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PUB: Call for Submissions for Ecquid Novi Journal: Social Media and Journalism in Africa > Writers Afrika

Call for Submissions for

Ecquid Novi Journal:

Social Media and

Journalism in Africa


Deadline: 15 July 2012

This Special Issue of Ecquid Novi: African Journalism Studies will survey the intersection of SOCIAL MEDIA and JOURNALISM in Africa. We hope to offer a venue for new empirical research and for the development of theory and analysis.

Publication will be in early 2013. Around Africa tensions are evident between the rapid commercialization and deregulation of traditional media and increasing pressures for a compliant media discourse from commercial and state media proprietors. Social media demonstrate an unprecedented ability for the politically engaged to both bypass and influence traditional information flows, but social media use faces unique circumstances through much of Africa, due to an underdeveloped telecommunications infrastructure, limited (though rapidly increasing) extra-urban mobile access, and bandwidth limitations in many areas. There has been a rapid escalation in the numbers of people using Twitter to monitor and to disseminate information, and the use of mobile devices is also skyrocketing amid massive marketing campaigns dominated by a few multinational providers. While use of social media may be less constrained by government control in Africa than elsewhere, its role remains largely untested in the context of general under-development and limited ICT penetration. Signs of social change brought by leapfrogging mobile technology are evident around the continent, inspiring questions about the new nature of information exchange and citizenship. Crucial questions remain about whether the apparent efficacy of social media as a political organising tool beyond state control in north Africa has implications for the rest of the continent.

Authors may address the following questions, but other approaches and related topics are welcome:

- How have social media supplemented or replaced traditional information sources?

- How are social media and other new media being incorporated into processes of journalism in Africa?

- Are social media changing established flows of information in Africa and between Africa and the world?

- How do specific cases of social media and other ICT use in Africa compare with non-African cases?

- How are diasporic and/or exiled journalists employing social media?

- To what extent have social media been an empowering force in Africa?

- Are new forms of citizenship emerging in Africa as a result of social media?

- What new methodological challenges to the study of journalism in Africa are posed by social media or emerging forms of communications generally?

We are open to a variety of methodological approaches and geographic foci. Articles should be 6000-8000 words and proposals for shorter commentaries are also welcome. Contact the editor of this issue with expressions of interest: c.paterson@leeds.ac.uk

All submissions will be peer reviewed, with notification of acceptance by September 1, and revision required by October 1 2012.

CONTACT INFORMATION:

For queries/ submissions: c.paterson@leeds.ac.uk

Website: http://uwpress.wisc.edu/journals/journals/ajs.html

via writersafrika.blogspot.com

 

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PUB: JFTC International Essay Competition 2012 (1M yen top prize and trip to Japan | worldwide) > Writers Afrika

JFTC International

Essay Competition 2012

(1M yen top prize

and trip to Japan | worldwide)


Deadline: 15 September 2012

JFTC is involved in a wide range of activities with the objective of contributing to the prosperity of the Japanese economy and the development of international society through trade. Most importantly, JFTC functions to develop a consensus within the business community regarding various trade-related problems, and actively presents specific proposals to the government and related organizations for the solution of such problems. JFTC has been highly lauded in various quarters for its past achievements.

JFTC is sponsoring JFTC Essay Competition 2012 to encourage students, young researchers and businesspeople to express their opinions on matters of national and international importance.

1. ESSAY TOPIC: “Strategies for a Depopulating Japan”

The population of Japan peaked at 127.79 million people in 2004. According to the medium-variant projection of the National Institute of Population and Social Security Research, by 2030 it will decrease to 115.22 million and continue falling below the 100 million level to 95.15 million by 2050. A drastic decline of a population like this in a rapid aging society is expected to have negative impact in various areas of people's lives: Slowing the economic growth, draining the national revenue, and threatening the quality of social security systems. It can even cause a serious concern over the national security.

Moreover, population decline due to a low birth rate in an aging society is not a unique problem to Japan. It represents a concern that is coming up globally in many countries including China and European nations. Thus, the rest of the world is watching closely how Japan will effectively and appropriately cope with this issue.

We have seen a variety of proposals to keep our society of a dwindling population running: Measures to encourage people to have larger families, new business models that focus on enhancing the standards of living for aging population, reforms to the political and social security systems, and efforts to bring in manpower from overseas. However, none has proven remarkable effectiveness. Japan is facing this difficulty ahead of any other country in the world. What kind of country we should create in the future? And how can we achieve it? We solicit your suggestions and proposals that are unhampered by conventional ideas from all over the world without boundaries of age, gender or nationality.

2. PRIZE

  • One Grand Prize of 1,000,000yen
  • Three Prizes for Excellence of 200,000yen each
  • The award winners from abroad will be provided with a round trip air ticket to Tokyo, Japan to attend the award ceremony to be held on January 8, 2013.

3. JUDGES
  • Chair Dr. Iwao Nakatani, Director of Research, Mitsubishi UFJ Research and Consulting Co., Ltd.; and Chairman of Fushiki-an
  • Vice Chair Professor Yoko Wake, Faculty of Business and Commerce, Keio University
  • Vice Chair Mr. Kazuo Mori, Senior Staff Writer, NIKKEI INC.

4. QUALIFICATION: Anyone can apply for the Essay Competition, regardless of nationality or age.

5. LANGUAGE: English (4,000words) or Japanese (10,000characters). Each essay MUST BE accompanied by an essay summary of no more than 400words in English/ 1,000 Japanese characters.

6. DEADLINE: September 15, 2012 at 24:00 (JST)

We CANNOT accept any essays after this time. The entry page will be really congested at around the deadline time. It is recommended to apply earlier to avoid technical difficulty accessing the page.

7. TERMS OF REFERENCE

Essays must be submitted in the specified format sheet. Unless both essay title and summary are presented, such application shall be deemed incomplete and will NOT be evaluated. Also, all submissions must be original and should be submitted with complete fill out of an entry form. No previously published materials will be accepted. All rights to the award-winning essays shall be the exclusive property of JFTC.

8. ANNOUNCEMENT

Award winners will be publicly announced on December 14, 2012. The award-winners from abroad will be provided with a round trip airticket to Tokyo, Japan to attend the award ceremony to be held on January 8, 2013.

9. FREQUENTLY ASKED QUESTIONS: Please read the FAQ page.

Download: format sheet

CONTACT INFORMATION:

For queries: kouhou@jftc.or.jp

For submissions: via the competition entry form

Website: http://www.jftc.or.jp

via writersafrika.blogspot.com

 

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VIDEO: Voices from Haiti - Kwame Dawes & Andre Lambertson > Pulitzer Center

VOICES FROM HAITI

Poetry by Kwame Dawes
Photography by Andre Lambertson

Learn more: pulitzercenter.org Visual poetry chronicling the lives and challenges of Haitians living with HIV/AIDS after the earthquake. Poem by Kwame Dawes, with images from Andre Lambertson. See all related reporting from the project "Voices from Haiti" (bit.ly including poetry, photography and print reporting.

via pulitzercenter.org

 

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REVIEW + INTERVIEW: The Return - by Dany Laferrière

The Return,

by Dany Laferrière

Translated by David Homel

Dany Laferriere is one of those “mean-to” authors for me, in the sense that I’ve been “meaning to” get to one of his books for a number of years. Born in Haiti in 1953, Laferriere has been part of the Haitian writing community in Montreal since he emigrated there in 1976. He writes originally in French — as best I can tell ten of his 14 novels have been translated (David Homel seems to be a regular partner). How To Make Love To A Negro Without Getting Tired (1987), Down Among The Dead Men (1997) and I Am A Japanese Writer (2010) are probably the best known in English. As the publication dates indicate, he has been at this for a while. The Giller jury having finally moved me to action, I’ll say that The Return was impressive enough that I will definitely be exploring his back catalogue.

This “novel” has already won a slew of recognition in its French-language version: the Prix Medicis, the Grand Prix de Livre de Montreal and short-listed for a number of other prizes including Canada’s Governor-General’s award for French-language fiction. I put “novel” in quotes because it seems to be a useful catch-all label to describe The Return, a book which is part memoir and part free verse, with conventional fictional elements in the form of short narrative sections added in, almost as a binder to bring the rest together.

The book opens in 2009 with a phone call from New York to Montreal. The Dany Laferriere of the book has been in the “never-ending winter” of Montreal since 1976; his father, Windsor, had fled Haiti to New York in the 1960s and the two have not talked since. Here’s the opening of the book, a representative sample of what I am calling the “free verse” of the book:

The news cuts the night in two.
The inevitable phone call
that every middle-aged man
one day will receive.
My father has died.

I got on the road early this morning.
No destination.
The way my life will be from now on.

The estrangement between father and son has not just been for the last 30+ years in North America — it started in Haiti when Dany was four, his rebel father headed into the countryside to evade Papa Doc and his killers and the young Laferriere sent to live with his grandmother. This opening section is entitled “Slow Preparations For Departure”, an aptly ambiguous label that captures the author’s confusion both as he gets ready to go to New York and his brief stay there.

That section also firmly establishes why Laferriere chose the mixed narrative forms of verse and conventional prose to tell his story. The free verse parts are not so much poetry as they are representative of those fleeting thoughts that come into our minds when we are faced with a new set of circumstances — part memory, part uncertainty, part the forming of resolutions about what the future might hold and they all get mixed up as we think them.

In an early chapter titled “Exile”, the grieving narrator pulls out “the photo my mother slipped/into my pocket just as I/closed the low green gate” to depart Haiti 33 years ago when he was 23. The photo brings a flood of memories:

If I didn’t know then that
I was going to leave
and never return,
my mother, so careworn
that day,
must have felt it
in the most secret part of her body.

We’re stuck in a bad novel
ruled by a tropical dictator
who keeps ordering
the beheading of his subjects.
We scarcely have time
to escape between the lines
toward the margin that borders the Caribbean Sea.

Here I am years later
in a snow-covered city
walking and thinking of nothing.
I am guided only
by the movements of frigid air
and that fragile neck ahead of me.

I hope those two quotes illustrate the nature of Laferriere’s “verse”: it comes not as poetry but disjointed, interrupted narrative, the pauses marked by each line representing the kind of mental pauses our brain takes when it is in a contemplative mode. The conventional narrative parts, by contrast, are straight-forward, outward-looking and tightly-phrased. When he gets to New York, Dany discovers that his father had left a suitcase in a safety deposit box:

We want to retrieve the suitcase my father deposited at the Chase Manhattan Bank. Since I have the same first name, the employee gives me the key to his safety deposit box and asks me to follow him into the bank’s vault. I step inside quietly with my uncles. That quality of silence exists nowhere but in a bank, a church or a library. Men fall silent only before Money, God and Knowledge — the great wheel that crushes them. All around us, small individual safety deposit boxes filled with personal belongings of New York, city of high finances and great misery. The employee leaves us alone. I open my father’s box and discover an attache case inside.

Dany does not have the code that would enable him to open the attache case. And he can’t risk being caught in an attempt to sign it out. So it goes back, unopened, into the safety deposit box. We already know that his father’s death has caused him to resolve to return to Haiti; the experience in the bank vault means that he will carry with him the baggage of unknown memories of a man with whom he had no contact for more than half a century.

The opening section takes up about one-quarter of the book; the remainder takes place in Haiti. While both father and son were forced into exile by the excesses of the Duvalier regime, this part is anything but polemical, rather it is a study in the tactics of survival. The present time is 2009 and Duvalier is long gone — but for those trying to live a life, not much has changed. Laferriere effectively captures a braided triple stream of memory and discovery: what kind of life did his father live before he went into exile? what are his own memories of his 23 years in Haiti? and a 23-year-old nephew, a present day version of the young Dany, supplies the platform to explore how the current generation is getting along.

The author so firmly establishes his own character and uncertainty in that opening section that this voyage of self-discovery is one which the reader has no trouble joining. As Dany embarks on his own set of explorations and experiences in a devastated country he left 33 years ago (and which this reader has never visited), it is an honor to be asked along. It is the kind of reward that every fiction lover (or poetry reader) welcomes as the sign of great writing.

The Giller jury deserves fulsome praise for including this book on its longlist, even if it did mean stretching the definition of “novel” just a little bit. This is exactly the kind of work that literary prizes are meant to draw to the attention of serious readers. If you click on the book cover at the top of the review, it will take you to Laferriere’s page at his English language publisher, Douglas & McIntyre, and you can check out not just this book but three others that they have published in translation. He as an author that I am glad has finally moved from my “mean to” category to “started on” — I will be returning for more, I assure you.

via kevinfromcanada.wordpress.com

 

__________________________

 

Q&A with Dany Laferrière

– Giller Prize longlist author

by JOSEPH WEBB on Sep 20, 2011 • 11:37 am

CanCulture: What was your first reaction upon hearing that your latest novel, The Return, made it onto the Giller Prize longlist? 

Dany Laferrière: Very happy. It is important for a book in its time to get any kind of exposure.

CC: What do you consider to be the strengths of your book?

DL: Oh, I don’t know. I don’t think about that like that. I just write books with my vision to draw a picture. I write books on maybe the same area, the same field, from my childhood to now. I have written 21 books and they are on the same level for me and they all talk about the same thing. My journey is something like that: my childhood in Petit Goâve to Port-au-Prince, in Montreal and Miami and other towns in America. I want to follow the places of my life. You know there was a big event in Haiti, the coming of the dictatorship of [Jean-Claude] Duvalier. After that, so many people were in exile. All of my books relate [to] the story of this exile, this voyage. It is my story but it is the story of so many people who had to leave their country and to go outside, and to women who have to live with their memories. And that is why I am talking about my childhood, or my adolescence under the dictator, or the death of my father and the return to Haiti in The Return.

CC: Do you just write the story as you experience it?

DL: Oh yes, I always write from my personal life with the desire of writing for everybody but also I begin with me. It is always personal. Writing is never, for me, something public. I have to go deep inside to the bottom. It is only when I am really honest with myself that I can reach the audience.

CC: Do you ever struggle with nostalgia and identity?

DL: No, I never talk about identity, I know my identity exactly. I just want to show my identity with all of my books. I know where I am from, I know what my childhood is, and what I am doing here. This is an occidental problem, the problem of identity. I don’t have any problem like that. I am not nostalgic, [which] is why all of my books are written in the present tense.

A long time ago I came to Montreal. I left Haiti 35 years ago, and you live with so many people. After 35 years, you know your neighbors and you know the people of this country. You would like sometimes to show yourself to these people because there are so many people who say anything about Haiti and they don’t even know Haiti, they don’t even see Haiti. They only talk about the numbers, the famine, about the poverty, about the dictatorship. I would like to show to them that there are very sophisticated feelings in Haiti. I would like to show them that [Canadians] are the same people as we in [Haiti].

CC: Has the search for simplicity been greatest lesson you have learned about writing?

DL: Yes, inside that simplicity is that whole complexity. Simplicity is a piece of art that the artist uses to escape all of the difficulties; I do not put the difficulties or the anguishes inside the work. You did not see what happened to [me when I] was writing the book: you did not see all of the nightmares, all of the anguishes when you are reading the conclusion, the sunny part of the work. This is the lesson that I have learned from the primitive painters who are living in Haiti. There are very poor people in Haiti who are painting pictures that are so elegant, that do not show you what is their daily life, what kind of problems they confront when they are making these paintings. There is always the problem of daily life when children can’t go to school, can’t eat. Painters don’t have the money to pay the rent. You never see that in their painting. For me, I put some information of the daily life and I talk about famine, I talk about some kind of problem inside, even [when] I am talking about the death of my father [and] the terrible situation in Haiti.

I hope that you can see the sun in the middle of the book. It is a sunny book; it is not a very morbid or very dark book. For me, the dark or the morbid is always from people who have a very easy life and strive to change and to talk about something else in their art. It is like that for every one when you are in your imagination: you don’t want to find exactly what happened in your daily life. And when people have an easy life, they want to be dark in their imagination, or when they have difficulties in their daily life they can’t see how to go outside of these difficulties. And sometimes they escape by the art. They put the sun that they cannot have in their daily life in their art.

CC: Do you think that the “sun” in the book will stand out during the consideration for the Giller Prize?

DL: I don’t write for the Giller Prize, I write for the reader. I don’t know what happened to the reader. The reader is someone with his own life. Every reader has his own reading: you are not only reading the book, you are reading with your feelings with what happened to you this day. Even the weather has more of an influence, sometimes more important than the writer, on what you are reading. I don’t write for any kind of specific reader. I write and the reader, if you want, reads.

– Photo courtesy of Alex Paillon

>via: http://www.canculture.com/2011/09/20/qa-with-dany-laferriere-giller-prize-lon...

 

 

 

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VIDEO: “The Diaspora Travels: Haiti” > docuvixen

The Film

“The Diaspora Travels:

Haiti”

Posted on May 1, 2012 by a docuvixen film

The Diaspora Travels: Haiti explores the possibilities of discovering home and connecting lives to the living past. This feature-length documentary begins in Toronto and meanders through Montreal and New York, Boston, and Miami to arrive on the streets of Port-au-Prince. Along the way, it offers glimpses of the Haitian diaspora: some of whom, in order to support family, have for years lived between their adopted and ancestral homes; others who have repatriated since the 2010 earthquake and others still who, moved by catastrophe, visit Haiti for the first time.

The film focuses on the life experiences of two women. Seraphine Legend is a resident of Port au-Prince. She survived the earthquake that destroyed her home, but lost a leg to infection. She remains optimistic; and hopes that her son will be able to support his young family. Marita Mariasine, founder of The Haiti Projects, arrives from Montreal just after the earthquake. With the Earthship crew and travels the country to assess needs and works with Haitians to build sustainable housing.

The Diaspora Travels: Haiti is a story about going back home. Home is the complex ways that Haitian people have organized themselves against adversity and used their own resources to rebuild their communities after waves of devastation. The film offers the audience a broader view – and a direct link – to reconstruction efforts engineered by Haitian and diasporic-led organizations such as Foundation Maurice Sixto, Institute Of Justice And Democracy In Haiti and The Haiti Projects. If you want information on how to donate/fund/sponsor the production: docuvixen.donation@gmail.com

Towards Haiti: The Second Trip
a docuvixen film
Malinda Francis
mali@docuvixen.com
www.thediasporatravelshaiti.wordpress.com
www.docuvixen.com

Video Blog Background

Mario Joseph Speaks: Displacement Tent Camps (November 2010) Toronto, On

Seraphine Legend-Diaspora Story Amongst the Rubble (February 2011) in Kafou, Port au Prince

The Diaspora Travels: Earthship Tour (February 2011) Haiti

via docuvixen.com

 

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PHOTO ESSAY + VIDEO: Haiti - Maggie Steber's Audacity of Beauty

I am Maggie Steber... 
I have worked as a documentary photographer in over 62 countries. I have exhibited internationally and have worked as a Newsweek photographer, director of photography for the Miami Herald, and a regular contributor to National Geographic, The New York Times Magazine, The New Yorker, The London Sunday Times and many other publications. My longtime work in Haiti received the prestigious Alicia Patterson Foundation and Ernst Haas grants, along with numerous honors and awards. 
via audacityofbeauty.com

 

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HISTORY: Citigroup’s Role in the Rape of Haiti > Black Agenda Report

Citigroup’s Role in the

Rape of Haiti

 

Mon, 06/18/2012 

Citibank’s role in the U.S. subjugation of Haiti in the first quarter of the 20th century sounds quite familiar, a century later. The bank demanded that Washington send troops to “stabilize” the country, fantasizing that the Haitians would welcome the Marines. “The Haitians saw it as robbery, pure and simple, and indicative of a growing threat to the republic’s sovereignty.” U.S. troops “pacified” the country, killing thousands during a 19-year occupation.

 

by Peter James Hudson

This article previously appeared in Bloomberg News.

 


“It’s a story marked by military intervention, violations of national sovereignty and the deaths of thousands.”

Citigroup Inc. (C)’s online timeline commemorating its 200th anniversary presents a story of achievement, progress and world-uniting vision, but it says little about the Republic of Haiti – and no wonder.

Citigroup’s history in Haiti is remembered as both among the most spectacular episodes of U.S. dollar diplomacy in the Caribbean and as an egregious example of officials in Washington working at the behest of Wall Street. It’s also a story marked by military intervention, violations of national sovereignty and the deaths of thousands.

In the early 20th century, the National City Bank of New York, as Citigroup was then called, embarked on an ambitious and pioneering era of overseas expansion. Haiti emerged as one of National City’s first international projects. In 1909, Speyer & Co. invited National City President Frank A. Vanderlip to join in the purchase of a moribund American-controlled railway concession in Haiti.

Vanderlip agreed and the purchase turned out to be a “small but profitable piece of business” for the bank. But Vanderlip wasn’t interested in the acquisition for its short-term returns. He thought the stock would give National City a “foothold” in the country that could lead to a risk-free and profitable reorganization of the Haitian government’s finances.

Graft, Malfeasance

The next year, the government canceled the contract of the Banque Nationale d’Haiti – giving Vanderlip the opportunity he sought. Chartered in 1880, the bank was owned by France’s Banque de l’Union Parisienne and was contracted by the Haitian government to finance the national debt and handle the fiscal operations of the state. It was continually dogged by scandal. Haitian politicians accused its directors of graft and fiscal malfeasance (at one point its foreign managers were jailed) and local political aspirants saw the bank’s currency reserves as a bounty for winning political office.

When a new contract was drawn up, the U.S. State Department intervened, claiming it placed an unfair burden on the Haitian people while giving too much leeway to the French to intervene in Haiti’s internal affairs. They also argued that the new contract didn’t represent the American interests that were then gunning for a share of Haiti.

“Haiti emerged as one of National City’s first international projects.”

As a result of State Department pressure, a new institution, the Banque Nationale de la Republique d’Haiti, was chartered. The Banque de l’Union remained the majority shareholder, but National City – alongside a number of other U.S. banks and a German one – was offered a minority interest.

Executive decisions at the Banque Nationale were made by a committee split between the Banque de l’Union in Paris and National City in New York. Chairman of the New York committee was Roger Leslie Farnham. He had spent a decade working as a lobbyist for the corporate-law firm Sullivan & Cromwell LLP before Vanderlip recruited him to National City in 1911. Farnham lobbied officials in Washington on behalf of the bank, and eventually took charge of all its Caribbean operations, including in Haiti.

With the onset of World War I, French interests in Banque Nationale receded. Farnham assumed a large role in its direction while National City slowly began buying out its stock. At the same time, Farnham was becoming a major influence on State Department policy in Haiti.

American Interests

In 1914, Farnham, who once described the Haitian people as “nothing but grownup children,” drafted a memorandum for William Jennings Bryan – then U.S. secretary of state – arguing for military intervention as a way of protecting American interests in Haiti. Sending troops, Farnham insisted, would not only stabilize the country, but be welcomed by most Haitians.

That summer, Bryan cabled the U.S. consul in Cap- Haitien, stating that he “earnestly desired the implementation of Farnham’s plan.”

Meanwhile, Farnham and National City worked to destabilize the Haitian government. They refused to pay government salaries over the summer, and in December they ordered the transfer of $500,000 of the republic’s gold reserves to National City’s vaults at 55 Wall St. The gold was packed up by U.S. Marines, marched to Port-au-Prince’s wharfs and shipped aboard the USS Machias to New York.

“Once the occupation began, it was rationalized as a necessary measure to teach Haitians the arts of self- government.”

The bank argued that they owned the gold contractually and were bound to protect it from possible theft. The Haitians saw it as robbery, pure and simple, and indicative of a growing threat to the republic’s sovereignty.

Threat turned to fact on July 28, 1915. On that day, U.S. Marines landed in Haiti and initiated a period of military rule that would last 19 years. The immediate justifications for intervention included fears of encroaching German influence and a desire to protect American life and property – especially after a spate of factional violence that included the dismemberment of the Haitian president in response to a massacre of his political opponents.

Once the occupation began, it was rationalized as a necessary measure to teach Haitians the arts of self- government. Sanitation reforms were enacted, education was promised and public-works projects were planned. In the short term, however, the most pronounced labor of the Marines was counterinsurgency. They waged a “pacification” campaign through the Haitian countryside to suppress a peasant uprising against the occupation. It left thousands dead and countless others tortured, maimed or homeless.

Lucrative Business

For National City, the occupation provided ideal conditions for business, offering the bank the authority to reorganize Haitian finances just as Vanderlip had envisioned in 1909. By 1922, National City had secured complete control of Banque Nationale and floated a $16 million loan refinancing Haiti’s internal and external debts. Amortization payments were effectively guaranteed from Haiti’s customs revenue, and the loan contract was backed up by the U.S. State Department.

Haiti proved a lucrative piece of business for National City during the 1920s. Yet by the beginning of the next decade, it began to reconsider its ownership of Banque Nationale. Following protests that pressured the State Department to disentangle itself from Haiti, the Marines departed in 1934.

National City soon followed. Fearful of losing the State Department’s protection, and wary of public criticism of their activities, the bank’s executives sold Banque Nationale de la Republique d’Haiti to the Haitian government in 1935 - reluctantly closing a profitable chapter of Citigroup’s history.

+++++++++++++++++

Peter James Hudson, editor of the Black Agenda Review of Books, is an assistant professor of history at Vanderbilt University, He can be contacted at peter.hudson@vanderbilt.edu.

 

via blackagendareport.com

 

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VIDEO: Happy Birthday Bill Withers

Bill Withers

Web Sites: 
Official Site 

Biography

West Virginia native Bill Withers joined the L.A. music scene in the late 60s after a stint in the Navy.  In 1970 he was signed to the Sussex music label and hit the ground running with his first album, Just As I Am, and its instantly classic acoustic ballad, "Ain't No Sunshine."  Withers' understated, rootsy style was a perfect contrast to where popular music was going at the time, from pre-disco dance music to glam rock.  His second release, 1972's Still Bill, became a career disc, with top hits "Use Me" and "Lean On Me," arguably one of the greatest songs of the past half century.

Withers was fairly prolific over the next half decade, releasing +Justments, Making Music, Naked and Warm, Menagerie and 'Bout Love.  And while those discs were of somewhat uneven quality, each contained enough jaw-dropping material to make the album work overall.  It was these select, wonderfully melodic cuts, from "Lovely Day" to "Hello Like Before," that would make Withers' music continue to resonate nearly 30 years later through dozens of remakes by other acts.

After seven years of consistent recording and touring, Withers went quiet, maddening record executives -- and some fans -- who had grown accustomed to his annual output.  Disagreements with his record label and, according to Withers, the refusal of the label to allow him to record, kept him from releasing an album for seven years.  In the meantime, he appeared as a guest vocalist on Grover Washington's #1 hit, "Just the Two of Us" and Ralph McDonald's "In the Name of Love."  His silence was finally broken with 1985's Watching You Watching Me, an unfortunately overlooked album that was one of the best of his career and showed a great artist maturing wonderfully. Featuring the uptempo "Oh Yeah" and a number of beautiful ballads, it is worth seeking out.

Frustrated with the music industry, Withers then stopped actively recording, although much of his rich catalog has been regularly covered by other artists.  He toured intermittently into the 90s, but then generally ceased performing publicly.

In 2004, Withers recorded a nice duet with singer Jimmy Buffett, "Playin the Loser Again," which appeared on Buffett's License to Chill.  Then in June 2005, around the time of his 67th birthday, Withers was selected for induction into the Songwriters Hall of Fame. 

Over the past half decade his recordings have received renewed interest and are represented in repackaged, remastered discs. Early 2010 saw Withers' entire catalog rereleased, often with bonus cuts. These were timed to correspond with the release of the documentary, Still Bill, which provided a long overdue retrospective on the career of this seminal artist.

By Chris Rizik

>via: http://www.soultracks.com/bill_withers.htm

 

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VIDEO: Smokey Robinson and the Miracles, “I Second That Emotion” > American Songwriter

Smokey Robinson

and the Miracles,

“I Second That Emotion”

By Andrew Leahey June 18th, 2012

During the final weeks of 1966, Smokey Robinson joined his friend Al Cleveland at a Detroit department store. It had been a successful year for both songwriters. Robinson was riding high on the success of Going to a Go-Go, a blockbuster album that spawned four Top 20 hits for the Miracles, and Cleveland was flush with cash after writing a few popular tunes for Gene Pitney. With Christmas just a few weeks away, the guys wanted to put their money to good use.

They talked while they shopped. After browsing the racks for awhile, Robinson suggested they go somewhere else. “I second that motion,” Cleveland attempted to say, but what came out of his mouth was something slightly different: “I second that emotion.” It was just an extra syllable, a slip of the tongue, but it helped spark one of the most enduring hits in the Motown catalog.

“You can write about cars, or political situations, or dances or something like that,” Robinson told Performing Songwriter more than 30 years later, “but those subjects, pretty soon, become passé. Love is something that’s here to stay, I hope, and that’s why I choose it as my subject matter the great majority of the time.”

This time, Robinson wrote about a difficult kind of love, the kind that burns brightly one moment and goes unrequited the next. During “I Second That Emotion,” the narrator puts his foot down, refusing to be strung along by a woman who prefers the ease of a one-night stand to the challenge of “a lifetime of devotion.” It’s a tale as old as time, and Robinson certainly wasn’t the first musician to sing about it. Still, “I Second That Emotion” marches to the beat of its own drum, thanks to three stanzas of crafty doo-wop poetry and one punny one-liner — a malapropism, if you want to get technical — that never really loses its novelty appeal.

A smooth singer, Robinson relies on the Funk Brothers’ punchy horns and Marv Tarplin’s electric guitar to help emphasize his most important lines. Uriel Jones, who would go on to play drums on Motown classics like “Ain’t No Mountain High Enough” and Stevie Wonder’s “For Once In My Life,” adds a funky backbeat, and the Miracles fill every chorus with thick vocal harmonies, almost as though Robinson called in his buddies to help set the girl straight.

There’s no resolution at the end. If Robinson winds up getting the girl, we don’t get to hear about it. The whole song winds up being an open-ended invitation, an offer to leave the past where it belongs and give monogamy a try. “If you feel like loving me,” goes the hook, “if you’ve got the notion… I second that emotion.”

Maybe you want to give me kisses sweet
But only for one night with no repeat
Maybe you’d go away and never call
And a taste of honey is worse than none at all

Oh little girl, in that case I don’t want no part
That would only break my heart
Oh, but if you feel like loving me
If you got the notion
I second that emotion
Said, if you feel like giving me
A lifetime of devotion
I second that emotion

Maybe you think that love would tie you down
And you ain’t got the time to hang around
Maybe you think that love was made for fools
So it makes you wise to break the rules

Oh little girl, in that case I don’t want no part
That would only break my heart
Oh, but if you feel like loving me
If you got the notion
I second that emotion
Said, if you feel like giving me
A lifetime of devotion
I second that emotion

Well, if you feel like giving me
A lifetime of devotion
I second that emotion

- Written by Smokey Robinson and Al Cleveland

via americansongwriter.com

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PUB: Bauhan Publishing | May Sarton Contest

May Sarton

New Hampshire Book Prize

May Sarton

May Sarton

 

Bauhan Publishing is now accepting submissions for the 2012 May Sarton New Hampshire Book Prize.

With the success of The 2011 May Sarton New Hampshire First Book Prize, won by Rebecca Givens Rolland for her collection The Wreck of Birds we are pleased to continue with the prize. This year we are opening the contest to all poets, published or not.

Entrants may reside anywhere in the world, but must write in English. The winner receives $1000, book publication, and 100 copies of the published book. We are delighted that Alice B Fogel will be our judge this year.

Submission guidelines:

  1. Manuscripts must be typed, paginated, and 50 to 80 pages in length (single spaced). Single or double-sided manuscripts are acceptable. Your name should not appear on the manuscript itself.

  2. Translations and self-published books are not eligible. The manuscript must be the product of only one author.

  3. Any person who has studied poetry in a formal program with the judge, Alice B Fogel – through a college, university, community program, residency, or private tutorial, within the last two years – is not eligible to submit a manuscript to this contest.

  4. The manuscript should only include the following:
    • Two title pages: one that has only the title of the collection and one that includes the title, your name, address, e-mail address, and phone number
    • Table of contents
    • poems

  5. No illustrations, photographs or images should be included.

  6. Send one copy of your manuscript submission. Use only binder clips or rubber bands. No staples, folders, or printer-bound copies. Manuscripts cannot be returned. Please do not send your only copy.

  7. For notification of winners, include a business-sized SASE. For acknowledgment of the receipt of your manuscript, include a stamped addressed postcard. Winners will be announced by January, 2013.

  8. Entry fee is $25. Enclose a check or money order payable to Bauhan Publishing.

  9. Send manuscripts to:
    May Sarton NH Prize
    Bauhan Publishing
    7 Main Street
    Peterborough, NH 03458

  10. Manuscripts must be postmarked on or before August 31, 2012.

  11. Bauhan Publishing reserves the right to cancel the contest for any reason. In that unlikely event, all entry fees will be returned to contestants.
via bauhanpublishing.com

 

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Kalamu ya Salaam

New Orleans writer, filmmaker and educator, Kalamu ya Salaam is the moderator of neo•griot, an information blog for black writers and supporters of our literature worldwide
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