INTERVIEW: Peter Maass on "Crude World: The Violent Twilight of Oil"

Peter Maass on “Crude World: The Violent Twilight of Oil”
Crudeworld-pm

Author Peter Maass writes about how oil has resulted in devastation around the world in his new book, Crude World: The Violent Twilight of Oil. Maass spent eight years traveling the globe to discover the costs of oil production to the planet. Peter Maass is an award-winning investigative journalist and author and a contributing writer to the New York Times Magazine. He joins us now from Boston. [includes rush transcript]

Filed under BP Oil Spill

Guest:

Peter Maass, Peter Maass is an award-winning investigative journalist and author. He is a contributing writer to the New York Times Magazine, and his latest book is called Crude World: The Violent Twilight of Oil.

Rush Transcript

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AMY GOODMAN: BP’s initial attempt to stop the massive oil spill in the Gulf of Mexico has failed. Over the weekend, the company placed a giant four-story containment box over the spill, but the box kept getting clogged with ice crystals. An estimated 3.5 million gallons of oil have spilled since April 20th.

Well, author Peter Maass writes about how oil has resulted in devastation around the world in his new book, Crude World: The Violent Twilight of Oil. Maass spent eight years traveling the globe to discover the costs of oil production to the planet. He’s an award-winning investigative journalist and author and a contributing writer to the New York Times Magazine. He’s joining us now from Boston.

Welcome to Democracy Now!, Peter Maass. Talk about BP in the global context.

PETER MAASS: Well, BP is, of course, one of the largest shareholder-owned companies in the world, and it’s had actually—even though its slogan it tried to reengineer to meaning “Beyond Petroleum,” it’s actually had one of the more checkered, in recent history, records, particularly on the environment. There was a very large explosion at one of its refineries in Texas City about a couple years ago. It also has spilled a fair amount of oil in Alaska. And so, even though it’s tried to foment this image of being the greenest of oil companies, actually it’s had a significantly more difficult, troubled career in terms of environmental problems than some of the other companies that we know even as well or better, such as Exxon and Chevron.

AMY GOODMAN: And what about this latest attempt to cap the explosion, the leak, that has failed on the part of BP?

PETER MAASS: Well, this is somewhat a reflection of the new territory, quite literally, that BP and other oil companies are in these days, because the kind of era of what’s called easy oil—that is, oil that’s close to the surface, that’s on the ground rather than under the water—that era is pretty much over. And so all these oil companies, particularly the Western shareholder ones that don’t kind of own reserves themselves, because they’re not state-owned companies, they don’t have kind of, you know, natural territory that is theirs, they have to go into places that they didn’t use to go into. They have to go far offshore. They have to go off into far reaches of Siberia or the Sakhalin Peninsula or whatever. They have to go very deep, very far into new areas using new technologies that really haven’t kind of been proven, because these are the first times that they’ve been used.

And so, when you have a big accident, you’re basically dealing with it for the first time in an incredibly challenging environment out there in the Gulf of Mexico at a depth of 5,000 feet. So each time you have an accident, you have to try a solution for the first time. And so, in this case, for example, the solution isn’t working. They’re going to keep trying to work on it. But it just shows kind of how much they have to deal with in the way of new challenges and the dangers, therefore, that exist when you have to go into new terrains—deep water, for example—and get oil, because the easy oil is pretty much gone, as far as these companies are concerned.

AMY GOODMAN: When President Obama announced the giving out of permits for offshore oil drilling, where he got a tremendous amount of criticism from environmentalists and others who live along the coast where this drilling would take place, he said that new technology, you know, prevents the kind of spills that, well, we saw a few weeks after he made this announcement. Now the Center for Biological Diversity reports that the Obama administration is continuing to exempt new offshore drilling operations from environmental review despite the Gulf disaster. Since the disaster began on April 20th, the Department of Interior’s Minerals Management Service has approved twenty-seven new offshore drilling permits. All but one of the projects were granted the same environmental review exemption used to approve BP drilling. Your response, Peter Maass?

PETER MAASS: Well, you know, this, in a way, isn’t too surprising, because in so many areas when oil extraction is concerned, the Obama administration really is not much different from the Bush administration, which wasn’t that much different from the administrations that preceded it, because the first priority is to get oil, to get control of it, to have it at reasonable prices. And this is something that crosses over Democratic and Republican administrations. So one shouldn’t really be that surprised that the Obama administration isn’t terribly different than the Bush administration. I mean, there are dictators all over the world who possess a lot of oil whom the Bush administration dealt quite closely with, and the Bush administration was criticized rightly for that, whether it’s Teodoro Obiang in Equatorial Guinea, whether it’s Nursultan Nazarbayev in Kazakhstan. But you have a new administration, and you have different rhetoric, but you have actually the same policies in place.

So, you know, the lack of a clear break between the Obama administration and the Bush administration, though there are improvements, isn’t terribly surprising, because when you kind of get down to it, American consumers do want to have their gasoline. They want to have their gasoline at the cheapest price possible. And so for, you know, administration after administration, it has meant getting the oil wherever it is. And there was a brief moment, of course—we’re all kind of somewhat famously aware of it—when Jimmy Carter put solar panels up on the White House roof and was going to try to direct the country into a somewhat different energy future, but of course that all changed. Reagan became president, the solar panels were taken down, and thirty years later we find ourselves at this position where we still—when I say “we,” I mean American consumers—still want their gasoline, still want their cars, and aren’t ready to make the investments that are necessary, the changes that are necessary. And so, in some ways, the Obama administration certainly isn’t leading us to a new direction, but neither are they really being encouraged to lead us in a new direction by a kind of large population in America.

AMY GOODMAN: You begin your book Crude World with J. Paul Getty’s quote, “The meek shall inherit the Earth, but not the mineral rights.” Peter Maass?

PETER MAASS: This is something that, you know, kind of in one way, it seems obvious; in another way, not. So we have this idea that countries that have oil, lots of oil, are lucky, kind of Beverly Hillbillies style. If you find oil in your backyard, you’re rich, and everything goes quite well. The reason I put that quote at the beginning of my book is because what happens, or what tends to happen, in most countries that have a lot of oil is that they don’t become rich because of it. Some people become rich, but not the population at large. They don’t tend to become more democratic as a result of it. In fact, they tend to become more authoritarian as a result of it. And they also tend to suffer environmentally as a result of it. The United States, as we’re seeing now in the Gulf of Mexico, is having a new experience with the environmental costs of extraction.

So the kind of bottom line here is that the people who should benefit from oil, for example, in the Niger Delta in Nigeria, which is where most of Nigeria’s oil is located and where I went for this book, the people who actually live atop the oil, who should be the ones to benefit most directly, actually are the ones who suffer the most, because there’s an environmental disaster in the Niger Delta, which kind of dwarfs what Louisiana is now facing. They’re also kind of facing deprivation of political rights in the Niger Delta. There’s a war going on in the Niger Delta over who controls the oil itself. And so, the upshot is that rather than becoming richer, individuals tend to become poorer in these countries. When I say “individuals,” I’m just specifically referring to those who don’t usually have access to political power.

AMY GOODMAN: We’re going to break, then come back to this discussion, also hear about a court case involving Chevron and a documentary filmmaker. Chevron has just won the right to take the outtakes of his film. Peter Maass, we want you to stay with us and also weigh in on this. Peter Maass is an award-winning investigative journalist and author. His latest book is called Crude World: The Violent Twilight of Oil. This is Democracy Now! Back in a minute.

[break]

AMY GOODMAN: We turn now to the latest twist in the multi-billion-dollar lawsuit against the oil giant Chevron. Last week a federal court in Manhattan ordered a documentary filmmaker to hand over to Chevron hundreds of hours of footage. Joseph Berlinger’s award-winning film, Crude: The Real Price of Oil, chronicles the struggle of indigenous Ecuadorians against ChevronTexaco’s oil contamination of their land. It focuses on the seventeen-year legal battle between Chevron and 30,000 Ecuadorians who say their land, rivers, wells, livestock and bodies were poisoned by decades of reckless oil drilling in the rainforest. Chevron has sought Berlinger’s outtakes to help defend itself against an Ecuadorian lawsuit seeking $27 billion in environmental damages.

On Thursday, Judge Lewis Kaplan of the district court in Manhattan ruled in favor of Chevron’s request to view the 600 hours of outtakes from Crude. The decision has raised concerns over both the outcome of the Ecuadorian lawsuit as well as the future of protections and privileges granted to journalists.

Chevron spokesman Kent Robertson welcomed the ruling and told the press that Berlinger might have unwittingly captured misconduct by the court in Ecuador and the plaintiff’s legal team. He added, quote, “Given the level of opposition to Chevron gaining access to the outtakes, we have to believe there is…damning content that was left on the cutting room floor. It’s in the interest of justice that these events are known more broadly.” But the director and producer of Crude, Joe Berlinger, says there is no smoking gun and has vowed to appeal the ruling.

I’m joined now by Joe Berlinger.

Joe, welcome to Democracy Now! Explain your response to this decision against you.

JOE BERLINGER: Hey there, Amy. How are you? It’s actually Berlinger, just so you know.

You know, the idea that there must be some smoking gun as why we’re opposing it is just a complete disregard for any belief in the First Amendment. You know, I am a journalist. I am covered by a journalist privilege, we hope. And there’s a certain—and unfortunately federal law does allow for the piercing of journalist privilege, but only when you show relevance and, you know, specific footage. This is a broad request to turn over my entire files. It’d be like inviting someone to rummage through your underwear drawer to find something incriminating. You know, we are shocked by the judge’s decision, at the broadness of the request. You know, anything that’s in the film, you know, there’s tremendous—I believe Crude shows both sides of the situation, and there’s a lot in the film that they could have used to go on a more narrow request, but they’ve not done that. They’ve simply asked for the entire footage to be turned over to go on a fishing expedition.

AMY GOODMAN: I want to go to some of the clips of your film, this excerpt featuring the two Chevron fighting lawyers you profile, American attorney Steven Danziger and Ecuadorian lawyer Pablo Fajardo.

    PABLO FAJARDO: [translated] When I began working on this case, I didn’t have any professional experience litigating cases. I have never felt inferior to any of the Texaco lawyers, because when I say something, they have to think a thousand times to come up with a lie in order to counter my truth. They have to think much harder than me. I know I always tell the truth, and if I have to die for it, then I will, with pleasure.

    STEVEN DANZIGER: This is about fighting hundreds of years of history, you know, in Latin America, and it’s about fighting one of the most powerful companies in the world, with people who have literally no resources and are some of the most marginalized people on earth. So, you know, it’s a completely unequal battle. The fact we’re in the game is a huge victory. You know, the fact we’re having a trial is a miracle. It’s historic. This is becoming, like we always envisioned, a true national issue. It’s about a nation that got completely screwed over by an American company and about a continent, to take it out a little further, that has really never been treated with a whole lot of respect by American corporate power. And it’s always been seen—from United Fruit in Guatemala and the CIA doing a coup there in 1954, you know, to Nicaragua with Somoza supported by the Marines, you know, for several decades, it’s always been a place that’s been seen sort of as the backyard of the United States. And like, it’s changing now, you know, and we’re riding that wave of change.

    PABLO FAJARDO: [translated] We don’t defend Petroecuador. They’ve done plenty of bad things. We hope to have another trial against Petroecuador so that they are held accountable for their actions. What we have to do is—each one is responsible for themselves. Texaco did terrible things. Texaco has to answer for itself. Petroecuador does things they have to answer. What they want is to say everything is Petro’s fault, so that they are free from responsibility. We will not allow that.


    AMY GOODMAN: Excerpts from the film Crude, ending on the Ecuadorian attorney Pablo Fajardo responding to Chevron’s attempts to blame Petroecuador for the pollution. Explain this further.

    JOE BERLINGER: Well, you know, this is a long case that’s been going on for seventeen years. Basically, Texaco is accused, from the late ’60s to the early ’90s, when they left the country, of, you know, massive environmental damage. The lawsuit was filed in ’93 in a New York court. After nine years of struggling in the US, the case was finally thrown out and remanded to Ecuador. So the case was refiled and finally got on its feet in 2003, 2004, around the time I started my film. One of the things the plaintiffs allege is that the system of oil production that was created by Texaco was then turned over to Petroecuador, and so any damage that Petroecuador has done is also—is also Texaco’s fault. In the meantime, Texaco and Chevron merged, and so Chevron now has inherited this lawsuit. But because it’s taken so long for the lawsuit to get off the ground, it’s easy for Chevron to now point the finger at Petroecuador and say all the pollution is Petroecuador’s, but in fact, according to the plaintiffs, this lawsuit was filed back in ’93.

    AMY GOODMAN: This is another clip from the film Crude. Here, a resident of San Carlos, Ecuador, Maria Garofalo, describes how the contamination in the water has impacted her family’s ability to survive.

      MARIA GAROFALO: [translated] The water is contaminated. The air is contaminated. That’s why I can’t have my daughter here together with the family. For me, it’s quite sad. First, I had the problem, and now my daughter, who’s so young to have a disease such as cancer. We are people who don’t have the means to pay for our daughter’s treatment. My daughter is eighteen years old. For each treatment that I have and each treatment my daughter has, I need $500. Where am I going to get $500 every fifteen to twenty days for every appointment she has?

      I bought chickens to raise in hopes of making some money to pay for my daughter’s treatment. Now we don’t have anything because everything has just died. All the animals are dying from contamination because they run to the stream and drink the water. The animals drink that water and die, and there is nothing you can do about it. That’s why we say there is no life here for the animals, and it’s even worse for us humans.

      SARA McMILLEN: Chevron takes those kinds of allegations very seriously, so that was one of my mandates, was to investigate the health allegations. So we’ve hired external epidemiologists, as well as our internal epidemiologists, health risk assessors, to look at all of the data to investigate this. And what we found is that there’s absolutely no evidence that there’s an increase in cancer death rate.


      AMY GOODMAN: That excerpt from the film Crude, ending with Chevron chief environmental scientist Sara McMillen. Your response to that, Joe Berlinger?

      JOE BERLINGER: Well, you know, I mean, the style of the film is to show both sides, and the film is actually rather neutral with regard to the lawsuit. Obviously, I am extremely sympathetic to the plight of the indigenous people there. The people in that region have suffered tremendous environmental damage and tremendous health effects. And this lawsuit has been characterized by an extremely lengthy process. Chevron has flooded the court with paper. They are the ones who wanted to try this thing in Ecuador to get it out of the US court system, and at the time they testified as to the fairness and efficiency of the Ecuadorian court system. Now that it’s not going their way, they are claiming that the process is unfair, not transparent and has become politicized. I mean, this is a football that has been tossed back and forth for, you know, two generations, and there’s no end in sight. And I think one of the themes of the film, actually, is that, you know, the inadequacy of the lawsuit mechanism to address these kinds of large-scale environmental and humanitarian crises. You know, by the time this thing gets resolved, three generations of people will be suffering the ill effects of oil production. And there’s got to be, you know, just like they’re trying to, you know, clean up the Gulf, and just like when, in Haiti, people have done everything possible to try to bring some relief, you know, we shouldn’t just rely on a lawsuit to assume that these things will get cleaned up. There is misery down there that needs to be addressed.

      AMY GOODMAN: Peter Maass, can you put what happened with Chevron and Joe Berlinger and his film Crude into the broader context of the power of the oil companies? Did this ruling surprise you, that this filmmaker has to hand over all of his outtakes to Chevron?

      PETER MAASS: The ruling surprised me, as I think it surprised most journalists, because one attempts to keep the shield law in place in terms of protections of journalists, and, you know, this is something that is kind of a constant problem, as well. A reporter for the New York Times was sued, or I should say the courts came at him a couple weeks ago, James Risen, to get him to reveal sources involved with some of his reporting. So this is a constant problem that happens, and it happens to have struck Joe Berlinger, a documentarian, in this case. And hopefully it will come out on his side. I expect so.

      But, you know, overall, the thing that I kind of am focusing on, in a sense, is more globally in the sense of these oil companies and the problem of oil. It’s not just the problems of the past, which need to be atoned for, in terms of what happened in Ecuador while Texaco was there, but you have the same kind of problems happening now, not just in Ecuador, but in other countries. And it’s not just BP, it’s not just Exxon, that is involved in oil pollution. There are also state-owned companies, and it’s happening drip by drip every day in almost every country where oil is extracted. So if we just focus on what’s happening in the Gulf of Mexico—and we need to focus on that—that’s not enough. We need to also focus on the fact that there is oil pollution happening all over the globe, in some countries worse than others. And if we just, every thirty years, when it happens to wash up on our shores, pay attention, then we’re never going to kind of come to the point that we need to come at, which is understanding that we have to get off of oil, because it is really damaging the environment and the countries and the cultures that provide it to us.

      AMY GOODMAN: Peter Maass, finally, we only have thirty seconds, but you write a good deal about Saudi Arabia and oil there. Could you summarize?

      PETER MAASS: Well, thirty seconds is not a lot to summarize anything about Saudi Arabia, but certainly one of the key problems with Saudi Arabia is in terms of the amounts of money that have gone into that country that have been used, as a result, for purposes, political purposes, that have not terribly worked out well for the rest of the world, in terms of funding of violent jihadi forces.

      But also, there’s another issue, which is kind of unrelated to that, which is very troubling in Saudi Arabia, which is how much oil does Saudi Arabia really have? I mean, there’s this whole kind of issue of peak oil. Are we there yet? Are we beyond peak oil? And Saudi Arabia, as a dictatorial country, does not disclose how much oil it has, so there’s a big question over really kind of like, well, how much more in the way of supplies are there. And the people who have it, in the case of Saudi Arabia, about a quarter of the world’s reserves, aren’t letting anybody else know. So there’s kind of two very serious unrelated problems that come together in Saudi Arabia.

      AMY GOODMAN: I want to thank you very much for being with us, Peter Maass, award-winning investigative journalist and author. His latest book is called Crude World: The Violent Twilight of Oil. And Joe Berlinger, award-winning filmmaker, journalist, photographer, director of Crude: The Real Price of Oil.

       

      GULF OIL SPILL: BP = Beyond Pathetic > from Labrish Jamaica: Musings on Earth and Life

      Wednesday, May 12, 2010

      BP = Beyond Pathetic

      By Kathy Stanley

      It is hard to reconcile the Gulf Oil Spill. In the words of a friend of mine who sent an email today, “Mother Earth is hemorrhaging badly.” There are no words to express how deeply this staggering catastrophe is affecting people on a mental/emotional level. When an oil tanker spills, there is a known quantity of oil and even though it takes decades to clean up as in the Exxon Valdez case, at least you know how much oil is out there. In this latest Big-Oil-Screw-Up, we have no idea how long this hemorrhaging is going to last. Dolphins are washing up dead on shore, fisheries are ruined and as Ed Shultz brilliantly showed on his television show a couple of days ago, this is what we are dealing with in the case of the engineers not knowing what the hell to do to stop the daily flow of oil. Watch about 40 seconds into the video clip:

      The utter hubris and entitlement of Big Oil, along with complete lack of responsibility was on full display in Washington, D.C. at the Senate hearings yesterday where each executive from the companies involved blamed the other. No one willing to take responsibility. As Dana Milbank said in the Washington Post today: "Lamar McKay, the BP official who visited Capitol Hill on Tuesday, couldn't have been any more slippery if he had just bathed in the Gulf of Mexico." And then today, new revelations from a whistleblower that BP deliberately and willfully cheated by falsifying their blowout preventer tests. When. Will. It. End. The horror continues to unfold each day. Beyond Pathetic.

      My Photo
      KATHY STANLEY
      UNITED STATES
      Writer, advocate for marine life, wildlife and wild places in nature. Labrish is a Jamaican word for chat, or gossip. email: kathyinpdx[at]gmail[dot]com

       

      HAITI: Who has the solution? > from Inside Disaster

      Who has the solution?

      Fanmi lavalas members being interviewed

      Emmanuel Midi blog photoPort-au-Prince – Almost four months have passed since the earthquake, but the Haitian people can’t get the rubble out of sight. This keeps the disaster present every day in their lives, from their streets to the deepest part of their hearts; and the effects are getting worse. People feel like they are slowly losing the opportunity to rebuild their country like they hoped it would be, right after the disaster.

      Here’s an example of an everyday downtown street filled with trash and rubble in Port-au-Prince – I wish cameras could capture odour so you could truly feel what it’s like to be near this in the heat:

      Memories of the earthquake never far away

      The mouting tension came to a head on Monday with a serious demonstration ran by the “Fanmi Lavalas” members and their partisans. Their goal was to clearly demonstrate that they don’t want his Excellency, René Garcia Préval, as President any more. In addition, they seized the occasion to demand the return of the founder of their political party to Haiti: his Excellency Jean Bertrand Aristide.

      Bring back Aristide

      It all started quietly around 9 o’clock in the morning at Bas Delmas, where a lot of people seemed to be waiting for an order to start the demonstration. Around a 9:45am, some rara bands showed up, followed by a pickup truck with a DJ, MC and political members, and the demonstration started. From Bas Delmas to Bel Air, the energy of the demonstrators grew so big that they began to run down the street.

      Crowd begins to run as they approach Bel Air

      Regardless of the brand or the colour of the car you were driving, if you got close to that demonstration, “aba Preval” would be sprayed on your car.

      "Aba Preval": Cars defaced by protestors

      But there are no easy good and bad guys here: even inside each good and bad side of an issue in Haiti, you’ll find another good and bad side. While this demonstration was against the government, the reason is that Preval has been accused of trying to stay longer than the constitutional term allows, which would normally be against the law. These are soldiers keeping the demonstrators away from the destroyed Presidential Palace of Mr. Preval:

      Soldiers guarding the destroyed Presidential Palace

      But will the demonstration contribute to change?

      In the Bel air neighborhood several shots rang out in the afternoon. At the Champ-de-Mars, looting sessions caused more fights, which led to more shooting.

      Officers trying to secure the perimeter after shots are fired in Bas Delmas

      Many young people were accused of looting, and were beaten by other civilians before being taken to the police officers nearby, or caught by the officers themselves.

      Civilians fighting each other

      But many young people, including me, believe that this should be a time of reflection, not violence, in Haiti. Being against or for governments has never brought any global satisfaction to the population of this country. That’s one of the reasons why several grass roots organizations are now being formed, to see how this country’s youth can come up with solutions for the upcoming generation to help the country as a whole, not just a particular group with its own petty interests.

      Here are some of the questions those youth are asking: can a government elected for five years make a change that will last for a lifetime? Can one man, the President, ever find solutions to satisfy more than 10 million people?

      And if the answers to these questions are no, where do we go next?

      Port-au-Prince student, fixer and researcher Emmanuel Midi blogs weekly for Inside Disaster from Haiti. You can learn more about him in these blog posts, connect with him on Facebook or through his business, Haiti Fixers.

      Emmanuel volunteers with the youth organization Fonds D’Actions pour le Développement (FAD), profiled by Nicolas Jolliet last month.

      VIDEO: BOSCO > from Music Dealers

      Toine's Music Dealers Artist Spotlight - BOSCO - Day: 2 of 5 (Videos)

      Happy Tuesday one and all! One day closer to the weekend so let's make today productive. For day 2 of my Artist Spotlight on BOSCO, I wanted to begin with her video for "Blues for Blue/Black & White". These two songs appear on her critcally acclaimed debut album "Spectrum" and the re-release "Spectrum 2.0". I picked these two videos b/c they act as the perfect visual to the music, capturing the essence of each song without over doing it. BOSCO's talent sound is so refreshing, I'm sure somewhere Jospehine Baker, Bille Holiday, and Ella Fitzgerald are smiling. Check them out:

      Blues for Blue/Black & White:

       



      The next video is for the song "It Was You" this is from BOSCO's "Sprectrum 2.0" to say its a great song would be an understatement. Just listen for yourself:

      Share/Save

      Toine's Music Dealers Artist Spotlight - BOSCO - Day: 1 of 5 (Intro)

      Hello everyone! Here's hoping all is well wherever you may be reading this post. The time has come for me to introduce you all to another outstanding Music Dealers' artist. This week I wanted to spotlight an incredible talent hailing from Atlanta, GA (by way of Savannah, GA). She is a truly gifted talent that has left audiences in amazement from Atlanta to France. Her stage show is an energetic rush that can leave even the most seasoned concert goer spent. She is an eclectic songstress whose sound is an unforgettable ride that journeys everywhere from comtemporary to the sounds of the '30's, '40's, & 50's. After featuring her this week I dare you to put her music into one category, it can't be done, she will not allow it. Stay tuned for some incredible music, a great interview and one of the best artist you will discover this year. Without further ado, I bring to you the illustrious, imcomparable Ms. Brittany Bosco.


       

       

      :::Click here to view BOSCO's Music Dealers artist profile:::

      VIDEO: Luther - Episode 2 > from Soul Culture

      Watch This: Luther – Episode 2

      May 12, 2010 by Verse  
      Filed under TV


      Last night’s episode of Luther was a good’un.

      Synopsis: Luther must outmanoeuvre a trained sniper on a mission to kill police officers. But as the body count rises, he has to uncover the killer’s true motives.

      For those who haven’t yet watched it, UK viewers can catch the latest episode of the new British crime drama series starring Idris Elba on BBC iPlayer. Everyone else….

      Watch Luther – Series 1, Episode 2:

      If you missed episode one, watch it here.

      PUB: www.gemini-magazine.com short short story contest fiction

      ANNOUNCING
      THE 2nd ANNUAL
      Gemini Magazine
      FLASH FICTION
      CONTEST!
      GRAND PRIZE: $1,000
      2nd PLACE: $100
      HONORABLE MENTION (4)
      ENTRY FEE: $4
      DEADLINE: August 31, 2010
      MAXIMUM LENGTH: 1,000 words

      All Six Finalists Will Be Published in
      The October 2010 Issue of Gemini

      A tightly written flash that tells an unforgettable story
      in a small space is a joy to behold. We truly look
      forward to reading yours.

      Both new and established writers welcome. Two of
      the six finalists in last year's Flash Fiction Contest
      were previously unpublished. (see results below)

      No restrictions on content, style or genre. Simply send
      your best unpublished flash by email or snail mail.

      TO ENTER:

      1. Click "Donate" and pay the $4 entry fee
           ($3 for each additional flash)

      ("Security code" is on back of credit card; if no
      confirmation number, transaction was not processed)

      2. Paste confirmation number and previously
      unpublished flash into body of email and send to:

      contest@gemini-magazine.com

      NO
      attachments. Do not include bio—just your story
      and contact info. Enter as many stories as you like:

      2 stories = $7

      3 stories = $10
      4 stories = $13
      8 stories = $25

      OR:

      1. Mail entry with $4 check or money order, payable
      to Gemini Magazine, to:

      Contest, Gemini Magazine
      P.O. Box 1485, Onset, MA  02558

      (include $3 for each additional entry)

      ____________________________________________________
      RESULTS of recent
      SHORT STORY CONTEST
      will be published in JUNE issue
      (Contest closed March 31)
      ____________________________________________________

      And the Winner of
      THE FIRST ANNUAL
      Gemini Magazine
      FLASH FICTION
      CONTEST....

      Beverly Akerman, for
      "PIE"

      Honorable Mention:

      V.R. Shankar,
      "THE PERCUSSIONIST"

      Audrey Webb,
      "STALL"

      Kate Maruyama,
      "the weight of things"

      Melindy Wynn-Bourne,
      "LEFT"

      Jessica Wortsman,
      "SNIP, SNIP"

      Hearty congratulations to the above
      finalists!

      We received nearly 400 entries. Loads of
      good ones but couldn't print em all. A
      sincere THANK YOU to all who participated.
      Thanks also to Phil Bernhardt for invaluable
      assistance with judging, Nancy Atkinson for
      reading (one of the above stories gave her
      goose bumps) and Debbie Sirois for
      technical support.

      Five of the six finalists are women. Four of
      the finalists are from outside the U.S. Three
      are from Canada and two have never before
      been published. That's the spirit of Gemini
      Magazine

      no boundaries, no rules,
      everyone gets a chance.

      While running this contest was a lot of
      work, it was also tremendously exciting.
      Let's do it again next year!

      —David Bright, Editor

      PUB: Once Upon A Day Writing Contest - ReadingWriters

      Deadline 

      May 15, 2010
      (Midnight, PT)

       

      I can't remember if I cried
      when I read about his widowed bride.
      But something touched me deep inside
      the day the music died.

      "American Pie"               
       Don McLean                 

       

      Your protagonist is about to have a day. He doesn't know it yet, but it's going to be a day that, for him, will live in infamy. A day she will point to, years later, as the specific moment when something in her soul changed. It can be a teeny tiny change or it can be a ginormous change. But it has to occur in the light of day.

      The first line of your story must begin with: The sun rose...

      The last line of your story must end with: ...just as the sun went down.

      That which occurs in betweenbe it drama, comedy, mystery, romance, fantasy, etc.is entirely up to you. What changes your dawn character to the one we shall see at dusk?

       


       

      $100

        Story published in The Verb

       Story Opinion, also published in The Verb

       


       

      Entry Fee: None

      Length may be up to 1000 words. But not a word more. (Your contact information and your title are not included in the word count.)

      Short stories only. No poetry, essays or plays.

      Entries must be original and unpublished. Send only your best. Once submissions arrive, no revisions will be accepted.

      Open to writers worldwide. (Payment to winners outside the USA are made via PayPal only.)

      Limited. Only one story per author.

      The judge for this contest is Elizabeth Guy. Read her bio on the Readers page.

      Winner will be notified via email June 7, 2010. The winning story will be published in the June '10 issue of The Verb. 

      Only the winning entry receives a free Opinion. Read previous Opinions.

      Remaining entrants may order an Opinion after the results have been announced.

      As always, complete contest results will be announced at the Contest Café.

      Read about the judging process and our method of posting contest results.

       


       

      All contest entries must be submitted electronically. You may paste your text within the body of an email or send it as a .pdf, .doc, .docx or .rtf. We do not accept any other formats.

      At the top of your submission, please provide:
         ~ your name
         ~ your mailing address
         ~ your email address
         ~ genre
         ~ word count   

      Your submission must have a title.

      Font should be black 12-pt. Arial, Courier or Times Roman, double spaced.

      Separate scenes with your favorite symbol. We don't care which one you use, as long as it clearly signifies a break.  

      Confirm we've received your entire submission by including the words: The End.

      You are now ready to contest@readingwriters.com ?subject=Once Upon a Day Contest" style="font-weight: 700; text-decoration: none;"> submit your work.  
      (If clicking this link doesn't automatically open your email, send your work to contest--at--readingwriters.com AFTER you've replaced the --at-- with the @ sign. Subject: Once Upon a Day Contest.)

      We confirm receipt of every contest entry. If you haven't received a confirmation within 24 hours, we haven't received yours. Please re-send.

      We don't, however, acknowledge spam-blocking filters that require us to fill out a form to join an approved list. If you use such an address for this contest, you won't receive emails from us.

       

       

      ·  RIGHTS  ·

      Winner grants ReadingWriters, publisher of The Verb writing ezine, First Electronic Rights. Simply put, this means you allow us to publish your story first on the internet. After June 2010, the story will move to The Verb archives and remain there until you ask us to remove it. You, the winning author, retain all other rights to your work.

      These First Electronic Rights apply to the winning entry only.
        Remaining entrants retain ALL rights to their work.

       

       

      PUB: New Voices Awards

      New Voices Awards
      New Voices Awards Main Image

      About the Award

      LEE & LOW BOOKS, award-winning publisher of children's books, is pleased to announce the eleventh annual NEW VOICES AWARD. The Award will be given for a children's picture book manuscript by a writer of color. The Award winner receives a cash grant of $1000 and our standard publication contract, including our basic advance and royalties for a first time author. An Honor Award winner will receive a cash grant of $500.

      Established in 2000, the New Voices Award encourages writers of color to submit their work to a publisher that takes pride in nurturing new talent. Past New Voices Award submissions that we have published include The Blue Roses, winner of the Paterson Prize for Books for Young People; Sixteen Years in Sixteen Seconds: The Sammy Lee Story, a Notable Social Studies Trade Book for Young People and a Texas Bluebonnet Masterlist selection; and Bird, an ALA Notable Children's Book and a Cooperative Children's Book Center "Choices" selection.


      Eligibility

      1. The contest is open to writers of color who are residents of the United States and who have not previously had a children's picture book published.

      2. Writers who have published other work in venues such as children's magazines, young adult, or adult fiction or nonfiction, are eligible. Only unagented submissions will be accepted.

      3. Work that has been published in any format is not eligible for this award. Manuscripts previously submitted for this award or to LEE & LOW BOOKS will not be considered.


      Submissions

      1. Manuscripts should address the needs of children of color by providing stories with which they can identify and relate, and which promote a greater understanding of one another.

      2. Submissions may be FICTION, NONFICTION, or POETRY for children ages 5 to 12. Folklore and animal stories will not be considered.

      3. Manuscripts should be no more than 1500 words in length and accompanied by a cover letter that includes the author's name, address, phone number, email address, brief biographical note, relevant cultural and ethnic information, how the author heard about the award, and publication history, if any.

      4. Manuscripts should be typed double-spaced on 8-1/2" x 11" paper. A self-addressed, stamped envelope with sufficient postage must be included if you wish to have the manuscript returned.

      5. Up to two submissions per entrant. Each submission should be submitted separately.

      6. Submissions should be clearly addressed to:

      LEE & LOW BOOKS
      95 Madison Avenue
      New York, NY 10016
      ATTN: NEW VOICES AWARD

      7. Manuscripts may not be submitted to other publishers or to LEE & LOW BOOKS general submissions while under consideration for this Award. LEE & LOW BOOKS is not responsible for late, lost, or incorrectly addressed or delivered submissions.


      Dates for Submission

      Manuscripts will be accepted from May 1, 2010, through September 30, 2010 and must be postmarked within that period.


      Announcement of the Award

      The Award and Honor Award winners will be selected no later than December 31, 2010. All entrants who include an SASE will be notified in writing of our decision by January 31, 2011. The judges are the editors of LEE & LOW BOOKS. The decision of the judges is final. At least one Honor Award will be given each year, but LEE & LOW BOOKS reserves the right not to choose an Award winner.

      PHOTO ESSAY + INTERVIEW: Rayon Richards :: Photographer > from kiss my black ads

      Interview :: Rayon Richards :: Photographer

      A graduate of the School of Visual Arts BFA program in New York, Brooklyn native Rayon Richards has been a professional photographer for the past nine years. With a portfolio that ranges from music personalities to cars, buildings to classic portraits, Rayon uses photography to express his view of human and social complexity. Inspired by modern culture and driven by history, Rayon captures people in their natural states, and attempts to dispel myths and stereotypes in his portraits. Some of his clients include Vibe, Latina, People en Espanol, Guitar Aficionado, Revolver & Fortune Magazines, Columbia Records, Atlantic Records and Ciroc Vodka. 

      www.rayonrichards.com

      How did you discover photography?

      I discovered photography in 1996 on a trip to Jamaica to visit family. Prior to that trip, the last time I had been to Jamaica was 10 years before. So much about the place had changed from what I remembered so I got a few disposable cameras and started documenting everything. I wanted to record what I saw so that in the event that  another 10 years passed before I made it back and drastic changes and development were made I would have images to remember what was. I was raised by parents who saw the need to cultivate an interest in the arts in their children so I painted and did illustrations before I became a photographer; for me it was just another generation in a desire to reproduce and create work based on reality

      How is your ethnicity a source of inspiration or strength in your work?
      Or is it just sort of a default setting that has little bearing.

      To be honest I try not to make my ethnicity an issue (good or bad) for me or my work. There are times when I come across situations where people may underestimate my capabilities as a photographer because of my ethnicity. They may assume I can't relate to anything outside of "my world" or that I wont "get it". It used to be a major source of frustration but I know myself and I know my work. It doesn't bother me anymore. I just have to work harder. I'm a multi-faceted person who loves people. I absorb cultures. I love it all. I am super thankful for the clients I have had who've supported my vision and don't always feel like you have to hire black photographer to photograph the urban subject matter only. 
      Tell us about the challenges of being a photographer.

      Photography has always been about problem solving. You are given a situation, a subject, a location, a time frame, a concept (in some cases) and an opportunity to connect with someone and show them to the world via the way you see them which is different from any other photographer whose camera they may stand in front of. Though its a happy problem, the solution is the resulting image created. These days other problems arise such as shrinking budgets in the media industry due to a shaky global economy. The challenge there is to find ways to allow the work to maintain the same level of integrity, not letting the quality of the image suffer because a client can't afford to pay what they used to. Another challenge is the whole premise of celebrity photography; make an image that looks like you've known a subject for 5 years as opposed to 5 minutes. I love that challenge most. You have to know how to read people quickly and judge character but the most important factor in that is doing your research. 

      What aspect of photography do you really love?

      What I love most about photography is taking what's in my head whether it's a concept, a feeling, a lighting set up or the mood I want to draw from the subject and translating it to a 2-dimensional image on paper
      What I love most about the photography business is that everyday is different. I never work with the same people every time. Even if my team (assistant, make up, hair, wardrobe) is the same the subject is always different. 
      I love the collaborative process. The idea is to take all of these creative minds and have them thinking as one in order to achieve the goal of creating the best possible image possible

      What's your dream job/project?

      Of course every photog has a list of people they'd love to photograph. Some of the people on my list include President Obama, The Dalai Lama & Bono but my dream isn't really a specific project or a job. My dream is to get all of the ideas and concepts i have swimming around in my head OUT!!...so I can sleep better at night. I get so excited about some of my personal projects that i just want to get them done, and put them out there.
      Can you discuss any specifics about the process of creating a few of the pieces you sent.

      These are just a few images of the many I have had the pleasure creating and people I have had the pleasure meeting.
      Each experience was entirely unique. My process when it comes to shooting is fairly simple. Outside of knowing what I can about a person, not allowing gossip news to overshadow my view of them and having some kind of concept to give the shoot direction, I try to treat the shoot like a conversation and allow it to just flow. 
      -I'd only seen Top Chef a few times before I photographed Tom Colicchio. My main goal was to create an image in one of his many restaurants that spoke to his prowess as a chef and also showed a bit of his personality without looking stiff, which in this case could so easily happen
      -When I photographed Gabrielle Anwar it was less about the process and more about how quickly we bonded on set. We got along so well that by the end of the shoot while my assistant and I  were running late for our plane she offered us a room in her house to stay the night if necessary
      -Kal Penn is Kal Penn. I went into the shoot expecting nothing but jokes and that's what I got. I wanted only to convey my laughter in the images of him through his own expression
      Any advice for neophytes?

      My advice to the Freshmen of Photography:
      -Shoot what you love and do as much research on the subject or subject matter as possible before going into a shoot. You want to be as informed about what you are getting into as possible. Not doing your research is like going to battle without a weapon or going to the gym to work out and hitting the weights and skipping cardio, it just wont be as effective as it could be
      -Also, probably the most important thing I can tell any new photographer is....BE YOURSELF ALWAYS, let "yourself" be the reflection you see in your work...you will be happier in the end