I have won the Sigma Delta Chi journalism award for Non-Deadline Reporting (Daily Circulation 100,001+) for “Allen Stanford’s Miami Connection.” This is the exposé I brought to the Miami Herald that told how the Florida Banking Department allowed Stanford to set up an unregulated office to move money offshore. I worked with two Herald reporters, who shared the award. It is one of the country’s major journalism prizes.
According to the Society of Professional Journalists, which presents the award, Judges chose the winners from over 1,300 entries in categories covering print, radio, television and online. The awards recognize outstanding work published or broadcast in 2009. They will be presented Oct. 2 during the 2010 SPJ Convention and National Journalism Conference in Las Vegas.
RALEIGH, North Carolina, Inter Press Service (IPS), April 27, 2010 – Robert Moses, 75, a legendary leader and organiser in the 1960s U.S. civil rights movement, was huddled with a dozen people discussing plans for a campaign to make quality education a constitutional right. On one side was his son Omowale, 38. Next to Omo was John Doar, 89, head of the civil rights division of the U.S. Justice Department in 1960-67 and prosecutor of the major civil rights cases of that era.
The age differences were noticeable at the conference they attended this month in Raleigh, North Carolina, to commemorate the 50th anniversary of the founding of the Student Nonviolent Coordinating Committee. It was a moment for the elders – as high school and college students at the conference called them – to pass the torch to a new generation of activists.
Last week, I was at Shaw University in Raleigh, NC, for the 50th anniversary conference of SNCC, the Student Nonviolent Coordinating Committee, which led the sit-in movement of the 1960s. I attended SNCC’s founding conference at Shaw in April 1960.
That meeting had been called in response to the February 1,, 1960 protest in Greensboro, NC, when four black students sat at an all-white Woolworth’s lunch counter, demanded to be served and were arrested.
Million Dollar Quartet is hot on music and slight on story, the latter a chance 1956 gathering of country and rock innovators Elvis Presley, Johnny Cash, Carl Perkins and Jerry Lee Lewis at a Memphis recording studio. Fans will like the stars’ doubles’ performances of the songs that made them famous. And this jukebox musical jumps off the charts whenever Levi Kreis, who plays Jerry Lee Lewis, dominates the stage with his wild jazzy piano playing and furious rock lyrics.
Creating a richness in their arrangement that adds to the beauty of each poem, director Peter Brook has ordered 31 Shakespearean sonnets, dramatically recited by Natasha Parry and Michael Pennington, to create a striking theater piece. It elegantly expresses love as it consumes men and women in the highs and lows of their relationships and into their later years. The poems are grouped to praise love that lasts through time;and to plumb the pain of separation; the torments of jealousy, self-deception, and guilt; and the sorrows of older age. That doesn’t quite make a play, but it’s more than a poetry reading.
This is not the kind of black tie London cocktail party that Noel Coward was wont to attend. There may be champagne poured and secret infidelities going on, but the darkness that bubbles out of those glasses up reminds one of Albee or Pinter. The Actors Company Theatre has mounted a striking production of T.S. Eliot’s 1950 play that one won’t soon forget.
Horton Foote’s story of a young boy growing to manhood in rural Texas in the early decades of the last century is so gripping, and elegantly performed, that it’s hard to acknowledge that the mundane events of family interactions, marriage, divorce, illness and death in the extended Robideaux clan are in themselves, presented with great subtlety by Michael Wilson, understated and sometimes almost without great drama. Or else, they are the drama of the every day.
Helen (Abigail Breslin) is 10, a wild child, throwing tantrums, screaming. Annie (Alison Pill) is 20, saucy and opinionated. She says, The only time I have trouble is when I’m right which is so often.
Both of them are whip-smart as well as strong-minded, and William Gibson’s 1985 play tells the fascinating story of how teacher Annie Sullivan got Helen Keller, deaf and blind since infancy, to understand, to touch-sign, and to express herself so brilliantly that she became a world-famous traveler and lecturer. The fact that all this occurs in a small town in 1880s Alabama makes it the more astonishing.
This Kander and Ebb show, given an astonishing and dazzling staging by director Susan Stroman, tells the story of what happens to nine blacks accused of collaborating in the rape of two white women in Alabama in 1931. The mood is a jazzy operetta. The dramatic vignettes of the story are interspersed with numbers of a minstrel show, which allows you to catch your breath between horrific events and adds the element of satire.
Who better to craft a political musical than John Kander and Fred Ebb, who wrote the 1993 classic Kiss of the Spiderwoman, about the movie fantasies of a prisoner tortured by the Argentine dictatorship that brutalized the country nearly half a century ago. And director-choreographer Susan Stroman stages this in a cutting, jazzy minstrel style that takes irony to new levels.
I’ve been awarded a National Headliner Award for the story on Ponzi-schemer Allen Stanford I took to the Miami Herald last year. It exposed how the Florida Banking Department ignored the strong advice of its own lawyer and allowed Stanford to set up an unregulated office to move money offshore.
When the devastating earthquake hit Haiti in January, IDT, the New Jersey-based global phone company, moved fast to help.
It announced it was setting up calling stations at hotels and other sites so Haitians could use its Internet calling-service to reach family and friends around the world. It cut rates on its U.S. prepaid calling-card to 2 cents a minute to Haiti (at least for 12 days), donated 4,000 $2-prepaid calling-cards to Haitian community groups in New York and Florida, and said it would give some proceeds from prepaid calls to Haitian Red Cross relief.
Such a warm, fuzzy response from a U.S. corporation often wins plaudits, though, of course, IDT has a business interest in the impoverished island. In 2005, in its latest publicly available figures, the company reported $4 million in profits from $17 million in revenues for routing calls there.
One year ago, a group of financial institutions quietly launched ICE Trust, a new and theoretically safer way to trade derivatives, a key element of the financial crisis. As lawmakers debate reform, banks at the center of the storm are remaking the market”and stand to profit.
As the financial crisis exploded with full force in 2008, it was obvious that something was gravely wrong with the huge, unregulated market for derivatives.
Lehman Brothers had $738 billion of these contracts”which are based on the value of some other asset, such as a stock or a bond or a hog belly”on its books when it failed on September 14, 2008.
Lehman certainly wasn‘t alone. Over the next few months, insurer AIG reported as much as $53.5 billion of derivatives losses”losses that were linked to nearly one third of its $182.5 billion federal
Arthur Miller’s story of the betrayal that tears apart a longshore family in Brooklyn was a metaphor for the treachery of the people who named names in the anti-communist witch hunts of the 1950s. In this powerful revival directed by Gregory Mosher, we witness the inexorable downfall of Eddie Carbone (Liev Schreiber), a longshoreman, who forgets the sense of honor and loyalty that is the glue that holds together the hard-working Italian community in Red Hook, on the Brooklyn waterfront, where he and his wife Beatrice (Jessica Hecht) live. His self-interest is not the careerism of the film and theater people who betrayed colleagues to HUAC, but jealousy ignited by the illicit passion he feels for his niece Catherine (Scarlett Johansson).
Donald Margulies’s powerful and moving play dissects the professional and psychological passion of a photographer who covers the horrors of wars, famine, and genocide. Time stands still represents the moment when she presses the shutter button and sees the world only through the view finder. Time stops, sound cuts out; her experience is just what is taking place in the rectangle. There is an objectifying and separation from reality. And for Sarah Goodwin (Laura Linney) it’s the only moment in life that counts.
Garry Essendine (Victor Garber), who has the sense of a flighty youth, is a self-absorbed actor of 54. He is wont to shave a decade or so off his life, especially when he is playing up to pretty young women. Noel Coward’s semi-autobiographical comedy is at times amusing – it is meant to be a send-up of the actor and his entourage — but it’s nowhere near as clever as Coward can be. And the production by director Nicholas Martin lacks sparkle.
Taking us back to Clybourne Park, to where Lorraine Hansbury’s black family moved in A Raisin in the Sun, Bruce Norris has written a clever, pointed comedy, acted by a superb cast under the well paced direction of Pam MacKinnon, that plumbs the depths of racism to see how it’s changed from the blatant late 50s to the more subtle present.
The free-floating anger exuded by the Jets and Sharks as they clash under and leap onto fire escapes is combustible. Any reason for the gangs’ hostility? Well, when Officer Krupke (Lee Sellars) arrives in the neighborhood, along the Hudson River on the Upper West Side of New York City, he slams one kid in the stomach with a Billy club. Lt. Schrank (Steve Bassett) comes into a local drugstore and insults the Puerto Ricans as migrant scum. The sociological stage is set. There’s nothing dated about Arthur Laurents’ revival of his own West Side Story. This American theater classic is another proof that the best, most enduring musicals (and plays) combine personal stories with political ones.
My guest at Hair was an old friend who had been a leader of the 1968 protest movement in Germany. As we left the theater, he shook his head. He said, We were much more political. That said, and history corrected, Diane Paulus’s revival of the 1968 musical now on Broadway captures the mood of part of a generation of young people (a minority of their contemporaries) that helped change the culture.
The global bank HSBC may be running offshore accounts for central banks. According to a U.S. Senate investigation, an HSBC subsidiary in London called HSBC Equator Bank had a sister bank in the Bahamas.
According to an internal e-mail, the bank told HSBC USA it had been providing offshore accounts to central banks for 20 years, because the banks wanted to avoid Mareva injunctions, legally enforceable orders to freeze funds.
It was just a swatch of cloth, a fabric of golden yellow with eight rows of stars stamped in their outlines and waiting to be cut out. The stars were manufactured by the Berlin flag maker, Geitel & Co, and Jews had to pay 10 pfennig to buy them. Jews six and older had to wear them on their clothing.
From the horrifically mundane, to the surreally horrible, the Jewish Museum in Berlin, which opened in 2001, has an astonishing collection of exhibits. I thought I could do my routine two-hour walk-through, but I was so absorbed that I returned a second and third time. It is an extraordinary museum that uses photos, exhibits and audio to tell a fascinating and dramatic history of centuries.
The entrance is through the Collegienhaus, a baroque structure built in 1735 for the regal Court of Justice and rebuilt after its destruction in World War II. But most of the exhibits are in a postmodern building, a huge angular winding gray zinc structure that is said to have been inspired by a broken Star of David. It was designed by the American architect Daniel Libeskind and was completed in 1999. Inside now are exhibits that show two millennia of German Jewish history.
In David Ives’ ingeniously clever play, a feminist avenger turns the tables on a playwright conducting auditions for a work based on Venus in Furs, a novel of sexual domination and submission by Leopold von Sacher-Masoch, the 19th-century Austrian writer. An actress arrives in an audition studio. She’s wearing a black leather skirt and tight black lacey underwear top, stiletto-heeled boots, and a silver-studded dog-collar. She’s not on the audition list. But she persuades the playwright to let her read, and suddenly she is a 19th-century Austrian aristocrat, charming, articulate, and outrageous in the white flouncy dress she pulls over her grunge-wear. This play plumbs men’s psychological connections between sex and power and their view of women.
For about 20 years, from 1964, when Communists ruled Poland and dissidents went to jail, a very extraordinary underground theater troop bucked censorship and pelted the regime with avant garde works inspired by the director Jerzy Grotowski. It played to full houses at shipyards and churches and other opposition stages until the actors in 1985 were forced into exile.
Wormwood the name of a star, is a vivid, ironic and satirical attack on the Polish Communist system. First staged in 1985 at the church in Mistrzejowice, near Krakov, it is composed of pointed skits whose double meanings and metaphors were clear to audiences.
In September 2004, David Beringer, the tax director of the $20-billion Noble Group based in Hong Kong, wrote a memo to company officials, expressing concern that if Swiss officials discovered that a Noble subsidiary in Zurich was doing work that it pretended to contract to a fake company in Bermuda, the subsidiary might have to pay Swiss taxes. This story has not been reported before.
What follows are the heretofore secret details about how Noble, and global companies like it, use legitimate lawyers and accounting firms to create the fake structures used to cheat on taxes around the world. This story has not been reported before.
The Zurich company was called Noble Investments SA, Zurich (NISA). The Bermuda company was called Noble Investments Ltd. (NIL).
The Noble Group is the world‘s second-largest commodities trading and logistics company, after Cargill. It specializes in energy, agriculture, mining and minerals. It is listed on the Singapore stock exchange (NOBG.SI).
Zero Mostel — consummate actor, painter and personality — was a presence in American films and stage for decades, except for a brief hiatus called McCarthyism. Zero was cynical, iconoclastic and flip. He scowled and shouted in a voice that was stentorian. Jim Brochu’s one-man show, directed by Piper Laurie, brings him to life, eyes piercing out of a gray-bearded jowly face, recreating his physical presence and attitude, and most importantly his passionate political commitment to honor at a time when theater people and others were selling out their colleagues.
