my comment; The fact is tha Americans do not trust any one who isn't like them and with the new wave of proleteriat take over of the world perhaps they are right not to open their fortress .... perhaps it is inevitable that capitalism will have to hybernate in this century.
I love the song Love Shack by the B52's and think that it is very typical to a life style some people enjoyed ... this type of thing would not come out of austerity !
Photographs That Humanize the Immigration Debate
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By James Estrin
Great
news photos happen in an instant and are captured by instinct and
experience. But sometimes they are also the result of years of
preparation, research and commitment to an issue way before it explodes
into the national consciousness and dominates the news.
Ten
years ago, John Moore returned to the United States after almost two
decades covering conflict abroad. Having lived in Nicaragua, India,
South Africa, Egypt and Pakistan, he had come home with “fresh eyes”
that allowed him to encounter his own country anew. He was struck by the
human drama in the struggle over immigration from Mexico and the people
fleeing poverty and violence in their own country. When Arizona passed a
restrictive immigration law in 2010, the “fear and xenophobia toward
immigrants” that he began seeing inspired him to spend much of the next
eight years traveling the length of the United States-Mexico border,
working in immigrant communities and covering law enforcement and
protests.
It was a prescient decision.
“That
fear of immigrants was of course channeled by then-candidate Trump
during his campaign to create a potent campaign issue,” Mr. Moore noted.
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Not
only was he deeply immersed in the immigration story when President
Trump was leading chants of “build that wall,” he also was prepared when
the administration’s zero-tolerance policy that separated parents and
children who illegally crossed the border triggered global outrage.
Mr.
Moore, a staff photographer for Getty Images, now has perhaps the most
comprehensive body of work of any news photographer covering
immigration. His images — his book “Undocumented” was published by
Powerhouse and Getty Images — are being highlighted in two projections
at the Visa pour l’image festival in Perpignan, France.
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Mr.
Moore, who grew up in Texas, spent a lot of time with the United States
Border Patrol and was on a ride-along as officers detained and frisked
families before taking them to a processing center, where they might be
separated. In what would lead to a widely circulated — and debated —
image, he watched as officers, about to search Sandra Maria Sanchez,
asked her to put down her daughter. As she did, the child started crying
and Mr. Moore took a few frames. He spoke with Ms. Sanchez briefly and
she told him that she and her daughter had traveled for months from
Honduras through Mexico.
He filed
his photos, making sure to point out that mother and child were taken
for possible separation. “A two-year-old Honduran asylum seeker cries as
her mother is searched and detained near the U.S.-Mexico border on June
12, 2018 in McAllen, Texas” he wrote in the caption. “The asylum
seekers had rafted across the Rio Grande from Mexico and were detained
by U.S. Border Patrol agents before being sent to a processing center
for possible separation.”
The images
went viral. One photo of the crying child, Yanela, was often used as a
potent symbol of the agony of family separation and led opponents of the
hard-line policy to donate millions of dollars to fight for family
reunification. When it turned out that Yanela and her mother actually
stayed together, conservative commentators pounced on the image as an
example of “fake news.” Time magazine featured part of the image in a
cover photo illustration with President Trump towering over Yanela. The
cover was pilloried from many sides in social media.
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Even
though the photo of the crying child triggered an intense reaction, Mr.
Moore said it was similar to many others he had taken over the years.
And the scenes he saw that day were not unusual for him.
“The
best we can do, often as wire service photojournalists, is to
photograph honestly and caption correctly,” he said. “Our photographs
sometimes take on a life of their own later on. As photojournalists, we
can’t always control that narrative. And this is especially the case on
social media, when the original captions by some people can be stripped
off the pictures.”
Mr. Moore was able
to capture the dramatic moment of Yanela crying because of a decade of
photographing immigration issues, relying on relationships and trust he
has built with federal law enforcement as well as nonprofits and other
groups that help immigrants along their torturous journey.
“The
goal of this project over all these years has been to humanize the
issues of immigration and border security,” he said. “Oftentimes, these
things are discussed in statistical terms, which can be quite dry, and
I’ve always tried to put a human face on this.”
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James Estrin, the co-editor of Lens, joined The Times as a photographer in 1992 after years of freelancing for the newspaper and hundreds of other publications. @JamesEstrin
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