GULF OIL SPILL: Frustration on the bayou: Not all fishers will get work with BP to fight Gulf oil spill > from NOLA.com

Frustration on the bayou: Not all fishers will get work with BP to fight Gulf oil spill

By Chris Kirkham, The Times-Picayune

May 05, 2010, 7:25PM

Yancy Matherne was shrimping in the marshes outside Buras over the weekend when he got the call that many commercial fishers across Louisiana have been awaiting.

It was a BP representative, telling him he should get his boat approved in order to go to work deploying booms to shield marshes against the oncoming oil. He came back early and has since spent $600 getting his skiff up to code, purchasing new life jackets, new fire extinguishers and rigging up a navigation light.

But he's still awaiting a call from BP to go to work - like hundreds of other sidelined shrimpers, crabbers and oystermen across south Louisiana.

"I was still making money when they first called me," said Matherne, originally from Buras but blown to Slidell after Hurricane Katrina. "Right now I'm coming to get the last little money I've got stashed, fill my boat with fuel and bring it down to Venice."

Out of hundreds of Plaquemines Parish boats on the waiting list in BP's "Vessel Opportunity Program," a program designed to put fishers to work fighting oil, only 15 have been put to work so far, with another 50 getting paid on standby. Plaquemines has one of the largest concentrations of fishing boats on the Gulf Coast, so naturally the interest has been great.

Though the program aims to tap into fishers' extensive local knowledge of the marshes, it is already creating a have-and-have-not scenario in boat harbors throughout the coast. With fishing largely shut down east of the river and shrimping now closed everywhere, employment with BP is the only option on the table for many.

But depending on how long the crisis lasts, only a few fishers may be able to partake in the temporary gigs.

Dave Kinnaird, the community support coordinator for BP in Plaquemines Parish, said fishers' experience is important because "Whereas it might take a contractor six hours to find the right spot, the fisherman could do it in two hours."

But he acknowledged there's no way that every boat that wants to work will be able to.

"It'd be impossible to have the entire fishing fleet at sea deploying boom," Kinnaird said.

In Plaquemines, names are not drawn randomly out of a hat. Rather, boats are chosen based on their size and type, such as steel or fiberglass hull. Kinnaird said the company is trying to be as equitable as possible in hiring from the wide array of ethnic communities in the parish, from Vietnamese to Cambodian to Croatian to the standard American fisherman.

The number of boats going to work has created frustration across coastal southeast Louisiana. In Jefferson Parish, Parish Councilman Chris Roberts, Lafitte Mayor Tim Kerner and Grand Isle Mayor David Camardelle issued a joint statement Wednesday criticizing the plan to hire fishers, calling it a "smoke screen" to keep fishers temporarily happy.

"Saying that you are training fishermen and readying them for the spill gives the impression BP is concerned about their well-being," the statement said. "What they are not saying is that BP is hiring less than 10 percent of the fishermen being trained in direct impact areas. The other 90 percent are virtually unemployed and have obligations that cannot be met."

Waylon Buras, a Venice shrimper, was among the frustrated and out-of-work until he got the call from BP Wednesday afternoon telling him he was due to be hired.

"It's hard as a fisherman to be patient, because all our bills are due," Buras said. "This time of year all of us would be making money, and now everyone's on standby."

Buras has been coordinating the vessel program with BP off-and-on over the past few days, and said he believes the company is doing its best amid non-stop phone calls.

"The best I can say, from my standpoint, is it's a very large operation and its just taking time to get coordinated," he said.

Buras said fishers can also call a BP hotline at 1.800.440.0858 to receive compensation for lost wages.

 


Chris Kirkham can be reached at ckirkham@timespicayune.com or 504.826.3321.

 

OP-ED: On the Gulf Coast, Fighting a Tide of Oil, Painful Memories and Dread

jason-berry

Jason Berry

Contributor

 

On the Gulf Coast, Fighting a Tide of Oil, Painful Memories and Dread

Posted:
05/4/10

NEW ORLEANS -- The great media machinery has descended on Louisiana's serrated Gulf of Mexico coastline, the wetlands scarred by 10,000 navigational canals cut by the oil companies over many years. All that gouging of saw grass and florabunda yields the disappearance of a marsh plot the size of a football field every hour. Flash back to Aug. 31, 2005: Hurricane Katrina's winds pushed rolling sheets of water into a huge funnel that surged across those soggy flatlands like a sluiceway into the holy city where jazz began, 80 percent of which went under water. Average flood level, four feet.

You saw the people on the rooftops begging for help.

In grade school, back in the Eisenhower days, we were taught that the Gulf of Mexico was 90 miles south of the city. Not long ago The Times-Picayune reported that if the erosion is not halted, the swallowed wetlands will advance the Gulf of Mexico to about 35 miles south of the city in roughly 15 years.

If that scenario is inexorable, a Category 3 storm similar to Hurricane Katrina might well drown the city, period. But the butchered coast is not today's story. The oil slick from Deepwater Horizon -- British Petroleum's blown-out oil rig deep in the Gulf -- is spreading a thick black sheen toward the wetlands, filling our days with a sense of déjà vu, twinning the after-traumas of Katrina with nightmare prospects of times to come.

Over the weekend, BP began drilling a relief well, which involves an 18,000-foot tunnel, starting 5,000 feet below the water surface, designed to pack heavy liquids into the original well in hopes of stanching the flow. That remedial mission is likely to take three months.

Meanwhile, in homes and businesses and crowded restaurants, amid the happy bustle of the Jazz and Heritage Festival, people watched television coverage with a palpable sadness for the fates of those who harvest the Gulf waters.

The Louisiana coast produces a third of the seafood Americans consume each year. The oil is heading into the fertile waters of shrimp, oysters and various fisheries. As dark showers rolled across the southern parishes and out into the Gulf, the oil spill meandered, widening like an ink blot, but had not reached the coast as of Monday night. The speculation all week was how long the commercial fishermen would have nothing to fish. Just this year? Next year? Three years?

 

More Oil Spill Coverage:

- Wind Keeps Slick Away From Land
- Both Sides Politicize Disaster
- BP Admits 'Misstep' on Lawsuits
- BP Chief: Oil Spill Could Last Months
- On the Gulf Coast, Fighting a Tide of Oil
- Is Gulf Oil Disaster Obama's Katrina?
- Politics Daily: Full Coverage

Lawsuits taking shape to compensate the fishing industry have not stopped many of those with boats to jump into temporary work for BP, using the decks that usually teem with shrimp and crabs to transport thick boom-line coils, then unfurling them into the water to keep the lethal oil slick from spreading. Few people believe their valiant efforts will stave off the deepening catastrophe.

How many years will pass before the contamination is remediated? How long will the loss of marine life affect the economy? What is the impact of long-term pollutants? Such are the questions that course through our days.

Here are words from people in scattered places in recent days.

"Those po' fishermens down there gettin' all wiped out."

"If you're a defense lawyer for BP, you can pay your kid's college now."

"They never fixed the Lower Nine. How they goan fix the coast?"

"We're a colony for Big Oil."

"How many more days you think we can eat ersters?"

"They bringing oysters and shrimp in from Texas."

In a city renowned for its cuisine, the blanket of petroleum poison will hit hard. So far, shrimp and oysters are available, but everyone knows the government ban on harvesting the poisoned waters will soon force wholesale distributors and restaurateurs to pay import costs, which will be passed along to diners and consumers. That is a fact of market economics. What is harder to grasp is the gargantuan size of the oil slick, which exceeds the dimensions of the Exxon Valdez spill in Alaska a generation ago and will reportedly approach the size of Jamaica.

Estimates of the leakage have increased from 42,000 gallons to 210,000 gallons (5,000 oil barrels) per day, with no end in sight. As the spill moved through its second week, President Barack Obama announced that BP was responsible for the bulk of cleanup costs. No surprise there; but the suddenness and size of the spill suggest the cost for government emergency services will escalate in kind.

An upward revision of the leakage estimates put the flow rate at nearly 2 million gallons per day, according to Bob Thomas of Loyola New Orleans's Center for Environmental Communication. When Bob Thomas puts out a statement like that, the smart money listens. Blessed with a calm, orderly mind, at ease with facts, Thomas is equal parts environmentalist and moderate Republican, neither a basher of industry nor an enemy of capitalism. In a May 4 op-ed for the Times-Picayune, he articulated the dread that many people here have felt on a sort of intuitive grief level:

"Some threats are obvious: oiling of tens of thousands of nesting birds on our barrier islands, contamination of a higher number of transient migratory birds arriving from the south, killing of oyster reefs. . . .

"Some impacts are not so obvious. If coastal marshes are destroyed, the organic material they produce and release into estuaries that feed the bottom of the food chain disappears. We have no idea what will happen to plankton that floats below the oil in estuaries and at sea. Plankton will be stressed by the absence of organics from the marsh, and they may be directly killed by contact with oil."

The scene of an oil-drenched bird -- alive, confused -- on TV news drove home a subtler theme of the vulnerability ordinary people feel when catastrophic events overtake their days. The shared angst of 9/11 has long since passed, but we all remember where we were when we first saw jet planes smashing into the skyscrapers on a television screen. The oil spill is different. It is not universal; it's one of those horrible moments that make disaster voyeurs out of most of the nation, as people peer into another pool of civilization besieged, out there, somewhere -- but not my where. In 2001, we were all attacked.

To veterans of Katrina, a familiarity sets in, a rewinding of the mental track, remembering what it was like to flee the city, watching the town you loved transmogrify into a disaster byline for Anderson Cooper, Brian Williams, New Yorker essayists and the army of reporters who descended on smashed streets to capture the breakage of a city, shards of life, your town, the place that was. In the nomadic existence of motels or the homes of friends or strangers, across five weeks of fretful waiting for the waters to drain from a land mass eight times the size of Manhattan Island, one learned anew the meaning of citizenship, of community, hands across the table.

New Orleans has achieved a partial recovery. Miles of fractured streets still await repair; although a quarter of the pre-storm population of 457,000 has not returned, thousands of homes have been repaired, a sense of starting over surged when the Saints won the Super Bowl. And Mitch Landrieu, who was elected mayor by a huge margin, was inaugurated Monday. "The first step is to declare that we are no longer recovering, we are no longer rebuilding," he said. "Now, now we are creating."

Coming after the retarded pace of recovery under outgoing Mayor Ray Nagin, who insulted every possible constituency and left office with an approval rate of 25 percent, Mitch Landrieu's speech rang with an optimism the people yearn to share.

The mayor's image of resilient optimism, like water for the thirsty masses, competed on TV news with a bird drenched by oil, an image worth a thousand fears. Creating or rebuilding is what people do when they pick themselves back up. Down the Mississippi and out in the near precincts of the Gulf, as the fishermen on their boats tossed boom lines into the muck on the water, dark skies carrying rain and wind kept the slick at bay.

"Impacts not so obvious" lay in wait, the ache of a story to continue, so near to us, so far from you.

 


Comments [58] -->

 

Jason Berry

Jason Berry is producer of "Vows of Silence," a film documentary on the Vatican and the Maciel case. He is writing a book on finances of the Catholic Church.

Contact Jason Berry

subscribe to: RSS email: Jason Berry

 

 

 

 

 

PUB: New England Poetry Club Poetry Contest

New England Poetry Club 2010 Contests

* Annual contest: submit April and May only

 

Contest Guidelines

All contests are open to members in good standing except Board members.

Non-members may enter by paying $10 for up to 3 poems and $3 for each additional poem. Only one poem per contest. Make checks out to New England Poetry Club (no charge for students and members).

* Entries must be orginal unpublished poems in English.

* No poem may be entered in more than one contest, nor should it have won a previous contest.

* Poems should be typed and submitted in duplicate, with the author's name and address on one copy. Include an email address too, if possible. Label poems with the name of the contest.

* No entries will be returned, and New England Poetry Club (NEPC) will not engage in correspondence regarding poems submitted or contest decisions.

* Judges are well-known poets, and sometimes are winners of previous NEPC contests.

* No entries should be sent special delivery or express mail. Regular mail only.

* Mark the name or names of the contest(s) entered on the envelope before mailing. All entries (unless otherwise noted) should be sent to: NEPC Contest Coordinator, P.O. Box 190076, Boston, MA 02119.

* Annual contest deadline: May 31. Entries must be postmarked in April and May only.

 

PUB: Oberlin College Press Field Poetry Contest

2010 FIELD POETRY PRIZE

The editors of FIELD are pleased to announce the fourteenth annual FIELD Poetry Prize competition. The contest is open to all poets, whether or not they have previously published a book. Unpublished poetry manuscripts between 50 and 80 pages in length will be considered. All manuscripts will be read by the editors of the Press, David Young and David Walker. Oberlin College Press publishes the winning manuscript in the FIELD Poetry Series and awards the winning author one thousand dollars ($1,000).

Manuscripts must be postmarked during May 2010. The contest reading fee is $25 and includes one year’s subscription to FIELD. Please make checks payable to Oberlin College Press.

Manuscripts will not be returned. Include a self-addressed, stamped postcard if you wish to be notified that your manuscript has been received at our office.

We will announce the winner here in August 2010.

Send manuscript and reading fee to:

FIELD Poetry Prize
Oberlin College Press
50 North Professor Street
Oberlin, OH 44074

Please note: Persons interested in submitting work for the FIELD Translation Series should read the guidelines.

PUB: POUI - The Cave Hill Literary Annual (Barbados) > from Seawoman’s Caribbean Writing Opps.

POUI: The Cave Hill Literary Annual (Barbados)

OUI: The Cave Hill Literary Annual of the University of The West Indies accepts submissions of poetry and prose from Caribbean and extra-regional writers. It is published by the Centre for Language, Linguistics, & Literature.

The submissions are to be original and unpublished. The entries should NOT bear your name.

Submission length are to be between 1800-5000 words in a MS Word or Wordperfect format as an attachment. It is advisable to include a covering letter with your contact information and the names of your pieces and genres.

POUI retains one-time first publication rights, but when you publish them again, let them know as a matter of courtesy.

NB. Selections are usually made by the end of the year by the Selection Committee and contributors receive a copy.

DEADLINE EACH YEAR: July 31st

Contact Angela Trotman for more information by email or telephone at: (246) 417-4404 or via email at atrotman@uwichill.edu.bb.

POUI: The Cave Hill Literary Annual
Centre for Language, Linguistics & Literature
Cave Hill Campus
P.O.Box 64
Bridgetown
Barbados

EVENT: Harlem—Kola Boof performs, reads at National Black Theatre of Harlem

Kola Boof performs, reads at National Black Theatre of Harlem

 

 

 

 


Award-Winning Novelist-Poet Kola Boof sings and
performs at the National Black Theatre in Harlem
on May 28th

 

Kola Boof will sing native Nilotic Egyptian songs and read from her
many books at THE NATIONAL BLACK THEATRE in Harlem on
Friday, May 28th at 7 pm.

The National Black Theatre in Harlem is located at 2031 Fifth Avenue
New York New York 10035. Admission is Free.

BET/VH-1 television Host and author of "Dare" Abriola Abrahams will
introduce Ms. Boof at the event. Seattle Impressionist Tamarrah Fox will
salute Boof as a "pop culture Diva" by impersonating the famed author in drag.

WHEN: Friday, May 28th, 2010 at 7pm


WHERE: The National Black Theatre in Harlem, 2031 Fifth Avenue,
NY NY 10035


COST: Admission is FREE

 

_______________

SATURDAY MAY 29th, 2010

KOLA BOOF at HUE-MAN BOOKSTORE IN HARLEM!!!


The following day, Saturday May 29th, KOLA BOOF will sign her books at the
legendary HUE-MAN BOOKSTORE in Harlem from 4 pm to 6 pm. The
store is located at 2319 Frederick Douglass Blvd. New York City, NY 10027.


Kola Boof will sign "Flesh and the Devil" and "Long Train to the Redeeming Sin." She

will also give away door prizes and take photos with her fans.

You can also hear Ms. Boof read on Tuesday, June 15th at MADAME X in New York
City when she's honored at Abiola's KISS & TELL LIVE REVUE.

 

 

 

REVIEW: Documentary—“Still Bill,” a Bill Withers documentary > from The New Yorker

Pop Music

<p>Still Bill Trailer from B-Side Entertainment on Vimeo.</p>

STILL BILL is an intimate portrait of soul legend Bill Withers, best known for his classics “Ain’t No Sunshine,” “Lean On Me,” “Lovely Day,” “Grandma’s Hands,” and “Just the Two of Us.” With his soulful delivery and warm, heartfelt sincerity, Withers has written the songs that have – and always will – resonate deeply within the fabric of our times.

Filmmakers Damani Baker and Alex Vlack follow Withers and offer a unique and rare look inside the world of this fascinating man. Through concert footage, journeys to his birthplace, interviews with music legends, his family and closest friends, STILL BILL presents the story of an artist who has written some of the most beloved songs in our time and who truly understands the heart and soul of a man.

 

>via: http://stillbillthemovie.com/

As Is

Bill Withers makes no apologies.

by Sasha Frere-Jones March 8, 2010

“I’m sick and tired of somebody saying ‘I love you’ with both arms up in the air,” Bill Withers said. Photograph by Fin Costello.

In 1972, a year after the release of his first album, “Just As I Am,” Bill Withers performed a song on British television. “Harlem,” the record’s first single, had done little on the charts, but radio d.j.s had picked up on its B-side. Wearing a ribbed orange turtleneck and sweating visibly, the thirty-three-year-old rookie introduced the first song he had ever written:

“Men have problems admitting to losing things,” he said. “I think women are much better at that. . . . So, once in my life, I wanted to forgo my own male ego and admit to losing something, so I came up with—” Withers began to play his acoustic guitar and sing. “Ain’t no sunshine when she’s gone / It’s not warm when she’s away / Ain’t no sunshine when she’s gone / And she’s always gone too long, any time she goes away.”

“Ain’t No Sunshine” gave Withers his first gold record, earned him a Grammy, and, with later hits such as “Lean on Me” and “Use Me,” forms the cornerstone of a small but indispensable section of the American songbook. A new documentary about Withers, “Still Bill,” is an unshowy, confident attempt to render the personality of a man who wrote so well and then walked away, in 1985, adding only a handful of songs to his legacy since then.

The sixth of six children, William Harrison Withers, Jr., was born on July 4, 1938, in Slab Fork, West Virginia. The town’s only viable industry was coal mining, and Bill, Jr., was the only man in his family who did not end up working in the mines. When he was three years old, his parents divorced, and Withers eventually moved eleven miles east, to Beckley, where he was raised primarily by his mother’s family; he was an asthmatic and a stutterer. Eager to leave West Virginia, he joined the Navy when he was seventeen, and spent nine years in the service. While stationed in Guam, he took to singing in local bars, favoring material by artists like Johnny Mathis. After settling in Los Angeles, in 1967, and landing a job installing toilets on airplanes, Withers met the trombonist and pianist Ray Jackson, who helped him make the demo that got him signed to the independent Sussex label.

Withers says that he is an untrained musician, and his songs bear him out, not because they lack sophistication but because they ignore tendencies that deserve to be ignored more often. “Ain’t No Sunshine” is a two-minute song with only three verses, a bridge that repeats two words twenty-six times—“I know”—and no chorus to speak of. Withers likes to form guitar chords that he can simply move up and down the neck without altering the position of his fingers. This simple approach leaves room for his baritone voice to map out subtle, articulate melodies. “Harlem,” the brilliant A-side that was unjustly ignored in 1971, modulates steadily upward in key in the course of its eight verses, pounding forward on a square beat that, while propulsive, sounded nothing like the R. & B. or funk of the time. As he put it, it’s “1970, 1971 or something, you know, I’m this black guy coming out sitting on a chair with an acoustic guitar.”

“Just As I Am” was an adult formation of pop, with little time for obscure metaphor or gnomic phrases. Withers’s gift lies in the immediacy of his scenarios and in how few words he needed to turn around a thought: his common explanation for how he reached conclusions as a writer is “I was feeling what I said.” His willingness to express his most awkward emotions was matched by an intolerance for unsubstantiated shows of emotion. As he told Ellis Haizlip, the host of the television show “Soul!,” in 1971, “I’m sick and tired of somebody saying ‘I love you’ with both arms up in the air like that. I can’t believe that.” Withers made his vulnerable moments as sharp as his angry moments, and his angry songs were as complex as his love songs. “Just As I Am” and its follow-up album, “Still Bill,” are as fine as any singer-songwriter albums released in the seventies.

What happened after the release of the Sussex albums is still a subject of debate, though the facts themselves are not hidden. Sussex went bankrupt, and, although Withers could have bought back his albums, CBS Records scooped up the lot for a rumored hundred thousand dollars in 1975. Withers’s relationship with CBS was, at best, fraught. The songs that he recorded for CBS were no longer about the struggles of day-to-day life; they were, mostly, the easy palliatives he had never seemed to endorse. The driving chords and stomping foot were replaced by twinkling electric pianos and lyrics about reassuring unrealities like “crystal raindrops.” This lyric is from “Just the Two of Us,” written with Ralph MacDonald and William Salter, in 1980. It became a huge hit, though in style a world away from the ascetic soul Withers started with.

After 1985, Withers stopped recording entirely. The songwriting and licensing royalties kept coming in, enough to pay the rent in Los Angeles for the past twenty-five years.

The directors of “Still Bill,” Alex Vlack and Damani Baker, found Withers at home in 2007. As Withers describes it, they “kept following me around,” generating more than three hundred and fifty hours of footage in the process. “It wasn’t like I was anxious to have somebody following me around,” he said later. “They were nice people, but after a while I was done.”

At the age of seventy-one, when many would be happily telling war stories and soaking up adulation on the revival circuit, Withers watches “Judge Judy” and rails against the record companies that both thwarted him and made him wealthy. “I have to be careful that I don’t just wallow in my own comfort,” Withers says at one point. Though the movie captures Withers criticizing the CBS A. & R. man who suggested that he cover Elvis Presley’s “In the Ghetto,” in the eighties, his fiercest riposte to the white “blaxperts” can be found in an interview filmed for the 2005 reissue of “Just As I Am.”

“You gonna tell me the history of the blues? I am the goddam blues. Look at me. Shit. I’m from West Virginia, I’m the first man in my family not to work in the coal mines, my mother scrubbed floors on her knees for a living, and you’re going to tell me about the goddam blues because you read some book written by John Hammond? Kiss my ass.”

This anger is as valuable as the unmacho bravery that allowed Withers to write “Lean on Me,” maybe the best-known ode to friendship, released in 1972. At one point in “Still Bill,” Withers says he would like “for my desperation to get louder.” Three years ago, Withers reclaimed several tapes of unreleased material from his record company. Is his desperation in there, or is it yet to be recorded? It may be enough to know that a young black man from a mining town was able to bring his songs to a world that would rather have had “the Rhythm & Blues . . . with the horns and the three chicks,” as Withers has said. If a new generation simply buys the albums that he began with, they’ll have lifelong friends. 

PHOTOGRAPH: REDFERNS/GETTY IMAGES
============================
At a screening in New York City, Ua Salaam (Kalamu's granddaughter) gives a comment to Bill Withers