Tag: New York City

“The Realness” By Cormega

Posted on by Make New York Grimey Again

“Life is a interlude to death, son. You ever thought about that?” – Cormega

The New York City borough of Queens is home to a historical lineage of talented lyricists who have helped raise their hometown to prominence. LL Cool J, Run DMC, and Roxanne Shante are just a few figures that helped pioneer rap with contributions that gained Queens recognition with the rise of Hip Hop. Within the borough of Queens is a public housing complex known as Queensbridge Houses, that would transform into a breeding ground for numerous influential and iconic rappers who would eventually shape the genre. The realities of living in Queensbridge spurred the young writers to tackle themes of economic hardship and the ills that stemmed from it, such as crime, violence, and loss. Over aggressive production, these harrowing tales captured the ears of listeners globally that were able to experience what it was like to be a Queensbridge resident. Other listeners were able to relate as they experienced their very own Queensbridge. While Nas and Mobb Deep served as influential pillars for the neighborhood, one lyricist would emerge to leave an indelible mark on its rap scene with his debut album, The Realness.

Cormega was born Cory McKay on April 26, 1970 in Brooklyn, New York. From a very young age, Cormega experienced tragedy when he witnessed his mother’s murder with his own eyes. He eventually had to adapt to several changes within his family dynamic and home-life. Cormega was raised by his father and step-mother alongside his sister in various neighborhoods throughout New York City. He described his happiest time as a child in the Bronx’s Co-Op City, while he learned to toughen up when he moved to the rough Queens neighborhood of Far Rockaway. He was introduced to street life during his short time in Crown Heights, Brooklyn, and eventually settled in Queensbridge Houses. In Queensbridge, Cormega became fully immersed in the street-life, which eventually landed him in incarceration in 1991 at Midstate Correctional Facility.

Cormega’s rap career began in the late 1980s with him getting noticed by several producers and DJs. With his name growing popular amongst New York City DJs, he received the opportunity to open up for Eric B & Rakim at the Apollo Theater. He was featured on DJ Hot Day’s album Its My Turn on the track “It’s Going Up.” Cormega featured on another song with Queensbridge rapper, Poet, and DJ Hot Day titled “Set It Off” for the Without Warning album in 1991. He was unfortunately sentenced that same year, which cost him the opportunity to sign a record deal facilitated by DJ Marley Marl to Pendulum Records. Cormega was released from Midstate Correctional Facility in 1995 and was determined to continue his rap career. He went straight to work as he began recording his would-be debut album The Testament for Violator/Def Jam Records. He worked with producers such as Havoc, Sha Money XL, DJ Hot Day, and included features from Mobb Deep and Hussein Fatal. Cormega released mixtapes to continue his street-buzz and eventually collaborated with his neighborhood friend, Nas.

Cormega was featured on “Affirmative Action” for Nas’ It Was Written album, alongside AZ and Foxy Brown. This song eventually launched The Firm, a rap supergroup composed of Nas, AZ, Cormega, and Foxy Brown. Cormega’s time in The Firm was short-lived as he was ousted from the group due to contract disputes with Nas’ manager, Steve Stoute, as well as artistic differences and personal tensions that grew between him and Nas. Cormega was replaced by friend and fellow Queensbridge rapper, Nature. The fall-out from The Firm led to Cormega’s feud with Nas and Nature. Cormega finished recording The Testament by 1998 and took a two-year hiatus from music. His relationship with his manager at Violator Records, Chris Lighty, grew sour and eventually led The Testament to be shelved. By 2000, Cormega was released from Def Jam Records and went on to found his own independent record company, Legal Hustle Records. Cormega lost a very close friend within the same year, Blue. Before Blue’s passing, he left Cormega with an inspirational message: “Mega, don’t forget you’re a rapper.” The loss of his friend inspired him to silence the doubters and begin work on his debut album The Realness.

The Realness was released on July 24, 2001 through Legal Hustle/Landspeed Records to critical acclaim. Cormega enlisted a variety of respected producers such as Havoc, J-Love, Jae Supreme, Alchemist and Sha Money XL to assist him. It features guest appearances from Prodigy of Mobb Deep and Tragedy Khadafi. The Realness reached number 4 on the US Billboard Independent Albums chart, number 24 on the Top R&B/Hip Hop Albums chart, number 111 on the Billboard 200 Albums chart, and number 1 on the Heatseekers Albums chart. The success and critical reception of the album established Cormega as an independent artist and solidified his reputation as a skilled lyricist. The Realness was released during a time when East-Coast Hip Hop saw a resurgence, with the album identified as a pivotal contribution to this movement.

Cormega’s greatest strength is his introspective and gritty storytelling, which is put on full-display on The Realness. He delves into street-life, navigation of the music industry, grief and personal redemption informed by his lived-experience. His writing and delivery paired with complementary production, provides a raw, candid, and authentic experience for his listeners, hence the album title. The album begins with a powerful statement from Cormega on “Dramatic Entrance”: “A man is condemned or exalted by his words. Exalt me.” This statement is a direct reference to the Bible verse, Matthew 12:37. Cormega acknowledges the anticipation for the album and commands his listeners to hold his words in high regards, as he finally delivers. He vents about the setbacks of the music industry and those that pretend they’ve given him his spot. Cormega is not arrogant, but he has a chip on his shoulder. Cormega is a man that has always stood on his own two-feet and is in control of his own life story.

“American Beauty” is an ode to Cormega’s love for Hip Hop, inspired by Common’s “I Used To Love Her.” The track is produced by Cormega himself and is backed by a sample of “I Been Watchin’ You” by Southside Movement. He personifies Hip-Hop as a woman and speaks about its transformation over the years. He addresses the loss of substance within the music and New York’s lost spot as Hip Hop’s center.

She had class now she sellin’ it all for cash
When Marley had her, her face was more pure body fatter
Primo treated her good, made her the queen in my hood
She used to be out in Queens with DMC
And on the rooftop with Big, Fritz, and R.P
She was fly she kept her shit tight
Yo if he didn’t go to jail dun, she mighta been Slick Rick’s wife

Produced by Havoc, “Thun & Kicko” is a collaboration with rapper Prodigy. According to Prodigy, his verse was recorded way before Cormega purchased the beat from Havoc. Cormega recorded his verse elsewhere and the song was placed on The Realness. Cormega and Nas’ feud persisted after he was ousted from The Firm, which is apparent on “Thun & Kicko.” Cormega’s verse takes sharp aim at Nas with his supposed questionable street-credibility as the main theme of his verse:

Whose tale you tellin’? Are you frail or felon?
Were you makin’ sales or watchin’ niggas sellin’?
You exploit niggas lives in your rhymes and then avoid ’em
You never felt the moisture in the air of coke boilin’
You never felt the razor scrapin’ your plate
Your hands achin’ yet you keep choppin’ cause there’s paper to make

Prodigy’s verse on “Thun & Kicko,” has long been cited as a Nas diss, but he addressed the rumor during an interview with Complex:

In his verse, Mega is taking shots at Nas. When Nas listened to it, it may have seemed like anything I’m saying is talking about him too. But I didn’t know Mega was going to do that. He did that on his own. Nas took a offense to that and got mad at me. Through the grapevine I heard that was the reason why [Nas] made ‘Destroy & Rebuild’ about me.

Released as a single, “R U My Nigga” explores the themes of loyalty and betrayal. Over Jae Supreme’s production, Cormega reasonably questions whether his closest friends would betray him for their own self-interest. Cormega understands this is the reality associated with street-life. He expresses distrusts of others and the fear of being betrayed:

Can you accept the consequences of life, of livin trife
And take yours with honor, if a real nigga strike
Or would you fall weak and help a courtroom indict
And live with dishonor for the rest of your life
Only bitches deal with emotion
Yo son, how many snitches are still in the ocean

“Fallen Soldiers” is a poignant tribute to Cormega’s loved ones who have lost their lives, especially to the harsh realities of street life. He reminisces on times with his lost friends to help process his grief and promises to keep their memories alive through his writing. His close friend, Yammy, and his cousin, Bam, are memorialized, alongside several other friends.

To my cousin Bam
You my fuckin man, I find it hard to understand
You gone—your physical form is dormant
I’m lost like the Bulls without Jordan
Tell my man J.B. from Edgemere I said peace
Son, I live a thug life, I clutch mics
With the same intensity that I used to crush white
G-Fresh was at your funeral (Word), son I felt it
And if I start cryin when I rhyme I can’t help it

The album is equipped with other stellar songs, such as “Glory Days,” a track that documents the history of the hustlers Cormega rubbed shoulders with in New York City: “The feds estimated Fat Cat was gettin’ millions. Black Ratti was the richest nigga in my building.” The album’s lead single “Get Out My Way,” is a declaration of Cormega’s resilience to his struggles in the music industry and a message to doubters.

The Realness was well-received by audiences, which boosted Cormega’s momentum, as he went on to release several albums after, most recently its sequel, The Realness II, in 2022. Cormega continues to receive praise for his work as a successful independent artist, with many citing the album as a classic and speaking to his consistency. Cormega demanded and earned his respect, despite the setbacks that plagued his career in its early days. He displayed his talent for writing authentic, vivid narratives with intricate rhymes. The Realness not only showcased his immense talent, but became a testament to Cormega’s ability to overcome adversity; a true underdog story.


Long Island’s Hip Hop Titans

Posted on by Make New York Grimey Again

Positioned at the southeastern part of New York State is an island that is home to many Hip Hop greats. Long Island is divided into four counties: Kings, Queens, Nassau, and Suffolk. Kings County and Queens County represent the New York City boroughs of Brooklyn and Queens, respectively. Brooklyn and Queens were officially annexed from Long Island and consolidated into the “City of New York,” in 1898. While Brooklyn and Queens are physically located on Long Island, Long Island itself only refers to Nassau County and Suffolk County. The boroughs of New York City, specifically the Bronx, are heralded for the creation of Hip Hop. New York City has also been regarded as the Hip Hop capital, known for gifted lyricists that told stories about street life and gritty upbringings. What’s often left out of the history of New York’s contributions to the genre is the many gifted, influential lyricists that came out of Nassau and Suffolk County. 

The hamlet of Wyandanch is the birthplace and origin of arguably the most influential rapper of all time, Rakim. Rakim is oftentimes regarded as “your favorite rapper’s favorite rapper,” and “the God MC,” with good reason as he’s cited as major influences on rap juggernauts like Nas, Jay-Z, Notorious BIG, as well as later generation greats such as J Cole and Kendrick Lamar. Rakim’s influence spans decades since his start during Hip Hop’s Golden Age, but what exactly made Rakim so great? Prior to Rakim’s emergence, rap sounded completely different. From the late 1970s to early 1980s, rappers used simplistic rhyme patterns and schemes, which lacked consonant clusters. Rappers of that era also employed highly energetic deliveries to ensure that their lyrics hit hard.  In 1986, Rakim’s debut as part of the duo Eric B & Rakim, ushered in the evolution of rap techniques. On Eric B & Rakim’s critically-acclaimed debut album “Paid In Full,” Rakim introduced the usage of internal rhymes and multi-syllable rhyme patterns, which was a clear deviation from the rappers of previous years. Rakim’s lyrics highlighted an emphasis on intentional writing with the usage of metaphors and wit. 

Rakim is basically the inventor of flow. We were not even using the word flow until Rakim came along. It was called rhyming, it was called cadence, but it wasn’t called flow. Rakim created flow.

Kool Moe Dee

Alongside the elevated level of lyricism that Rakim displayed, he introduced an entirely new way to deliver his slick lines which showcased yet another revolutionary rap technique. Rakim is credited with the invention of “flow,” the rhythms in how a rapper delivers their rhymes. His slow, relaxed and melodic delivery controlled the beat with unorthodox candences, unlike others that may have struggled to keep up with beat pockets. Rakim credits his jazz background as a saxophone player in high school and an affinity for John Coltrane as direct influences for his smooth delivery; a full circle moment as Black American musical genres such as funk, soul, and jazz were the foundations for Hip Hop. With the duo’s follow-up releases such as “Follow The Leader,” and other subsequent solo releases, Rakim continued to command listeners and force rappers to work on their craft. Rakim is heralded as one of the most transformative figures in rap, as his influence extends across generations as his disciples expanded on his contributions to influence even more torch-bearers. 

Rakim speaks on John Coltrane and Thelonious Monk

Roosevelt, a hamlet in the town of Hempstead in Nassau County, gave rise to one of the most prolific and politically charged voices in Hip Hop. Chuck D is the iconic front-man and leader of the revolutionary Hip Hop group, Public Enemy. Chuck D has influenced many rap heavyweights such as Ice Cube, KRS-One, Lupe Fiasco, Dead Prez, Nas and Eminem. Public Enemy’s line-up underwent several changes over the years, but the most known and consistent members would be Chuck D, Flavor Flav and DJ Terminator X. Prior to Public Enemy’s emergence onto the rap scene, the content and subject matter in rap music centered around feel-good, party anthems. In 1987, Public Enemy’s debut shook the world with strong political themes delivered over powerful production with a captivating voice that spearheaded it. On the critically-acclaimed debut album “Yo! Bum Rush The Show,” Public Enemy solidified themselves as a group that advocated for Black militancy, while the pro-Black themes and messages made several white critics uncomfortable. On the following albums “It Takes a Nation of Millions to Hold Us Back” and “Fear Of A Black Planet,” Chuck D’s lyrical content expanded on the oppression of Black people over hard-hitting samples produced by the Bomb Squad.

Chuck D’s ability to empower the Black American community, criticize white supremacy and institutional racism through his lyrics in a confrontational manner, helped to establish and pioneer the use of Hip Hop as a platform for social commentary during rap’s Golden Age. In its very infancy, Hip Hop was dismissed as simply a fad by mainstream white America, despite its creation as a development from poverty-stricken Black communities in New York City. Public Enemy reignited a wave of Black American consciousness through their music during a turbulent time in US politics and South African apartheid. Public Enemy’s success influenced a wave of Black militancy and Afrocentricity seen in acts such as X-Clan and Native Tongues.

The village of Amityville is well known in pop culture for the gruesome family murder committed by Ronald DeFeo, which was depicted in novels and a film series. Amityville is also the origin place of one of Hip Hop’s most innovative groups to emerge; De La Soul. Composed of Trugoy the Dove, Posdnuos, and Maseo, De La Soul carved out a lane during the Golden Age of Hip Hop that was in contrast to their peers. Gangsta rap began to dominate the mainstream sound of Hip Hop with the tough guy persona in full effect, paired with lyrical content about violence and materialism. In 1989, De La Soul’s critically-acclaimed debut album “3 Feet High And Rising” helped to usher in a fresh, funky alternative to the hardcore mainstream sound. The group utilized eclectic samples that deviated from the usual drum breaks and bass lines, while instead leaned on quirky, unexpected sounds, such as jazzy horns, movie dialogue, doo-wop, psychedelic rock, and cartoon snippets. The album’s lyrical content was full of witty humor and playful wordplay that was just as unlikely as their sample choices, but socially conscious and delivered in a positive light. With their debut album, De La Soul stamped themselves as a creative and revolutionary force within the genre.

De La Soul went on to continue to release albums with 1991’s “De La Soul Is Dead.” The album showed a more dark, cynical side of the group as the content addressed more serious themes such as sexual abuse, drug addiction, and the music industry. The group’s continuity of the use of eclectic samples remained with their second installment, but the group departed with their lighthearted image. The group’s next installments continued to display their multifacetedness and attempts to grapple with the overpowering force that was hardcore and gangsta rap. The juxtaposition of gangsta rap and alternative rap has remained a constant throughout Hip Hop. De La Soul’s influence has spanned generations of Hip Hop through artists Pharcyde, Outkast, Arrested Development, Common, Little Brother, Kanye West and Mos Def. In 2023, rap aficionados and listeners alike, were devastated by the news of Trugoy the Dove’s passing. With the untimely passing of Trugoy, label conflicts, and the lack of creativity of Hip Hop, De La Soul’s legacy is imprinted across generations. 

Although born in London, England, this MC moved to Long Island at a young age. Daniel Dumile started his career under the moniker, Zev Love X. Zev Love X was a member of KMD, graffiti crew turned rap group, between the years of 1988 to 1994. The group disbanded when member and Dumile’s brother, DJ Subroc passed away. Dumile would go on to deal with the ills of homelessness and grief of his brother’s death. Dumile re-emerged at the Nuyorican Poets Cafe in the Lower East Side of Manhattan, where he performed unannounced and in disguise with stockings to hide his face. This appearance marked the beginning of MF Doom, where his disguise would be traded for metal mask as homage to Marvel villain, Dr. Doom.

In 1999, MF Doom released his critically-acclaimed debut album, “Operation: Doomsday.” Heralded as one of the most groundbreaking underground Hip Hop albums, MF Doom established himself as a gifted producer and an insanely talented lyricist. The album’s production saw lo-fi paired with 1980s soul, jazz, and cartoon samples. MF Doom impressed listeners with his usage of complex rhyme schemes that ranged from internal, external, imperfect, and multi syllabic.

MF Doom went on to releases solo albums “MM..Food,” “Born Like This,” and several collaborative albums such as “Madvillainy” with producer Madlib, “The Mouse and The Mask” with producer Dangermouse. His untimely death was announced by his wife, Jasmine Dumile on December 31, 2020. MF Doom has remained as one of the kings of underground Hip Hop and has received praise from the likes of Q-Tip, Ghostface Killah, Mos Def, ROC Mariano, Del The Funky Homosapien, and a slew of others.

A WHITE SUPREMACIST BOMBING OF A BLACK ROSEDALE HOME, 1974

Posted on by Make New York Grimey Again

In October 1974, a Black couple of Trinidadian immigrants moved to the Rosedale neighborhood in Queens, New York from London, England. Ormistan Spencer, a 34-year old production manager for a photo-engraving firm, and his wife, Glenda Spencer, a 31-year old administrative secretary, brought their three sons along with them. At the time, Rosedale was a majority-white neighborhood while Black families began to settle there from overcrowded areas in New York City. Before the Spencers officially moved into their $40,000 seven-room home at 243-11 136th Avenue, it was fire bombed in July 1974 after the purchase was finalized. The Spencers did not realize what was yet to come as they tried to bring in the new year in their home. 

On December 31, 1974, a fire bomb was placed on the front porch of the home at 4:30 AM, which shattered the front windows. Attached to the fire bomb was a note that read “Nigger, be warned. We have time, we will get you. Your first born first.” The note was signed “Viva Boston KKK.” When the fire bomb blasted, Ormistan and Glenda Spencer were asleep in their bedroom upstairs, while their sons, Irwin, Peter, and Derrick, were in their bedroom downstairs. The boys’ bedroom faced some damage by debris from the blast. Glenda Spencer stated that she “planned to have a party tomorrow to celebrate the fixing up of the house after the July firebombing. Now everyone can come over and see the new damage.” In response to the bombing, the Spencers reported that police guarded the home, with a police officer actually attacked. The Spencers also reported racist slurs hurled at them by cars that passed by the home, but the Spencers maintained that they would not be run out of their home or the neighborhood. Back in London, the Spencers lived in a private home in an area mostly populated with white residents. “In England, you hear about this happening in the South, but you don’t hear about it happening in New York City,” Ormistan Spencer told a reporter. 

By January 6, 1975, two suspects were captured by the New York Police Department after a tip led them to the 113th Precinct to be questioned and later, apprehended. Michael Biggio, a 29-year old accountant for the Board of Education hired 27-year old Arthur Zanoni, a dental technician, to bomb the Spencers’ home for $300. Michael Biggio lived at 224-19 136th Avenue, about a block away from Spencer’s home. Biggio and Zanoni were arraigned separately in Brooklyn Federal Court and was ordered to held on $25,000 bail of possession of an unregistered bomb by US Magistrate Max Schiffman. While in court, Assistant US Attorney Raymond Dearie said Biggio paid Zanoni to “manufacture, detonate, and and set the bomb” at the Spencer’s home on New Year’s Eve. Zanoni and Biggio met a month before the bombing took place in Brooklyn through a mutual friend. Zanoni was traced through the writing of the note that was attached to the bomb. The note was analyzed by the Police Department’s crime lab that connected the writing to the indentation of a notepad that was previously written on. Chemicals were used to bring out a message written on the notepad that read “Hi Nipples, call me as soon as you read this note. Love, Artie.” A number was also uncovered after the message, which was used by detectives to lead to Zanoni’s mother. Zanoni’s mother supplied his name and his Brooklyn address, 239 Nichols Avenue. 

The New York Police Department staked out Zanoni’s home in Brooklyn. Zanoni later contacted the Rochdale police station, the precinct nearest to the bombing, to surrender himself as soon as he contacted his lawyer who was out of town at the time. The agents of the US Treasury Department’s Alcohol, Tobacco and Firearms Bureau arrested Zanoni on January 5, 1975, while he drove near the Aqueduct Racetrack, with Biggio picked up some time later. Zanoni claimed he was on his way to surrender himself to the police when he was picked up by officers. Detectives and federal agents searched Zanoni’s home and found two rifles, electrical tools, and materials that could possibly be used to make a bomb. The agents also found the notepad which the note that was attached to the bomb, a note to his wife, and a third note that contained Biggio’s number and directions to his home. The two suspects brought the bomb to the Spencer home in Biggio’s car and Biggio waited for Zanoni to plant the bomb, and eventualy waited for the bomb to detonate. Zanoni pleaded “not guilty” in court and complained that he was harassed by Black prisoners during his stay at the detention. 

On January 13, 1975, 200 Black people attended the AME Church in Jamaica, Queens to support the Spencers and donate $779 to the family for house repairs. Months later, a devastating acquittal of Arthur Zanoni and Michael Biggio took place at the Brooklyn Federal Court, after 20 hours of deliberation. Despite the notepad evidence and bomb equipment found at Zanoni’s home, Biggio and Zanoni were acquitted of federal gun contral laws. While at the home of the chairman of the group “Restore Our American Rights,” at 242-15 135th Street, Biggio stated “I feel terrific, I knew I would win.” He went on to say “I’m thankful to the people of Rosedale who stuck by me from the beginning when no one else would. The so-called religious, political, and civic leaders of Rosedale turned their backs on me.” 

Staten Island’s “KKK” ATTEMPTS TO RUN this Black family out, 1920s

Posted on by Make New York Grimey Again

In 1924, a postal worker by the name of Samuel Browne would face the hardships of being a Black homeowner in Staten Island. Samuel Browne purchased a home from Klea Evans, a white woman, for $8,500 in the Castleton Hill district. Upon Samuel Browne’s move into his new home, residents of the all white district discovered that a Black family replaced their white neighbor. This discovery resulted in efforts from the white residents to have Browne sell his home at a profit. Browne refused the first offer of $9,000, then refused the subsequent offers of $9,500 and $10,000. Shortly after the first refusal of $9,000, Browne’s home faced its first attack by vandals. Browne’s wife, an elementary school teacher at PS 11, stated that when Samuel was just about to accept the $10,000 offer, the conspirators managed to have the company that held the fire insurance policy cancel it. The fire insurance policy cancellation led to Samuel Brown’s reluctance to sell his home out of principle and refusal of any further offers. 

In September 1924, Browne’s home was attacked yet again by a group that broke several windows with sticks and stones. A note marked “KKK” which threatened more violence if the Browne family failed to move out was delivered to the home after the attack. The case was brought to the Grand Jury and District Attorney Albert Fach when the Browne family faced conflict with other residents in the district, such as the cancellation of three insurance policies. Samuel Brown was able to have seventy witnesses called to Grandy Jury to testify for consideration of the case. Amongst the witnesses were representatives of the fire insurance companies, building, and loan associations which Browne held policies with that were canceled; as well as neighbors of Browne. 

District Hill residents were concerned that the Grand Jury’s failure to return early indictments would lead to no criminal prosecution. To the surprise of District Hill residents, Musco M. Robertson, a real estate operator, was indicted by the Richmond County Grand Jury, along with five other unnamed  suspects, all white men. The indictment of Robertson and the other five suspects came a month after the case was presented to the Grand Jury. Robertson happened to be Browne’s next door neighbor at 67 Fairview Avenue, while Browne lived at 65 Fairview Avenue. Robertson was released on five hundred dollar bail, pleaded “not guilty,” denied involvement, and assured he was ready to go to trial to prove his innocence. Robertson and the five suspects were indicted for the utilization of these four methods to oust Browne from his home and the neighborhood:

  1. Attempting to have Browne transferred from duty in the Stapleton post office much further distant than his home
  2. Committing acts of vandalism on the property from July 1924 to July 1925
  3. Attempting to get fire insurance companies to cancel the fire insurance policies of the letter carrier
  4. Attempting to have the Westerleigh Building and Loan Association foreclose the mortgage on Browne’s home.

With the evidence presented, District Attorney Fach claimed to already know who the five unidentified suspects could be.

Samuel Browne filed a suit with the Richmond County clerk for $100,000 against the nine neighbors he alleged had conspired to oust him and his family from their home. Alongside Musco M. Robertson was his son, Louis Robertson, Edward Hesse, Charles A. Price, William Buon, John Schimel Jr, Louis Spamer, Charles A. Kneisel, and Harry V. Carlier. According to Browne, these men met frequently to conspire against him.

It is believed that the indictment was dropped due to “insufficient evidence.”

On November 1927, the suit filed by Browne against the white supremacist conspirators was discontinued by Supreme Court Justice Scuder. Browne’s lawyer announced that the case was settled out of court without cost to the conspirators.