too close to Bulger. Also, as Fitzpatrick noted to anyone who would listen, the Bulger situation violated one of the most basic tenets of informant cultivation; the proper strategy with informants is to get someone mid-level who can help take down the boss and therefore an entire organization. You cannot have an organized crime kingpin as an informant, because it is inevitable that person will choose to manipulate the information they reveal to their handlers as a way of staying in power.

When it became apparent to Fitzpatrick that his warnings about the Bulger relationship were being ignored, he sought to build his own cases against the mob boss. He developed informants like Brian Halloran, a sad-sack career thug who worked for Bulger, and John McIntyre, a naïve Irish Republican Army (IRA) sympathizer who partnered with Bulger on a scheme to send guns to Northern Ireland in exchange for shipments of marijuana and cocaine. Agents in Fitzpatrick’s own office leaked information to Bulger about the informants; Halloran and McIntyre were both brutally murdered by Bulger, as were other informants whose identities were compromised and revealed to local gangsters by Connolly and Morris.

In the end, Fitzpatrick’s reputation within the Bureau as a potential whistleblower and general “pain in the ass” began to wear him down. It took a personal toll on him and his wife. Fitzpatrick began to get the sense that Bulger and his gangster partner Steve Flemmi, who was also a longtime FBI informant, were more important to the local office than he was. “Apparently Bulger and Flemmi were the FBI’s ‘guys’ while I, somehow, wasn’t,” writes Fitzpatrick. “While busting [the Mafia] remained every bit a top priority in Washington, my efforts and accomplishments were being demeaned by a groupthink mentality that led to a scenario of ‘us versus them,’ with me inexplicably linked with ‘them.’”

When Fitzpatrick, frustrated and disillusioned, resigned from the Bureau in 1987, the full dimensions of Bulger’s partnership with the FBI was not yet known, even to the agent. It wasn’t until the late-1990s, when Bulger went on the lam after being tipped off by his FBI contacts that he was about to be arrested, that the truth started to come out. In a series of hearings and depositions, the Bulger cohorts who were left behind turned “rat” and testified in court. In a groundbreaking hearing presided over by Federal Judge Mark Wolf, Fitzpatrick testified, and for the first time the story of his efforts to rectify the Bureau’s sinister alliance with Bulger began to take shape.

In January 2000, after Whitey’s right hand man provided details on a series of murders, including where the bodies were buried, Fitzpatrick stood in the rain alongside Dorchester gulley as the remains of John McIntyre, his one-time informant, were dug up. “As I stood on that embankment,” writes Fitzpatrick, “steaming over confirmation of what I’d suspected ever since John McIntyre had disappeared in 1984, I never imagined I was looking at the means to achieve my long sought vindication.”

Fitzpatrick’s vindication would come in court, where he testified as part of a civil lawsuit brought by the McIntyre family – and other families of Bulger’s victims – against the FBI and the U.S. government for having underwritten Bulger’s murderous criminal career. In 2006, the McIntyre family was awarded $3.1 million in damages. All told, litigation from cases related to the Bulger debacle would result in damages over $20 million.

Betrayal
provides the most complete overview to date of the culture of corruption that made Bulger possible. Fitzpatrick names names and offers an appendix filled with FBI memos, letters and excerpts from depositions and court proceedings. The cumulative effect is a devastating reaffirmation of the findings of a U.S. congressional committee that declared the Bulger-FBI relationship to represent “one of the greatest failures in the history of federal law enforcement.”

The final chapter on Bulger has not yet been written. Whitey is scheduled to stand trial sometime in 2012, and Fitzpatrick will likely be called to testify.

In this sordid saga of homicidal gangsters and dirty federal agents, Fitzpatrick’s perspective – and his book – offers a rare beacon of light.

-- T.J. English

Sunday, January 22, 2012

THE SAVAGE CITY Nominated for Edgar Award

The Mystery Writers of America (MWA) have announced their 2012 nominations for the prestigious Edgar Award, and among the nominees is THE SAVAGE CITY, the NY Times best-seller by T.J. English. The book is nominated in the category of Best Fact Crime.

The venerable MWA annually gives out awards for mystery and crime fiction, as well non-fiction and screenwriting for television and movies. The Edgar Awards, named after legendary writer Edgar Allan Poe, will be given out at the organization's annual awards banquet April 26, 2012 at the Grand Hyatt Hotel in NYC.

This is the third time T.J. English has been nominated in this category. His first nomination was for for BORN TO KILL (1995), the true story of a Vietnamese gang based in New York City's Chinatown neighborhood in the early 1990s. English was nominated again in 2009 for HAVANA NOCTURNE, an account of the Mob's infiltration of Havana, Cuba in the 1950s in the years before the Cuban revolution.

THE SAVAGE CITY is an epic account of a ten-year period in NYC history, from 1963 to 1973, when racial tension between the NYPD and the Black liberation movement brought the city to a boiling point. The book was a NY Times best-seller, and English was a guest on The Daily Show with Jon Stewart to promote the book.

For a complete list of this year's nominees for the Edgar Award, click the following link:
http://www.theedgars.com/nominees.html

Sunday, December 4, 2011

Kid Shamrock

Last night I finally caught up with Bobby Cassidy Jr's wonderful little play "Kid Shamrock," based on the boxing career of his father Bobby Cassidy Sr., who was a light heavyweight contender in the 1970s. Staged at the TADA! Theater, an intimate space on W. 28th St., the play is both a tribute and a cautionary tale about "the Sweet Science." Cassidy Sr. was a Jake Lamotta style of fighter, a bruiser, who took a lot of punishment to get in tight and dole out punishment of his own. His career was cut somewhat short by what the play refers to as "the Irish disease" of alcoholism.

The novelty of the play is that acting in it are primarily ex-fighters and others who know the sport intimately. Retired fighters John Duddy and Seamus McDonagh play Cassidy Sr. at different stages of his life; the great former champion Mark Breland plays Cassidy's trainer; Wayne Kelly, a former fighter who is now a boxing referee plays a referee in the play; and "Kid Shamrock" is directed by Michael Bentt, former WBO world heavyweight champ. To top it all off, Cassidy Sr. himself opens and closes each act of the play by taking the stage to read from Rod Serling's classic "Requiem for a Heavyweight."

The play is timeless and heartfelt, with a scene-stealing performance by veteran character actor Patrick Connolly, and a walk-on by Vinnie Vella, the wiseguy actor who's face you will immediately recognize from "Casino," "Analyze This," and many other movies.

It was a great honor to spend time after the performance with the Cassidy's -- Bobby Jr., the playwright; Bobby Sr., the ex-fighter; and Chris Cassidy, a personal friend of mine who helped produce the play and is also a highly talented cameraman and photographer.

"Kid Shamrock" has been staged in NYC twice before for limited runs, and there is talk about trying to stage it again in Las Vegas or even in Dublin, where ex-fighters and native sons Duddy and McDonagh are renowned. If the play comes around again in NYC you don't want to miss it. If you admire boxing, it is a treat, and even if you don't, the play will capture your heart and imagination with its tale of dreams pursued, attained and lost, all of it staged and performed with great authenticity and sincerity.

Tuesday, November 29, 2011

FRONTERA BUGALÚ MEANS BORDERLAND BOOGIE


By T.J. English


One year ago this week I had the pleasure of producing and hosting an event in NYC called the Irish-Mexican Alliance. The night was designed to call attention to the plight of journalists, both Mexican and American, who put their lives on the line while attempting to report on the narco war in Mexico. We raised money for the Committee to Protect Journalists (CPJ), which has set aside a special fund for legal representation of Mexican journalists forced to flee across the border into the U.S. seeking asylum from harassment, death threats and murder.


My interest in the issue came from reporting I had done in the Ciudad Juárez-El Paso borderland region for an article I wrote entitled NARCO AMERICANO that appeared in Playboy magazine (January, 2011.)


While in El Paso in the summer of 2010, at an outdoor plaza downtown, I happened to hear a local band called Frontera Bugalú. The band was relatively new, having been pieced together from a couple different local bands, but I was immediately struck by the originality and sabor of this band that mixed traditional cumbia (from Colombia) bugaloo (from New York City), and norteño music, which is specific to northern Mexico and the borderland region of South Texas and New Mexico. They also mixed in mambo and a few other Latin styles that were new to my ears. Led by the ubiquitous accordion of bandleader Kiko Rodríguez and the soaring vocals of Amalia Castro, they were fun and infectious, an eclectic mix of folkloric music, but with a sound and musical point-of-view that was very contemporary and hip.


MUSICAL INSPIRATION


I returned to NYC with the idea of devising a fundraising event that would call attention to the infernal narco war in Mexico. I also brought back the sounds of Frontera Bugalú in my head and in my heart. I knew that if we were to stage an event calling attention to the hardships being shouldered by people in the borderland of Northern Mexico and the Southwestern U.S., then it would need to have the appropriate soundtrack.


The Irish-Mexican Alliance event was sponsored by an organization called Irish American Writers & Artists, Inc, of which I am a co-founder and co-director. Earlier in 2010, we had organized a highly successful fundraising event for earthquake relief in Haiti. That event, called Island People Supporting Island People, created the template that we hoped to reproduce by using Irish and Irish American entertainers (musicians, bands, writers, and poets) mixed with the particular culture with whom we were interfacing for that event. For the Haiti event, we had some great Irish bands, both rock and traditional, on the bill alongside a muscular 20-member Haitian rara band that blew the roof off Connolly’s Pub in Times Square.


For the Irish-Mexican Alliance, again, we had some fantastic Irish music; a traditional Mexican mariachi band with members from around the NYC area; and, much to my delight, we were able to fly in all the way from El Paso the one and only Frontera Bugalú. Everyone in the room that night, which included not only Irish Americans but also activists from NY’s Latino Diaspora (Puerto Ricans, Dominicans, Mexicans, etc.) marveled at hearing what we knew was an authentic voice of a very unique region of the U.S that is rarely represented in popular American culture.


THE NEW CD


All of this is a very discursive and round about way to inform you, dear reader, that Frontera Bugalú now has released its first CD, entitled simply FRONTERA BUGALÚ. If you happened to catch this band in NYC at the Irish-Mexican Alliance event, or if you are a fan of Latin dance music in all its many shadings, or simply a lover a great percussive instrumentation and vocals, than you must check out the new 7-track CD. You will want to be among the growing number of people who can honestly say, “I discovered this group! I have their very first CD!”


From the opening track, “Sácame a Bailar,” the band announces itself as something fresh and original. A cascading piano solo by Joel Osvaldo leads in to a brief duet with the harpist, Adrian Pérez, and then – bam! – the band’s signature instrument, the accordion, played by Kiko. The vocals are spare, as the entire 8-piece band coheres around a sultry, sensual groove that continues through every song of the CD, regardless of tempo.


“Embarazar” is a classic cumbia, with lyrics written and sung by Amalia, whose voice ranges from the folkloric to jazzy, with an extended scat (yes, you can scat in any language) right out of the Ella Fitzgerald playbook. On this cut and others, the musical transitions are tight, based around the funky Latin bass of Ramón Villa-Hernández and smoking percussion by Jesús Güereca (congas and timbales), Mykol Nelson (guiro), and Louis Speaking Eagle Sarellano (bataría.)


BOOTY SHAKING, CHICANO STYLE


Frontera Bugalú is, above all, a dance band. It is nearly impossible to listen to their music without moving, the rhythm taking hold of the body like a spectral spirit, as was certainly the case at the Irish-Mexican Alliance event in NY. The dance floor that night was a rainbow-colored, multi-cultural mix. In some ways, to get the full Bugalú experience you need to see the band live, but, on the other hand, the CD – with the benefit of studio time and multi-track recording – is layered with instrumentation and depth of sound not present at the live shows. This is most apparent on a cut like “Rompe Las Cadenas” – my favorite on the CD – which is rooted in Cuban son, familiar to most New Yorkers as salsa (and I don’t mean the condiment!)


Without being preachy or pedantic, Frontera Bugalú is, by nature, a political band. Comprised mostly of Chicanos, they have chosen to preserve certain cultural traditions in their music, to honor those traditions, to promote and celebrate them, which is, by its very nature, a political statement. The fact that they can do this and still be, first and foremost, a contemporary party band dedicated to the principles of rhythm and booty shaking, is a testament to the power of the music. Frontera Bugalú is a celebration of life in the most universal sense, meditative music, hypnotic, designed to inhabit the spirit, work its way through the body, and bring about a physical expression on the dance floor that will leave you with the sweet kiss of human perspiration on your brow.


To listen to a few tracks and to purchase FRONTERA BUGALÚ, as a CD or a computer download, go to the following link: http://fronterabugalu.bandcamp.com/

Monday, September 19, 2011

The Bulger Beat



In the coming months I will be writing a series of articles relating to the upcoming trial of mob boss James "Whitey" Bulger for Newsweek magazine (http://www.thedailybeast.com/newsweek.html). The first of those article, WHITEY'S PAYBACK, appeared in the September 19, 2011 issue, and is also posted on the Daily Beast website.

Bulger has been indicted on 19 counts of murder, and in his 20 years as the boss of the Boston underworld, he destroyed many lives, especially in the neighborhood of South Boston, or "Southie," which served as his base of operation. In 1995, he was tipped off by friends in law enforcement that he was about to be indicted on federal racketeering charges. He went on the run and remained on the FBI's Ten Most Wanted List for 16 years, until he was apprehended last June 2011.

Bulger is now 82 years old. Whether or not he receives the level of justice that is commensurate with his crimes remains to be seen.

In WHITEY'S PAYBACK, I interviewed a family member of one of Bulger's murder victims, a few of his former criminal associates, retired FBI agents, criminal defense attorneys, and journalists, all in attempt to get a sense of how Bulger's prosecution might play out.

Stay tuned for further posting on the Bulger saga as it unfolds, and check in with the Daily Beast/Newsweek website to keep up with the latest.

Saturday, June 25, 2011

James "Whitey" Bulger


This article by T.J. ENGLISH appeared on The Daily Beast website on June 25, 2011...

When legendary mobster James “Whitey” Bulger, 81, was nabbed earlier this week, after nearly 16 years on the lam, it appeared to some as though the door slammed shut on the longest running show in the American underworld.

Even in his prime, from the mid-1970s to the mid-1990s, Bulger was a throwback. His criminal reign harkened back to the days of Jimmy Cagney and the Warner Bros. gangster movies of the 1930s. He was Irish American, his racketeering operation rooted in the insular, Old World neighborhood of South Boston. Though sometimes charming, with a carefully cultivated reputation as a “gentleman gangster” who looked out for the neighborhood, Bulger was, above all, psychotically vicious.

Even while in his sixties, with a stature that afforded him the opportunity of designating underlings to do the “dirty work” for him, Bulger preferred to kill people with his own hands. One of his more recent killings was of a young woman, the ex-girlfriend of his criminal partner. Whitey allegedly strangled her with his bare hands. Another murder victim of Bulger's, after being shot in the head by Whitey at close range, had his teeth pulled out of his head by the aging mobster with a pair of pliers, so that the body could not be identified by dental records.

Whitey was violent, but he was also thought to be wily. Part of his legend had to do with the fact that, unbeknownst to even his closest criminal associates, he had served as a Top Echelon informant for the FBI. Whitey provided information to the Feds, and they in turn provided information to him. Armed with inside information, Bulger outmaneuvered rival Mafiosi and dodged local criminal investigations. To some in the Boston underworld, it appeared as though Bulger was more powerful than God.

In sunny Santa Monica, CA, just a few blocks from the glistening Pacific Ocean, Bulger and his longtime girlfriend, Catherine Greig, 60, had seemingly found their Shangri La. Under the assumed names of Charles and Carol Gasko, they strolled the beach and along the Third Street Promenade in Santa Monica like any number of mature couples who had left the urban hustle of their native cities behind to retire to the gentle climes of Southern California.

The fact that there was a bounty of $2 million on the head of Bulger and his girlfriend did little to mitigate the banality of Bulger’s life on the run. After disappearing in 1995, facing multiple racketeering charges – including 19 counts of murder – Whitey became the proverbial ghost in the closet. His criminal career was routinely profiled on TV shows like “America’s Most Wanted” and “Unsolved Mysteries,” and still he remained at large. The FBI task force assigned with the job of tracking Bulger down periodically announced that there were “credible sightings” of the mobster in locales as widespread as England, Ireland, Canada, Prague and southern Louisiana. But now we are told that he was hiding in plain sight, living at the same location -- a modest apartment complex near Washington Avenue and Third Street in the City of Angels – for the last 15 years.

According to the FBI, the capture of Bulger came as a result of a new strategy, recently launched, to shift focus from Bulger himself to his girlfriend. A media campaign commenced; photos of Greig and information about her personal habits were circulated in the media, with a phone number to call with information. The $2 million reward was also mentioned.

In a press conference announcing the pair’s capture, an FBI spokesman claimed that the task force was contacted with a tip about a woman who appeared to be Greig. They staked out the apartment where the woman in question lived. Lo and behold, they had indeed stumbled upon Greig and Bulger. Greig was arrested on the street outside the apartment. Bulger was lured outside and arrested without resistance.

Inside the apartment the agents found $800,000 in cash and also an arsenal of thirty guns, including semi-automatic handguns, rifles and a sawed-off shotgun.

To some, it was hard to believe that Bulger had been captured. With his bald head and full white beard, he appeared grandfatherly and harmless, though, upon closer inspection, his mug shot reveals the same cold and steely blue eyes for which he was famous on the streets of Southie.

By Friday, Bulger was back in his native Boston standing before a federal judge who asked, “Can you afford a lawyer?” Answered Bulger, “Well, I could if you gave me my money back.” Bulger was referring to the cash seized in his apartment. Authorities contend that Bulger has untold millions in criminal assets stashed in bank accounts around the globe. A recent FBI account estimated his worth at $50 million.

Among those seated in the courtroom at Bulger’s hearing on Friday was his brother William “Billy” Bulger, 78. For decades, there was no politician in the state of Massachusetts more powerful than the younger Bulger, who rose from being a representative from Southie to president of the state senate. His rise to power in state politics paralleled the rise to power of his gangster brother, leading some to surmise that Billy had to be “connected.” Frequently investigated but never indicted, Billy was, in 2004, forced to resign from a cushy retirement job as president at the University of Massachusetts because of his brother’s tawdry reputation.

In the courtroom, the two Bulger brothers -- who, presumably, have not seen each other in 16 years -- shared a glance and a smile that seemed to encapsulate the mostly unspoken bond between the two that has spanned a lifetime.

The story of the two brothers has always been, and still is, deeply intertwined, as is the story of another man who was not present in the courtroom. John Connolly, also a child of Southie, was an FBI special agent who acted as Whitey Bulger’s handler with the FBI. Connelly is currently is prison in Florida on racketeering and murder charges stemming from his relationship with Bulger.

There are those in Southie and elsewhere who feel the FBI never really wanted to catch Bulger, given what he might know about the nexus between crime, politics and law enforcement in the state of Massachusetts and the Boston office of the FBI. As Bulger appeared in court, the entire city quivers in expectation of what he will do next. Will Whitey cooperate with the feds and begin supplying information about what he knows about 30-plus years of corruption in the city and state? Or will he plead not guilty, thus bringing about a massive criminal trial that would be one of the most sensational court proceedings in the history of the state, an epic casting call of gangsters, victims, cops, agents, politicians, and fellow travelers spanning over nearly a half century of Boston history.

It may be true that with the apprehension of the most wanted gangster in America, the final chapter has been written on the criminal career and lamster’s life of James Bulger. But the epilogue to that story has the makings of a historic coda.

Sunday, May 22, 2011

Grammy Award statement

Press conference, Nuyorican Poets Cafe, May 22, 2011

Led by Bobby Sanabria (band leader, master drummer, composer, educator), an unprecedented collection of musicians, academics and artists gathered at the Nuyorican Poets Cafe to deliver a strong statement of protest against the decision of the Academy to eliminate 31 musical categories from consideration for Grammy Awards. The categories include what are mostly "ethnic" genres of music and include Mexican music, zydeco, some blues categories, contemporary jazz, and Latin jazz. Among an illustrious panel that included Latin jazz legend Larry Harlow, Mercedes Ellington (granddaughter of Duke Ellington), David Amram, and many others, author T.J. ENGLISH, representing New York City's literary community, delivered the following statement....

"I am here as author of the book HAVANA NOCTURNE and other works, and also as the co-founder and co-director of a non-profit organization called Irish American Writers & Artists. I am also here as a concerned citizen and lover of all music, and as someone who appreciates, celebrates and cherishes the role that music plays in American culture.
The diversity of American music is our greatest gift to the world. The creation of this music, and the importance of it being heard around the world, is larger than the Grammy Awards. The diversity of American music is a fact that is larger than the Grammy Awards. And this music will survive and flourish with or without the Grammy Awards.
But what the Awards do, quite frankly, is call attention to the practitioners of this music -- the musicians. And what these musicians here today will tell you is that even the most renowned and celebrated musician in the United States is still, and will always be, a working class musician. Because to make a living as a musician, you must perform nearly every day. And especially for musicians who perform music in genres that are considered to be outside the mainstream, life is a constant hustle. And recognition by your peers -- in this case, recognition by NARAS -- is often what makes it possible for musicians to continue this economically perilous pursuit and struggle of attempting to be an artist in the Unites States of America.
So what the Grammys do is call attention to the practitioners of the music and help make it possible for them to survive as working class musicians. That, to me, is why this statement we are making today is so important and essential. Yes, with the Grammy Awards, we celebrate the music. But most of all we celebrate the musicians. And as deserving as Beyonce or Bruce Springsteen or Alicia Keyes may be, the truth is, their adding another Grammy Award to their trophy shelf is not nearly as vital and necessary as the recongnition by NARAS for the practitioners of certain types of Mexican American music, or the blues, or zydeco, or Latin jazz. A Grammy Award, in many cases, makes it possible for these musicians to survive as musicians. And that, in a nutshell, is why we DEMAND the reinstatement of these musical categories.
Thank you."