Tag Archives: Puerto Rico

PRdream mourns the passing of Manny Oquendo

MANNY OQUENDO
January 1, 1931 – March 25, 2009

Bandleader, percussionist Manny Oquendo passed away March 25, 2009 of a heart attack. A self-taught musician, Oquendo was a senior statesman of the Latin percussion instruments of timbales and bongos before founding and co-directing the critically acclaimed Latin music band, Conjunto Libre for more than 35 years.

A member of the seminal recording “Grupo Folklorico Experimental Nuevayorquino” Parts I & II, Manny Oquendo was known for his understated yet aggressive solo improvisations on both the timbal and bongos. His was not a race as to who could play the fastest, or who could do the most paradiddles, excessive drum rolls or “contra-clave,” Manny Oquendo’s style was a school in and of itself. “The Timbalero must always keep the beat,” he emphasized in interviews. “Never overplay,” was his most consistent rule.

His style was found in the roots of Cuban bands such as Arcaño’s or Orquesta Aragon, never flashy, never overstated. For influence and inspiration he looked to the drummers of the vintage Cuban bands such as bongocero, Ramón Castro, who played with the Orquesta Casino de la Playa and later with Pérez Prado or Conjunto Casino’s Yeyito Iglesias or Papa Kila (Antolín Suárez) who played with Arsenio Rodríguez or Sonora Matancera’s Manteca (José Rosario Chávez). Manny Oquendo was known by what he said on the timbal, not how many things he could do to it.

For more than 60 years, Manny Oquendo’s said many things through his percussive strength and musical vision. His profound yet understated sounds were part of the Latin New York music scene from the ‘40s until today.

Born José Manuel Oquendo on South Fourth St. Brooklyn, he was called “Manolo” before he became “Manny” in his teens. The family later moved to East Harlem in 1939 where Oquendo was captivated by the sounds of music. “Music was everywhere,” he recalled.

East Barrio’s first Latin music record store “Almacenes Hernandez” (originally located at 1600 Madison Avenue and opened in 1927) was just one flight down from the Oquendo family’s apartment. The swinging big bands of Machito, Jose Fajardo and Orquesta Aragon became the soundtrack of his childhood. “There was music constantly coming out of that store, and that was my education,” he recalled.

His first set of drums were a pair of “tom toms” with the skin on both ends. Played with sticks from a wooden hanger, Manny played along to records from his parents’ victrola. Spanish language radio stations were always on in his home. Later, when Oquendo visited his parent’s roots in Ponce, he discovered the cuatro through his grandfather.

After the “tom toms,” Oquendo got a pair of wooden timbales and began playing with Sexteto Sanabria but not before taking a few drum lessons at a school on 125th Street at 25 cents per lesson. Later on, he studied privately with Sam Ulano, a well-known percussion teacher. Jazz drummer Max Roach also studied with Ulano alongside Manny. Whenever they’d run into each other they’d reminisce on their school days. Oquendo always kept his set of trap drums.

By the 1940s, the Oquendos moved to Kelly Street in the South Bronx unknowingly joining a community of likeminded musicians. Pianist, Noro Morales lived down the street from Manny on Stebbins Ave.; Joe Loco was by Horseshoe Park; Tito Rodríguez was on Rogers Place; Tito Puente on 163rd Street, while Arsenio Rodríguez and Ray Coén both lived on Kelly Street.

Oquendo began playing with New York’s top orchestras. He played with the Carlos Medina Orchestra, the Charlie Valero Band and Xavier Cugat’s former singer Luis del Campo before playing with the legendary Marcelino Guerra Band.

From here Oquendo played with trumpeter Frank Garcia and his vocalist, El Boy, where he met Chano Pozo who performed with Miguelito Valdes at a local show and stayed to play with the fledging timbalero. Chano remained with the small group until he got a better paying job. Oquendo moved on as well, joining pianist Jose Curbelo’s orchestra where he performed on a full array of drums owing to their diverse repertoire that included tangos, sambas and American swing music. “It gave me the feeling of being a complete drummer.” He mentioned in an interview to Frank Figueroa over Latin Beat.

From here, Manny Oquendo joined Pupi Campos’ band playing many venues on Long Island alongside Tito Puente and his Picadilly Boys. Since they were both working in the same area, Tito and Manny would ride together to their respective gigs with Manny playing in Tito’s band as he waited for his own show to begin. When Tito’s regular bongocero Chino Pozo left to tour with Katherine Dunham, Tito asked Manny to take over that chair. When Little Ray Romero took a job with Eartha Kit, it was Manny Oquendo who Tito Rodriguez called to fill his bongo chair.

Manny had his Afro-Antillian chops chiseled under the bands of Tito Puente, Tito Rodriguez, Johnny Pacheco and others. He had hung with the legendary Chano Pozo, taking the Musician’s Union cabaret license test for him enabling Pozo to work in New York clubs during his stay between 1946 –’48.

By the 1960s, everything Cuban was forbidden. Manny listened to the Mozambique sounds of Pello El Afrokan over short wave radio and on pirated records. Back in his apartment on Kelly Street in the Bronx, he’d practice hitting the timbal with the left and playing the rhythm on the right until he nailed the Cuban genre so well he made it his own.

In 1963, Manny Oquendo joined “La Perfecta,” the conjunto organized by pianist Eddie Palmieri. Alongside congüero, Tommy Lopez, Manny crystallized the Mozambique sound creating a powerhouse rhythm section alongside Palmieri’s improvisational infrastructure.

In 1974 Oquendo and bassist Andy Gonzalez left Palmieri to move in their own direction. Leaving the traditional structures behind, the duo incorporated jazz, Afro-Cuban, Afro-Puerto Rican rhythms while exploring alternatives. The goal was to “free” the music from restrictive content and Libre was born. During 1976 to 1981, Oquendo became a musical historian of the tipico sound he’d perfected with Palmieri. Libre’s first albums included classics by composers Ignacio Pineiro, Rafael Hernandez and Nico Saquito, as well as a traditional Puerto Rican plena by Manuel “Canario” Jimenez.

At the same time, the group attracted a creative crop of innovative young artists in Latin music. The Gonzalez brothers, Andy and Jerry Gonzalez are founding members; Alfredo de la Fe is featured on various incendiary violin solos with singer Herman Olivera making his recorded debut over a Libre recording while flautist Nestor Torres was also a featured guest. At various times, Barry Rogers, Jose Rodrigues, Angel “Papo” Vazquez, Jimmy Bosch, Reynaldo Jorge, Dan Reagan and Steve Turre held down the trombone line, while Oscar Hernandez, Joe Mannozzi, and Marc Diamond rocked the piano chair.

Last year, Puerto Rico’s Radio Station, Z93 dedicated its National Salsa Day to Manny Oquendo.

Manny Oquendo is survived by four sons and two sisters.

According to Manny Oquendo’s wishes, there will not be a viewing. We will post any information regarding a memorial in the future.

A video from Salsa Sunday’s Conversations with the Masters has been posted on our website at www.zondelbarrio.com/Press.php

About Aurora Flores:
Twenty-first century Renaissance woman Aurora Flores is the recipient of numerous awards and is included in Who’s Who in Hispanic America. Currently the President of Aurora Communications, she was the first Latina editor of Latin New York Magazine and the first female music correspondent for Billboard Magazine. While attending Columbia’s Journalism School, she broke into mainstream journalism and today has thousands of articles to her name.

A musician by training, Aurora founded her own septet, Zon del Barrio, bringing together modern music genres, Afro-Boricua folklore and Afro-Cuban salsa. She lectures on Latin music, has composed bilingual songs for Nickelodeon’s “Dora the Explorer,” and recently edited and wrote the foreword for ¡Salsa Talks! A Musical Heritage Uncovered. Aurora can be seen in BET’s Pasos Latinos; BRAVO’s “Palladium, When Mambo was King;” the Smithsonian’s “Latin jazz, La Combinación Perfecta;” and in Edward James Olmos’s “Americanos: Latino Life in the U.S.” alongside the late Tito Puente, playing a composition she co-wrote. She is a proud descendent of Puerto Rican visionary, Eugenio Maria de Hostos.

MUSICA DE CAMARA PRESENTS SOPRANO CAMILLE ORTIZ IN A SPRING CONCERT

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CAMILLE ORTIZ IN A SPRING CONCERT

Musica de Camara Inc. presents a concert, “Painted By Sea and Sun”, at the Museum of the City of New York, featuring the soprano Camille Ortiz on Sunday, April 5th, 2009 at 3 pm. The Museum os located at 1220 Fifth Avenue at East 104th Street in New York City. Admission is free. Ms Ortiz will sing works by Jesus Guridi, Enrique Granados, Hugo Wolf, Claude Debussy and Heitor Villa Lobos. She will be joined at the piano by Jeanne-Minette Cilliers.

Camille Ortiz was born in Vega Baja, Puerto Rico and completed her Master’s Degree of Music at the Manhattan School of Music under the tutelage of Joan Patenaude-Yarnell. She appeared in the Festival of Interpretation of Spanish Song in Granada, Spain where she worked with the acclaimed Spanish mezzo soprano Teresa Berganza. In Italy, she sang leading opera roles with the Centro Studi Lirica and at the Scuola di Leonardo da Vinci in Rome, she completed her Italian studies. Among the numerous venues in which she has been presented in concert are the Carlos Chavez Hall at the Universidad Nacional Autonoma of Mexico, the Sala Manuel de Falla in Granada, Spain, the Tenri Cultural Institute and the Bruno Walter Auditorium. She has been the subject of a nationally broadcast television program on the network Telemundo and last season, after participating in a Master Class conducted by the renown soprano Martina Arroyo, Ms. Ortiz won accolades for her opera portrayals in the subsequent concert “Prelude to Performance” at the Kaye Playhouse at Hunter College. A winner of the 2008 Gerda Lissner Foundation Award and a finalist in the coveted 2009 Liederkranz Competition, she is founder-director of ALMA, an organization that promotes Hispanic American classical repertoire.

Currently on the faculty of the Manhattan School of Music, South African pianist Jeanne-Minette Cilliers has been called “a pianistic poet” and has garnered rave reviews for her color-rich and imaginative performances. Much in demand as a collaborator, she has performed in Austria, Germany, Israel, Japan, Sweden, South Africa and across the United States. She fosters a strong interest in contemporary music and her recording of Dominick Argento’s “Andre Expedition” will be released next season. Ms. Cilliers has earned both her Bachelor and Master’s Degress of Music with distinction at the University of Michigan, while studying with fellow South African Anton Nel who is a Naumberg Competition Gold medalist. Ms. Cilliers remains the first and only recipient of an Artist Diploma in Vocal Accompaniment from the Manhattan School of Music. Her upcoming schedule of performances include appearances in New York City, San Francisco, Sweden, South Africa and the Caribbean.
Now celebrating its 29th Year, and founded by soprano Eva de La O, Musica de Camara has presented Puerto Rican, Hispanic and non-Hispanic classical musicians in concert in major concert venues such as Alice Tully Hall; Lincoln Center, the Merkin Concert Hall; Kaufman Cultural Center as well as community centers, schools, colleges, churches and museums. The organization also travels to public schools in under-served communities with its Lecture Demonstration Program.

This concert has been made possible in part with the support of the New York City Department of Cultural Affairs, the New York State Council on the Arts, the New York City Council, the New York State Senate and Assembly, the East Harlem Chamber of Commerce, the Museum of the City of New York, the Con Edison Company, Bronx Lebanon Hospital, Consultiva Internacional of Puerto Rico, EMK Enterprises, Deloitte LLP, First Republic Bank, Credit Suisse, Fiddler – Gonzalez – Rodriguez PSC, the Delmar Foundation and the Carnegie Corporation of New York.

Visions of Puerto Rico photo exhibit

Exhibition: Visions of Puerto Rico & Puerto Rican Pride

June 12th – 28th – Opening Show 7-10 p.m. on June 12th

Clemente Soto Velez Cultural & Educational Center, Inc.

107 Suffolk Street, Manhattan

Contact: Mia Roman Hernandez – artbymamamia@yahoo.com / 646-361-6448

About the show:

“Visions of Puerto Rico & Puerto Rican Pride” Celebrates Puerto Rican culture through Photography. The show will include more than fifty works by emerging and established artists from Puerto Rico, Miami Fl. and New York City. Each artist brings a unique style and vision. These artists have discovered the beauty, tales and the history to their culture in which has been incorporated into their craft of photography. Some of the pieces will depict Community, Urban settings, Music, Nature, Family, Politics and Spirituality. The photos will embrace the cultural empowerment of the Puerto Ricans and their pride. The photos will evoke emotion, feeling and discussion. We have bridged a gap between the Puerto Ricans on the Island and the Puerto Ricans out side of the island and this exhibit is the result of that connection.

Art is an expression of the unconscious and is dedicated to the free expression of feeling.

About CSV/ Clemente Soto Velez Cultural & Educational Center, Inc.:

The Clemente Soto Vélez Cultural & Educational Center, Inc. (CSV), a 501 (C) 3 not-for-profit, was founded in 1993. The CSV Cultural Center is a Puerto Rican/Latino cultural institution that has demonstrated a broad-minded cultural vision and a collaborative philosophy. While CSV’s mission is focused on the cultivation, presentation and preservation of Puerto Rican and Latino culture, it is equally determined to operate in a multi-cultural and inclusive manner, housing and promoting artists and performance events that fully reflect the cultural diversity of the Lower East Side and the city as a whole.

Artists include:

Clarisel Gonzalez, Mia Roman Hernandez, Elena Marrero, Vivien Perez, Carissa Hernandez, Christopher Lopez, Susan Alvarez, Marcelino Pagan, Luis Cordero, Pepper Negron, Marie Paola Martinez, Gamalier Martinez, Gerardo Javier Melendez Silvagnoli, Marielly Martinez, Ismael Nunez, Pablo Colon, Eliud Martinez

source: Art by Mia press release

“Crime Against Humanity” At the East Harlem Cafe

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After performing to more than 5000 people through-out the United Sates and Puerto Rico,
the fiercely innovative play Crime Against Humanity returns to New York

A play by Michael Anthony Reyes Benavides and Former Puerto Rican Political Prisoner Luis Rosa

Performed by Chicago and New York Cast

A play based on Puerto Rican Political Prisoners

Limited showings

East Harlem Cafe
1651 Lexington Ave
New York
7PM

June Saturday 27th

July Thursday 2nd
Friday 3rd
Thursday 9th
Friday 10th

Special Closing Show
Julia De Burgos Cultural Center
1680 Lexington Ave
New York
7:00PM
Saturday July 11th

Tickets are $10.00

Reserve tickets at – Reyespoetry.com

PRDREAM’s SUMMER FILM FEST formerly the Handball Court Summer Films Series

PRDREAM’S SUMMER FILMS SCHEDULE IN THE 103rd STREET COMMUNITY GARDEN (103rd Street and Park Avenue)

FOR MORE INFORMATION
Contact: Judith Escalona
212.828.0401
judith.escalonaATgmail.com

NOGALES.gif
From Elisa Perea’s “Nogales: Aqui Es….”

**Joe Falcon and Coco Rico play opening night, August 11

FILM SCHEDULE

Tuesday, August 11, at Sunset (approximately 8:30PM)
La Venganza de Correa Cotto: Feature Crime Story, 1969. Puerto Rico. Spanish, no subtitles. Some graphic scenes.
Producer Anthony Felton will be available for questions

Correa

Correa

Correa

Wednesday, August 12, at Sunset (approximately 8:30PM)
La Palomilla: Feature Crime Story, 1970. Puerto Rico. Spanish, no subtitles. Some graphic scenes.
Actors Jaime Sanchez (La Palomilla) and Ritchie Velez (cellmate) will be available for questions

Thursday, August 13, at Sunset (approximately 8:30PM)
Nogales: Aqui Es… : Documentary. 2009. Mexico. Spanish, English subtitles.
Filmmaker Elisa Perea will be available for questions

Thursday, August 20, at Sunset (approximately 8:30PM)
Taking Root: Documentary. 2008. English, no subtitles.

Thursday, August 27, at Sunset (approximately 8:30PM)
Addicted to Plastic: Documentary. 2009. English, no subtitles.

Friday, August 28, at Sunset (approximately 8:30PM)
Swim the River: Documentary. 2006. English, no subtitles.

THE PUERTO RICAN CRIME FILM AS PROTEST

This year PRDREAM’s Summer Film Fest presents two Puerto Rican crime films La Venganza de Correa Cotto, directed by Jeronimo Mitchel; and La Palomilla, directed by Efrain Lopez Neris, as an exploration of crime as a form of protest. Classics in their own right, they were produced in Puerto Rico in the seventies and reflected an earlier period of transformation and transvaluation of island society brought on by U.S. investment policies known as Operation Bootstrap.

These films portray the law as an external imposition, foreign to the values of the common folk, and the outlaw as the unconscious expression of revolt. Both Correa Cotto and Jose Anibal Gerena Lafontaine (La Palomilla) were simple men, thrust by circumstances into extraordinary acts of transgression that challenged the colonial status quo. Correa and Gerena were men of their times, embodying the passions of a people experiencing the trauma of rapid urbanization and displacement. Anthony Felton who also produced Correa Cotto: Asi Me Llaman will be present for a Q&A after the film. Jaime Sanchez. A leading actor in both Puerto Rican and American cinema, who stars in La Palomilla will be present after that screening. Ritchie Velez, an actor who appears as a cell mate in La Palomila will also be present. Some graphic scenes.

BORDER ART: AN INTRODUCTION

Elisa Perea’s Nogales, Aqui Es gives an extensive overview of the current art scene in Nogales that sits Janus-face between Mexico and the U.S. Actually, there are two towns named Nogales, the one South of the border is highlighted here as home to a fine pool of artists whose work clearly reflects the transnational nature of life on the border. In Spanish with English subtitles.

IT’S THE ENVIRONMENT…

In keeping with our practice of presenting films dealing with the environment and ecology, the summer film series presents three remarkable documentaries.

Taking Root: The story of the Kenyan Green Movement spurred by Nobel Prize winner Wangari Maathai. In seeking to stave off the starvation of her community, this woman challenges modern Kenyan life, teaching her people once again how to plant and grow their own. In the process, she uncovers the legacy of colonialism, the forgotten history, the lost culture and tradition of a ravaged land.

Addicted to Plastic: A revealing documentary about our use and abuse of plastics. So dependent have we become on things made of plastic, and so accustomed to their quick disposal, that we are choking our planet, fish and birds. There is an area in the world’s ocean that has been likened to a cesspool floating with every type of plastic imaginable, old and new.

Swim the River: Looks at one man’s ambition to swim the entire length of the Hudson River in order to draw attention to its contamination and destruction. Chris Swain swims from the Adirondack Mountains to New York City, braving whitewater, sewage snapping turtles, hydroelectric dams, homeland security patrols, factory outfalls, and PCB exposure.

La Palomilla – Free Screening at the 103rd St. Community Garden

PRDREAM’S SUMMER FILMS SCHEDULE IN THE 103rd STREET COMMUNITY GARDEN (103rd Street and Park Avenue)

Wednesday, August 12, at Sunset (approximately 8:30PM)
La Palomilla: Feature Crime Story, 1970. Puerto Rico. Spanish, no subtitles. Some graphic scenes.
Actors Jaime Sanchez (La Palomilla) and Ritchie Velez (cellmate) will be available for questions

THE PUERTO RICAN CRIME FILM AS PROTEST

La Palomilla

La Palomilla

La Palomilla

This year PRDREAM’s Summer Film Fest presents two Puerto Rican crime films La Venganza de Correa Cotto, directed by Jeronimo Mitchel; and La Palomilla, directed Efrain Lopez Neris, as an exploration of crime as a form of protest. Classics in their own right, they were produced in Puerto Rico in the seventies and reflected an earlier period of transformation and transvaluation of island society brought on by U.S. investment policies known as Operation Bootstrap.

These films portray the law as an external imposition, foreign to the values of the common folk, and the outlaw as the unconscious expression of revolt. Both Correa Cotto and Jose Anibal Gerena Lafontaine (La Palomilla) were simple men, thrust by circumstances into extraordinary acts of transgression that challenged the colonial status quo. Both Cotto and Gerena were men of their times, embodying the passions of a people experiencing the trauma of rapid urbanization and displacement. Anthony Felton who also produced Correa Cotto: Asi Me Llaman will be present for a Q&A after the film. Jaime Sanchez. A leading actor in both Puerto Rican and American cinema, who stars in La Palomilla will be present after that screening. Ritchie Velez, an actor who appears as a cell mate in La Palomila will also be present. Some graphic scenes.

La Palomilla

La Palomilla

FOR MORE INFORMATION
Contact: Judith Escalona
212.828.0401
judith.escalonaATgmail.com


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América Latina: Nueva Literatura de Extremo Occidente, II

Literature at Americas Society
Americas Society ¦ 680 Park Avenue, New York, NY 10065 ¦ www.americas-society.org

Roundtable discussion (in Spanish)

América Latina: Nueva Literatura de Extremo Occidente, II

Thursday, October 29
7:00 pm
Free admission

Novelist and poet Mayra Santos-Febres (Puerto Rico) will lead a discussion with fellow writers Fernando Iwasaki (Peru), Edmundo Paz Soldán (Bolivia), Cristina Rivera-Garza (Mexico/USA), and Jorge Volpi (Mexico) on the state of Latin American literature today. This program also celebrates the publication of Jorge Volpi’s Season of Ash, translated by Alfred Mac Adam (Open Letter, 2009).

Presented in collaboration with the Salón Literario Libroamérica, a non-profit organization whose mission is the internationalization of Puerto Rican literature. We thank the Consulate General of Peru in New York for helping to promote this event.

Reservations:
Americas Society Members: Reserve today at membersres@americas-society.org .
Non-Members: Reserve online now.

Americas Society gratefully acknowledges the generous support of our Literature Program donors: Honorary Benefactor Amalia Lacroze de Fortabat, The Reed Foundation, and the Program for Cultural Cooperation between Spain’s Ministry of Culture and U.S. Universities. The Literature Program is also made possible, in part, with public funds from the New York State Council on the Arts, a State Agency, and the New York City Department of Cultural Affairs. In-kind support is provided by the Salón Literario Libroamérica.

SEIU engages in union raiding and busting in Puerto Rico

“In Puerto Rico, the SEIU is embroiled with the Teachers Federation, a 42,000-member independent union of public school teachers. After a 10-day inconclusive strike in February, the Federation was punished by losing its right to represent the teachers. The SEIU reached an agreement with a rival teachers group and supported its request for a collective bargaining election, which in effect would eliminate, if not destroy, the Teachers Federation. At the SEIU convention hall in Puerto Rico, a mass delegation of Teachers Federation members demonstrated with picket signs “Stop Union Raid.” Many of Stern’s critics support the Federation’s battle for survival. They ask: Will the new clause on “aiding” a “rival” make them vulnerable to disciplinary charges for openly expressing that support?”

uniondemocracy.org

Below: entire article
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From the July-August 2008 issue of Union Democracy Review #174

Reflections on the SEIU Convention in Puerto Rico

At the June convention of the Service Employees International Union, climaxing President Andy Stern’s twelve years in office, a big majority of the 1,900 convention delegates endorsed his program and endowed him with increased power amounting to presidential authoritarianism couched in democratic verbiage.

But he has paid a price for that victory. When he first took office 12 years ago, his plans were greeted with near-unanimity by labor activists and pro-labor academics, and he was hailed in the press as the promising new labor leader. He came out of this convention stronger organizationally and constitutionally but with a diminished image. On the eve of the convention, a hundred writers, labor educators, and academics had expressed concern over the fate of SEIU democracy under his tutelage. Sal Rosselli, a major SEIU leader, broke with the administration and emerged at this convention as an outspoken oppositionist. Unexpectedly, more than a dozen rank and file delegates ran for international positions as insurgents. None were successful, but protest votes on their behalf were recorded from 15% of the delegates.

The union administration summed up its proposed program of action for the next four years until the next convention in an ambitious, emotion-stimulating 31-page declaration, “Justice for All.” It began on a high note of great promise and expectation. “We stand for not only ‘Just Us’ but for ‘Justice for All’ workers in our industries and in our country.” It called for “a more just and humane society”, for us and “for future generations.” That lofty theme was sustained and repeated in a multitude of variations. No one could fault such lofty goals. Can anyone object to justice for all? In a post-convention letter to educators, a Rosselli spokesman wrote, “Delegates from our local union … supported core parts of a platform proposed by our union’s national leadership, including expanding our organizing efforts and improving regional and national coordination among SEIU locals.”

But how to go about revitalizing the labor movement and changing the world? There’s the rub. And so there was criticism, and it was just as sharp and emotional as Stern’s support was enthusiastic. It emanated from two main sources: 140 delegates from Sal Rosselli’s 140,000-member United Healthcare Workers-West and about 100 delegates from other locals, many of whom joined together in a loose rank and file caucus called SMART (for SEIU Member Activists for Reform Today.)

In the spirit of “one national strategy” and “one voice” (phrases repeated over and again) the administration proposed a bewildering creation of boards, committees, and subcommittees — wheels within wheels — all dominated by the international president. Critics charged that the new structure of Division Leadership Boards and National Bargaining Teams overloads the system with international officers and appointive staff and reduces representation from local leaders and rank and filers.

But the critics’ main objection is to Stern’s basic plan, the stratagem that he hopes will open the road to a massive rise in membership. Stern is convinced that traditional unionism is not working; he would not rely on the old-fashioned method of inspiring workers in a battle for union recognition. He proposes to organize hundreds of thousands of new members, perhaps even millions, not in conflict with multi-million dollar global capitalists and corporate buyout firms, but in cooperation with them. That central aim was only imperfectly touched upon, and only by implication, in convention documents.

Many months before the convention, Stern disclosed his intentions to Kris Maher, a Wall Street Journal reporter, who wrote “Mr. Stern says he wants to remake the labor movement by shedding the old adversarial image and creating more labor management partnerships.” Stern told him, “We want to find a 21st century new model that is less focused on individual grievances, more focused on industry needs.” Alan Murray, of the WSJ, wrote that Stern told him, “he much prefers working with the buyout kings than with their public-company counterparts, ‘I’ve been incredibly impressed,’ he said, ‘…these men have much more understanding of what we are trying to accomplish.’ ” What all this means in practice has been revealed in actual agreements Stern worked out with cooperating employers:

In 2003, Stern negotiated an agreement with the employers’ California Alliance, an association representing 284 nursing homes. The Alliance turned over 42 of its homes with some 2,000 members to the union; but the union agreed that it would be barred from trying to organize its 185 non-union facilities. According to the UHW-W, the agreement covering the newly organized sites undercut union standards in the industry. It provided no vacation, holiday, or sick pay; no seniority rights, strict limits on stewards, and management’s right to change the economic terms of the agreement. The SEIU units were, according to UHW “close to becoming …company unions.” Rosselli’s public repudiation of the deal marked his break with Stern. Under pressure of mass protests from the UHW-W membership, Stern backed off and ended the controversial arrangement. But he had not abandoned his basic policy:

On May 10, Kris Maher reported that the SEIU and UNITE/HERE (Change to Win allies) had entered into secret agreements with two global employers of service workers, Sodexho and the Compass Group. “The old ways aren’t working,” Stern told Maher, “and we’re trying to find different relationships with employers that guarantee workers a voice.” And so, unions are formed behind the backs of workers and with the permission and cooperation of the employers. Not just the terms of the agreements, but their very existence is not to be disclosed, not even to the lucky new union members. Of the several hundred thousand workers employed in North America, the union will be permitted to organize a limited number at designated sites; the companies will cooperate by providing lists of the employees and permitting union access to their work sites. The unions agree to be barred from attempting to organize the others; and they will not post derogatory remarks about the companies anywhere in the world.

Stern aims to increase union membership and minimize individual grievances. In that spirit, the convention endorsed the administration’s proposals for “Membership Resource Centers.” From now on, instead of presenting their “job problems” on the work site to a flesh and blood steward-representative, members will log in to a central office where they will get “expert” advice from a voice at the other end of the line — perhaps human, perhaps electronic. This novel system will transform the whole dynamic between the union and its members. Shop stewards under pressure of their constituents day to day on the job, especially those elected, are motivated to take grievances seriously and work hard to satisfy the grievant. But the owners of those voices on the telephone will know that they are appointed by an administration that views grievances as a distraction. To please the boss who appointed them, they will be motivated to slough off those distracting “job problems.”

Its rhetorical call for justice for all — for the poor, the immigrants, the minorities, the oppressed — has enabled Stern to rally round him a troop of social idealists in whose eyes the SEIU has become an extension of civil rights campaigning and community organizing. On the other hand, its trend toward bureaucratic central control, and its justification of a kind of defanged hybrid unionism to be built in cooperation with big domestic and global corporations, has alienated a whole other cadre of social idealists who want the labor movement to be a democratic movement of workers, a movement that, they feel, can only be built in confrontation with big capital.

Two conceptions of the labor movement are counterposed. Because the SEIU has been built and has acquired power by action of militant union loyalists, not by corporate partners, at some point even Stern’s own followers are bound to ask, “What kind of labor movement are we building?” This is no crude battle for power. It is no conflict between so-called “business” and “social” unionism. Nor between a conservative “right” and a militant “left.” Nor between crooks and honest unionists. It is a dispute over the meaning and nature of democracy in the labor movement. Those “alternative visions of trade unionism” could be counterposed only inadequately and tentatively at this convention. What are the chances for a serous discussion during the four years before the next convention?

There are disquieting signs: The administration’s repeated call for “one voice” and “one national strategy” doesn’t encourage independent views. Stern appears to have backed off from a threat to trustee Rosselli’s UHW-W healthcare local; but the international now pursues Rosselli and other local officers by a complex suit in federal court. The convention adopted a resolution that will strip the dissident local of 65,000 of its 140,000 members.

The convention voted to expand the reach of its constitutional ban on supporting “dual unionism.” A member or local union can now be charged for “aiding a rival labor organization.” This provision is obviously prompted by a rivalry between the SEIU and at least two other unions. The California Nurses Association, an AFL-CIO affiliate, is extending its reach beyond California to the whole nation, thereby offering an alternative to any registered nurses who might be dissatisfied with existing SEIU representation. The bar on “aiding” rival unions can create a dangerous problem for SEIU locals which have overlapping, but friendly, representation in areas where the CNA represents nurses and the SEIU all other employees at a given site. Despite the hostility between the two national unions, practical necessity impels locals to cooperate. Stern’s critics, wary of how he will interpret “aiding” a “rival,” fear that he will use the new provision against them.

In Puerto Rico, the SEIU is embroiled with the Teachers Federation, a 42,000-member independent union of public school teachers. After a 10-day inconclusive strike in February, the Federation was punished by losing its right to represent the teachers. The SEIU reached an agreement with a rival teachers group and supported its request for a collective bargaining election, which in effect would eliminate, if not destroy, the Teachers Federation. At the SEIU convention hall in Puerto Rico, a mass delegation of Teachers Federation members demonstrated with picket signs “Stop Union Raid.” Many of Stern’s critics support the Federation’s battle for survival. They ask: Will the new clause on “aiding” a “rival” make them vulnerable to disciplinary charges for openly expressing that support?

How will it all work out? Will Stern’s program fulfill its promise as a devious route toward social justice for all in America, or will the centralized bureaucracy and the special deals with employers choke out the very spirit of idealism that inspires Stern’s dedicated followers? That question can be answered only after extended experience. Will the Stern regime use the endorsement by the convention of its “one voice” and “one national strategy” to justify turning the collectivity of hired staff, appointive and elected local leaders, and international officers into a disciplined goose-step apparatus to glorify the official line and exalt its results; or will it tolerate, if it will not encourage, the kind of free discussion that can truly assess what is achieved? The answer to that question can come promptly in how the regime responds to critics like Sal Rosselli in United Healthcare-West and other critics in SEIU locals around the country.