Tuesday, November 18, 2014

The Fish that Ate the Whale

The Fish that Ate the Whale: The Life and Times of America’s Banana King


In 1910, Sam “the Banana Man” Zemurray, head of Cuyamel Fruit Company, orchestrated a coup against the government of Honduran president Miguel Dávila. Zemurray provided guns, money, and a former US naval warship to former president Manuel Bonilla. The Cuyamel Fruit Company owned plantations in Honduras and shipped bananas to the United States on its own fleet of ships. Success in the volatile banana business relied on bribes and kickbacks to the Honduran government, keeping the cost of business low and the profit margins high. When the United States agreed to a treaty with President Dávila to administer Honduras’s staggering national debt, Zemurray’s business was in danger. With the J.P. Morgan Company’s agents assigned to Honduran customs houses collecting taxes on Cuyamel exports, Zemurray would be taxed out of business. Secretary of State Philander Knox warned Zemurray not to interfere in Honduras, but Zemurray proceeded with the coup anyway. When Bonilla came to power, he voided the deal with the U.S., protected Zemurray’s interests, and allowed Honduras’s crippling debt to continually plague the nation. 

The house that Bananas built--it now belongs to Tulane. 
Richard Cohen begins his lively biography of Zemurray with this anecdote highlighting the extent that Zemurray, an immigrant from present day Moldavia, would go to protect his business and his own interests. Cohen emphasizes how Zemurray’s meteoric rise from impoverished immigrant to the “Banana Man” embodies the equally inspiring and dispiriting nature of the American dream. Zemurray began his career by seizing upon the untapped potential in the banana market: ripe bananas. In the last quarter of the 19th century, importers discarded ripe bananas because they would turn bad before they could reach distant markets. Zemurray bought up the ripe bananas, arranged a delivery deal with a local railroad, and made a fortune. Zemurray soon bought banana plantations, banana boats, and anything and everything related to the production of bananas. Making himself into a banana mogul required payoffs to local governments, buying land from natives on the cheap, and other morally ambiguous behaviors endemic to capitalistic enterprise In 1930, Zemurray sold Cuyamel to United Fruit Company. Several years later, Zemurray orchestrated another coup, this time to seize control of United Fruit. He saved it from the disastrous management that nearly ruined the company during the Great Depression. Zemurray succeeded in turning United Fruit around. In 1961, Zemurray died a rich man with a troubled legacy.

Sam the Banana Man 
Cohen’s book has two great strengths. The first is the fascinating life story of Zemurray with his impoverished roots, his rise, and his moral compromises necessary to stay on top, and his later in life devotion to philanthropy. Second, Cohen’s energetic and sarcastic prose makes for an enjoyable read. The first sentence of the book sets the tone for the rest, “Sam Zemurray spoke with no accent, except when he swore, which was all the time” (3). At 242 pages, with some padding*, the book reads quickly. I finished it in a few hours of reading. Cohen also offers his own thoughts and insights into Zemurray’s life, recalling his own efforts to grow a banana in Connecticut, his attempts to imagine and understand the banana plantations of Central America, and a hilarious footnote about a New Orleans policeman refusing to take Cohen into the Iberville Projects, “’cause the sun is going down and I love my kids” (245). He also enlightens the reader on the emergence of the banana into the American marketplace in the late 19th century and how the foreign fruit (Cohen argues that the banana is in fact a berry) became a quintessential staple of the American diet. He also provides insight into the different types of bananas and their unique features. In any specific type of banana, all of the bananas are clones of each other—making them uniform but also susceptible to disease.  Zemurray made his fortune importing the Big Mike banana, a type that died out in the 1960s. Today’s bananas are of the Cavendish variety and those will soon go extinct as well. The book takes a few diversions into the history of United Fruit’s activities in the 1950s and Zemurray fades into the background. This shift of focus leaves the responsibility that Zemurray had for the CIA’s or United Fruit’s activities in Central America in the 1950s unclear. He also makes several factual errors about the early history of the CIA that I was only aware of because I just read a biography of the founder of the Office of Strategic Services.**
Overall Cohen’s book succeeds as an entertaining and educating sread.

*most notably skipping a whole page before starting a new chapter

** He incorrectly states that the OSS was not dissolved at the end of World War II. It was. The CIA was not created until 1947. Secondly he identifies Walter Bedell “Beetle” Smith and Allen Dulles as the 1st and 2nd Directors of Central Intelligence, they were the 4th and 5th.  

Tuesday, November 11, 2014

High Water Friends CD - Tracks Nine and Ten: "Irene" and "Somebody Told Me"

          Last week we covered the eighth track on the 6th annual DGA crawfish boil CD, titled “Money.” This week we’re going to change it up a little bit and cover the last two tracks, “Irene” and “Somebody Told Me.”


As we near the end of the CD, it’s worth reminding ourselves about the importance of the blues. The blues might be the most important of all the musical styles that originated in America. The blues fused spirituals, call and response chants, and traditional ballads. This distinctly American musical style emerged from African-American communities in the Deep South following the legal abolition of slavery in 1865. The post-emancipation period allowed African-Americans to form communities, churches, and other voluntary associations free from white inference. These separate institutions allowed African-Americans to cultivate and expand upon their previous musical traditions. The blues arose from these newly independent African-American communities. Over the years, blues musicians have passed down their songs and traditions to each successive generation. Each have modified and molded the songs to suit their times, but the themes remain the same. Blues singer Alberta Hunter once tried to explain the blues this way, “Blues means what milk does to a baby. Blues is what the spirit is to the minister. We sing the blues because our hearts have been hurt, our souls have been disturbed.”


“Irene” and “Somebody Told Me” exemplify this understanding of the blues. Both explore the idea of love and its potential to warm and darken the heart. “Irene” discusses love as part of a dream, reminding the listener that emotions that emerge from the subconscious come in their purest form. The singer notes that “You are the sweetest of my dreams Irene, Oh Irene.” He further claims that “In the middle of a dream, I heard somebody call my name.” The song Irene leaves the listener feeling wistful—remembering and mindful of love at its most poetic and lyrical. “Somebody Told Me” approaches love in a more desperate way, with a man pleading with his woman not to leave. He mournfully complains that “Somebody told me that you’re gonna leave this town /Somebody told me that you’re leaving me behind, Oh no!” The singer also laments that “Somebody told me where you was last night /Somebody told me you was doing me wrong.” Here love is sour, not sweet. It hurts and troubles the soul. “Somebody Told Me” is the story of a man wronged by his woman.

Irene

In the middle of a dream, I heard somebody call my name
The sweetest thing that you’ve ever seen
Was that girl they call Irene
But when I opened up my eyes
Honey I stood there to my surprise
The sweetest thing that you’ve ever seen
Was that girl they call Irene
Irene, Irene
You are the sweetest of my dreams
Irene, Oh Irene
Give me a big ole hunk of mine

But when I opened up my eyes
Honey I stood there to my surprise
Sweetest thing that you’ve ever seen
Was that girl they call Irene
Irene, Irene
You are the sweetest of my dreams
Irene, Oh Irene
Give me a big ole hunk of mine

Somebody Told Me

Somebody told me where you was last night
Somebody told me you was doing me wrong
I put my trust in your hands
Darling, baby, can’t you understand?
Somebody told me that you’re gonna leave this town
Somebody told me that you’re leaving me behind, Oh no!

Don’t you leave me baby
Don’t you leave me baby
Don’t you leave me baby

Somebody told me where you was last night
Somebody told me you was doing me wrong
I put my trust in your hands
Darling, baby, can’t you understand?
Somebody told me that you’re gonna leave this town
Somebody told me that you’re leaving me behind, Oh no!

Don’t you leave me baby
Don’t you leave me baby
Don’t you leave me baby

          As one final note, here’s Sesame Street explaining Zydeco. 



          And with that we’ve completed our journey through all the tracks of Douglas Green Associations 6th Annual Family and Friends Crawfish Boil. Mark your calendars because the next boil is coming up on March 14, 2015. We hope to see you there. 

Tuesday, November 4, 2014

High Water Friends CD - Track Eight: Money

          With this week’s look into the lyrics of “Money,” the eighth track on the 6th Annual DGA Family and Friends Crawfish boil, we’re nearing the end of the CD. After this week we’ll only have two more songs to cover: “Irene” and “Somebody Told Me.”

Pink Floyd and Money 
           There are lots of songs titled “Money.” Pink Floyd’s song from their Dark Side of the Moon album is probably the most famous. That song highlighted its corrupting and pervasive nature: “Get a good job with more pay and your O.K. /Money it's a gas/ grab that cash with both hands and make a stash.” Monty Python’s version satirized the communist world by claiming that “you can keep your Marxist ways for it’s only just a phase.” According to Eric Idle, money would always win out. In the Broadway show, Cabaret, the Emcee reminds the audience that “money, money, is what makes the world go ‘round, world go ‘round.” This “Money” song, by Warren Prejean and the Zydeco Rhythm and Blues band is, in fact, none of these songs. Rather it is a cover of a famous Motown song. The Beatles, the Doors, and the Rolling Stones have all recorded their own versions of this Detroit classic. In the late 1970s, The Flying Lizards, an experimental rock band from England, had the biggest hit of their careers when they performed their own version of “Money.”

A young Berry Gordy 

          This “Money” song was authored by Berry Gordy and Janie Bradford. Gordy, most famously, was the founder of the Motown record label. He discovered and helped popularize artists like The Supremes, Marvin Gaye, Gladys Knight, The Commodores, Stevie Wonder, and the Jackson 5. Many of the most famous African American musicians in the 1960s and 1970s crossed Gordy’s path at some point in their careers. In 1960, Barrett Strong, an up and coming Motown singer released the first version of the song, which rose to number two on the R&B charts. The song became the first hit of Gordy’s Tambla album company (which preceded the more famous Motown records). Disagreement soon arouse between Gordy and Strong over the authorship of “Money.” The first release of the song included Strong’s name as a writer. Gordy, however, claimed that Strong’s name appeared as the result of a clerical error. The two men have battled over the issue repeatedly. In 1963, Gordy successfully had Strong’s name removed. In 1987, when Gordy went to renew his copyright, Strong’s name was added back on, only to be removed again the following year.

In 1963, the Beatles recorded their own version of “Money.” It was the final song on their second UK album, With the Beatles. In 1979, the British new wave band, The Flying Lizards, recorded their own take on the song. It reached number five in the UK and number fifty on the Billboard Hot 100.    Like many of the other famous songs about money, this one is relatively straightforward. Like most (if not all of us), the singer wants money. He cares little about things that free, recognizing that money opens doors and makes everything in life, just a little bit easier. Below is the Flying Lizards' version because it's too weird to pass up. 




Money

The best things in life are free
But you can give them to the birds and bees
I want money

(That's what I want)
That's what I want
(That's what I want)
That's what I want
(That's what I want)
That's what I want
(That's what I want)

You love gives me such a thrill
But your love won't pay my bills
I want money

(That's what I want)
That's what I want
(That's what I want)
That's what I want
(That's what I want)
That's what I want
(That's what I want)

Money don't get everything it's true
But what it don't get I can't use
I want money

(That's what I want)
That's what I want
(That's what I want)
That's what I want
(That's what I want)
That's what I want
(That's what I want)

I want money
I want lots of money
In fact I want so much money
Give me your money

Just give me money

Tuesday, October 28, 2014

High Water Friends CD - Track Seven: Tee Nah Nah

          After a week off exploring the Covington restaurant scene and the struggles of the New Orleans Saints, now it’s time to get back to the crawfish boil CD. Up next is the seventh track and fourth from Warren Prejean and the Zydeco Rythmn and Blues Bland titled “Tee Nah Nah.”

Smiley Lewis (1913-1966)

           “Tee Nah Nah” first became a hit in 1950 by New Orleans R&B musician Smiley Lewis. Born in DeQuincey, Louisiana with the unfortunate name of Overton Amos Lemons, Smiley fled for New Orleans in his mid-teens. After boarding with a white family in the Irish Channel he adopted their last name of Lewis. He began his musical career playing clubs in the French Quarter and the 7th Ward. Lewis’s lack of front teeth earned him the stage name of Smiling or Smiley. Throughout his early career, Smiley often played alongside pianist Isidore “Tuts” Washington. Throughout the 1930s and 40s, Lewis played clubs in the city while working odd jobs. In 1950, the invitation of childhood neighbor and musician Dave Bartholomew led to a recording session with Imperial Records. The first song to come out that recording session was “Tee Nah Nah.” Tuts Washington had provided Lewis with the song, claiming that it was song by the inmates at the infamous Angola state prison. The song became popular across the Old South, especially in dance halls. Lewis would go on to record further hit songs, “Blue Monday” and “I Hear You Knocking.” “I Hear You Knocking” reached number two on the R&B charts. Throughout his career, other artists like Fats Domino, Gale Storm, and even a young Elvis Presley covered Lewis’s songs much more successfully than Lewis himself ever could. Embittered, Lewis succumbed to stomach cancer in 1965. 

Buckwheat Zydeco and his legendary accordion 

           In 1987, “Tee Nah Nah” again found commercial success thanks to Buckwheat Zydeco. Buckwheat Zydeco is the stage name of Zydeco musician Stanley Dural, Jr. and his band. Unlike most zydeco artists, Buckwheat Zydeco has achieved significant national and international success. They have performed with Eric Clapton, U2, and the Boston Pops. They played the closing ceremonies of the 1996 closing Olympics and at both inaugurations of President Bill Clinton. Dural himself was born in Lafayette and earned his nickname from his resemblance to the character from The Little Rascals. In the 1970s, Dural switched over to zydeco permanently after joining legendary musician Clifton Chenier’s band as an organist. In 1979, he formed his own band under the name Buckwheat Zydeco. Throughout the 1980s, Buckwheat Zydeco released several albums and in 1988 joined Eric Clapton on his North American tour. Clapton’s patronage led to collaborations with Keith Richards, Willie Nelson, Robert Plant, and Paul Simon. Throughout the 1900s and 2000s Buckwheat Zydeco has continued to tour and perform. Most recently, they opened the final episode of Jimmy Fallon’s run on Late Night.
         
          The song “Tee Nah Nah” plays every Friday morning on 93.7 The Dawg, a country music station based in Lafayette. In honor of the song’s dance hall popularity, the station claims that they lead off with the song before their 6:00 AM news to provide a spring in the step of their listeners.




Tee Nah Nah

Tee Nah Nah, Tee Nah Nah Nah Nah nah
Tee Nah Nah Nah Nah, Tee Nah Nah
Tee Nah Nah Nah Nah, Tee Nah Nah Tee Nah Nah
www.cajunlyrics.com
I'm In Love, with a Married Woman
But I'm afraid, to call her name
If I call her Name Lord, Gonna be in trouble
www.cajunlyrics.com
Owe Wee, Owe Wee Baby
Honey Look Just What You Do To Me
Owe Wee, Owe Wee Honey Please
www.cajunlyrics.com
Tee Nah Nah, Tee Nah Nah Nah Nah nah
Tee Nah Nah Nah Nah, Tee Nah Nah
Tee Nah Nah Nah Nah, Tee Nah Nah Tee Nah Nah
www.cajunlyrics.com
www.cajunlyrics.com
I'm In Love, with a Married Woman
But I'm afraid, to call her name
If I call her Name Lord, Gonna be in trouble
www.cajunlyrics.com
Owe Wee, Owe Wee Baby
Honey Look Just What You Do To Me
Owe Wee, Owe Wee, Honey Please
www.cajunlyrics.com
Tee Nah Nah, Tee Nah Nah Nah Nah nah
Tee Nah Nah Nah Nah, Tee Nah Nah
Tee Nah Nah Nah Nah, Tee Nah Nah Tee Nah Nah

Saturday, October 25, 2014

The Saints So Far

          In 2013, following the return of head coach Sean Payton and the arrival of new defensive coordinator, Rob Ryan, the New Orleans Saints posted a record of 11-5. In the playoffs, they beat the Philadelphia Eagles 26-24 before falling 23-15 to the Seattle Seahawks in the divisional round. The Saints had Super Bowl aspirations entering 2014. Despite being tight against the salary cap, they resigned tight end Jimmy Graham to a four year deal and brought in safety Jarius Byrd from the Bills to bolster their defensive backfield. The moves indicated that the Saints wanted to win another Super Bowl before the end of quarterback Drew Brees’s career.
          Currently the Saints’s record is 2-4, second in the NFC South. Three of their losses have been by a combined six points. In games decided by six points or fewer the Saints are 1-3. Some of this poor record is simply bad luck—a play or two goes the other way in any of the Atlanta, Cleveland or Detroit games and suddenly the Saints are 5-1. But luck isn’t the sole reason for the Saints poor record through seven weeks. In order to understand where the Saints have faltered this year, we need to dig a little deeper. So let’s start with their average production on drives (courtesy of Football Outsiders).

Saints Drive Statistics


Yards/Drive
Points/Drive
Plays/Drive
LOS/Drive
Offense
41.86 (1)
2.48 (7)
6.81 (1)
22.73 (31)
Defense
37.20 (29)
2.53 (30)
6.47 (29)
25.45 (9)

The Saints offense has managed the most yards and plays per drive in the NFL. Yet they are only seventh in points. Brees’s seven interceptions (more on turnovers later) have contributed to this lower than expected scoring output. They have also suffered from lousy field position, 31st in the league. It’s great to have lots of plays and yards, but it’s hard to convert them into points if you have to traverse the field much farther than your opponents. And most importantly, for every long drive the offense manages to string together, the defense gives it right back. Saints opponents are nearly matching the offense in terms of production. Think of it this way, this year the Saints offense has played against itself on the other sideline. It’s hard to win a lot of games that way.

SAINTS ON OFFENSE

          While it would be easy to place the blame for the Saints poor start solely on the defense, there’s more to the story than that. So let’s go deeper on the Saints offense.

Saints Overall Offense 2013 vs. 2014


Points/Game
Yards/Game
Adj. Sack Rate
Offensive DVOA
Pass DVOA
Run DVOA
2013
25.9 (10)
399.4 (4)
5.3% (4)
16.0% (5)
35.9% (3)
-5.3% (19)
2014
25.8 (10)
437 (2)
2.9% (2)
11.8% (7)
18.3% (15)
10.2% (2)

          At first glance, the Saints offense seems to be humming along as usual. They’re scoring at almost an identical rate as last season. They’re even averaging more yards per game. The offensive line has kept Brees off his back, allowing sacks on only 2.9% of his dropbacks. Even their overall offense according to DVOA (explained here) is similar to last season. Yet when we look closer at their passing and running games, a disturbing trend begins to emerge. The passing game that has terrorized opponents since Sean Payton and Drew Brees arrived in New Orleans has declined significantly from last season.

Saints Passing Offense


Yards/Game
Plays of 20+ Yards
Average 20+ Yard Plays/Game
Yards per Reception
2013
307.4 (2)
67
4.1875
11.6 (14)
2014
314 (2)
18
3
10.8 (25)
         
          The Saints offense is producing similar yards per game, but the decline stems from the lack of big plays down the field. Over the Payton-Brees partnership the Saints have always relied on a balance of short passes to their running backs and wide receivers and deep throws down the field. The short passes function as an extension of their running game. They get the ball to their pass catchers in space and pick up chunks of yardage. Downfield passes prevent teams from stacking the line of scrimmage and smothering the short passing game. This season the Saints have largely lacked that deep threat. Their average number of plays 20+ yards downfield has fallen dramatically and consequently so has their average yards per reception. Without the threat of quick score on a long pass, the Saints cannot generate the big scoring plays that build leads and create extra possessions.

DEFENSE

Saints Defense 2013 vs. 2014


DVOA
Pass DVOA
Run DVOA
Points per Game
Run Yards per Game
Adj. Sack Rate
3rd Down Conversions
2013
-5.8% (10)
-9.2% (6)
-1.5% (20)
19.0 (4)
111.6 (19)
8.6% (4)
34.7% (9)
2014
17.7% (32)
39.3% (30)
-8.6% (16)
27.5 (28)
103.2 (11)
3.6% (29)
46.3% (26)

The Saints’ defensive decline has been staggering. A quick look at DVOA reveals where the Saints defense has gone wrong this year. The Saints front four has generated little pressure on the quarterback as evidenced by their atrocious adjusted sack rate. Pass rushers Cameron Jordan and Junior Gallette have failed to build on their breakout from last year. The inability to pressure the quarterback has exacerbated the problems in the defensive backfield. The Saints pass defense is similarly woeful. Last year the defense allowed 194.1 passing yards per game, second in the league. This year, they rank 28th with 270.5 yards per game. The defensive backs have been especially burned by opponents’ number one receivers, allowing 108.2 yards per game compared to only 48.6 last year. Part of this problem has stemmed from poor play by the defensive backs. Opposing offenses have repeatedly picked on defensive backs Patrick Robinson and Corey White. Robinson and White both played extensively last season, but with the departure of Malcolm Jenkins, Jabari Greer, and Roman Harper have been called on to play a bigger role in the defense. So far they haven’t been up to the task. The season ending injury to Jarius Byrd has only worsened the problem. Byrd’s coverage skills were supposed to meld well with second year safety Kenny Vaccaro’s run defense. Bad defensive backs are especially deadly in Rob Ryan’s defensive system.

Rob Ryan Defenses by DVOA


DVOA (rank)
Pass DVOA (rank)
Run DVOA (rank)
2004 OAK
11.5% (26)
29.2% (30)
-4.6% (15)
2005 OAK
1.9% (20)
13.1% (27)
-8.5% (14)
2006 OAK
-8.0% (8)
-16.1% (4)
-1.6% (17)
2007 OAK
5.7% (20)
-1.3% (13)
11.9% (32)
2008 OAK
3.7% (19)
-0.1% (13)
6.7% (28)
2009 CLE
16.4% (30)
27.1% (28)
5.4% (30)
2010 CLE
1.7% (18)
4.6% (18)
-1.1% (22)
2011 DAL
0.4% (16)
8.5% (20)
-10.9% (8)
2012 DAL
6.7% (23)
16.2% (25)
-4.1% (19)
2013 NO
-5.8% (10)
-9.2% (6)
-1.5% (20)

          Over his career as a defensive coordinator, Ryan has predicated his defenses against stopping the run. By focusing on stopping the run, Ryan likes to put his opponents in third and long situations, forcing them to pass. In those situations, Ryan can rely on his defensive creativity to confuse opposing quarterbacks and force them to make mistakes. As part of his defensive game planning, Ryan, like his brother, features what is called an “amoeba defense” (it’s also known as a “psycho front”). Here’s a picture of it below.


          This picture is from the first game of the 2013 season. The amoeba relies on confusing the opposing quarterback by keeping the defenders moving around, disguising who will rush the quarterback and who will drop into coverage. Only one Saints defender (defensive end Cameron Jordan) has his hand on the ground—the traditional stance for rushing the passer. Everyone else is standing and able to either rush or drop back depending on the play call. While the amoeba defense can be quite effective in confusing opposing quarterbacks (the Ryan brothers have had success against Brees, Brady, and Manning using it), it is high risk and high reward. The amoeba is particularly susceptible to run plays and screen passes. In the above situation, the Saints dare the Falcons to run the ball. They have few defenders in position to stop the run at the line of scrimmage. Screen passes are also effective because they get the ball out of the quarterback’s hands quickly and away from the constantly moving defenders. The amoeba is also less successful when the other components of the defense: the pass rush, defensive backs are less successful. In order for the amoeba to be successful, the defense needs to force their opponents into disadvantageous situations.

TURNOVERS


INT
Fumbles
Total
Offense
7
4
11
Defense
3
1
4
Turnover Differential


-7

The Saints have lost the turnover battle this season. Some of that is due to bad luck. The Saints defense has forced four fumbles, but only recovered one of them. Meanwhile opponents have forced five fumbles and recovered all of them. Additionally Brees has thrown more interceptions than usual. His TD/INT ratio this year is 1.57, well below his career average of 2.03. Even worse is that Saints opponents have turned six of those seven INTs into touchdowns. Some of this turnover luck should even out. The Saints should recover a few more fumbles and their opponents will recover a few less.

Overall, the Saints season has been a combination of poor play and bad luck. The luck should even out, but the poor play will determine if the Saints can make a run in the weak NFC South.