November 8th, 2005

Chris Keeley

Dell, 48. He is a career Foreign Service officer who was previously ambassador to Angola and has hel

Zimbabwe Threatens To Expel U.S. Envoy
Ambassador's Allegations Said to Exceed Bounds
By Craig Timberg
Washington Post Foreign Service Tuesday, November 8, 2005; A14

JOHANNESBURG, Nov. 7 -- The government of Zimbabwe said Monday that it might expel U.S. Ambassador Christopher W. Dell because of its displeasure over speeches last week in which Dell accused the government of President Robert Mugabe of "corrupt rule" and "gross mismanagement."

A spokesman for Mugabe said the president was "extremely unhappy" with Dell. "He's undiplomatic. He's exceeded his bounds," said the spokesman, George Charamba, speaking from Harare, the capital. "There's been an attack by the U.S. ambassador on the government of Zimbabwe."
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He also called Mugabe's policies "voodoo economics." Dell made similar remarks to an audience in Harare last Thursday.

On Saturday, the Herald again accused Dell of having a "habit of wandering in strange, unseemly places." On Monday, the paper wrote on its front page that Dell faced the possibility of expulsion for "continued meddling in the internal affairs of Zimbabwe."

© 2005 The Washington Post Company
Chris Keeley

Gelb-Slaughter Oped on War Powers--WashPost 11-8-05

** <>*No More
Blank-Check Wars*

By Leslie H. Gelb and Anne-Marie Slaughter
Tuesday, November 8, 2005; A19

Most wars overflow with mistakes and surprises. Still, in Iraq, much
that has gone wrong could have been foreseen -- and was. For example,
most experts knew that 100,000 U.S. troops couldn't begin to provide
essential security and that Iraqi oil revenue wouldn't dent war costs.
But none of this was nailed down beforehand in any disciplined review.

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Today Congress deliberates on transportation bills more carefully than
it does on war resolutions. Our Founding Fathers wanted the declaration
of war to concentrate minds. Returning to the Constitution's text and
making it work through legislation requiring joint deliberate action may
be the only way to give the decision to make war the care it deserves.

/Leslie H. Gelb is president emeritus of the Council on Foreign
Relations. Anne-Marie Slaughter is the dean of the Woodrow Wilson School
of International and Public Affairs. This piece is drawn from a longer
version <> in the
November issue of the Atlantic Monthly./

© 2005 The Washington Post Company
Chris Keeley

Almost every Houston rapper owes something—musical inspiration, performance opportunities, moral sup

by SASHA FRERE-JONES Houston hip-hop takes over.
Issue of 2005-11-14 Posted 2005-11-07

In the fall of 1991, an unusual song found its way onto the radio. It was called “Mind Playing Tricks on Me,” and was performed by a Houston hip-hop trio called Geto Boys. A slow, mournful plaint, “Mind” relied on long, harmonically complex guitar samples—a departure from the short horn bursts and rapid drums then dominating hip-hop. If the song had an antecedent, it was the blues, not music you might have heard in a disco. Geto Boys—Scarface, Bushwick Bill, and Willie D—had deep, unmistakably Southern voices, and their lyrics didn’t celebrate or protest anything. “Mind” is an unsettling song, its opening couplets freighted with anxiety: “At night I can’t sleep, I toss and turn. / Candlesticks in the dark, visions of bodies being burned. / Four walls just staring at a nigger. / I’m paranoid, sleeping with my finger on the trigger.” For several months, “Mind” was on the radio all the time. Then Geto Boys—and Southern hip-hop—seemed to disappear. In the fourteen years since “Mind” was released, the band has showed up again on the Billboard pop charts only twice, most recently in 1996.

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The song, which was produced by Salih Williams, a sly Austin musician who was also responsible for “Still Tippin’, ” is marvellously sinuous and dark, a mix of low humming sounds and raspy digital melodies; it calls to mind a hovercraft covered with blinking Christmas lights. (The song’s video features no hovercrafts, sadly, but it is only a matter of time before a rapper steps up the vehicular competition.) The chorus is a sample taken from “Pimp Tha Pen,” a 1995 collaboration between DJ Screw and the rapper Lil’ Keke: “Draped up and dripped out, know what I’m talking about?” (“Draped up and dripped out” describes both cars and people—a reference to rappers’ fancy clothes and gold and platinum chains and their vehicles’ custom details.) One of Bun’s lines captures the feeling of much Houston hip-hop these days, glee mixed with vindication: “Back in the days, all they ever did was doubt us. / Now the South is in the house, and they can’t do nothing about us.”