• ’This is literally an industry’: drone images give rare look at for-profit #Ice detention centers

    Art project combines interviews with ex-detainees on their trauma during Covid-19, and imagery of the growth of private-run detention in the US

    “Imagine how it feels there, locked up, the whole day without catching the air, without … seeing the light, because that is a cave there, in there you go crazy; without being able to see my family, just being able to listen to them on a phone and be able to say, ‘OK, bye,’ because the calls are expensive.”

    That’s how Alejandro, an asylum seeker from Cuba, described his time in an #Immigration_and_Customs_Enforcement (Ice) detention center.

    His account is one of dozens captured in a collection of audio recordings as part of a project aiming to show how the US immigration detention system, the world’s largest, has commodified people as part of a for-profit industry.

    “We’ve commodified human displacement,” said artist David Taylor, who has used drones to take aerial photography and video of 28 privately run Ice detention centers near the US southern border, in California, #Arizona and #Texas.

    While accounts of abuse and exploitation from inside facilities appear in the news media, the detention centers are usually in isolated, underpopulated areas with access to photographers or film crews tightly controlled.

    This new image collection, taken from near the perimeters of the facilities, gives a rare look at just how many of these centers occupy the landscape. “What I want to show through the accumulation of imagery is that this is literally an industry,” Taylor said, “that it’s expansive, that it occupies a significant amount of territory in our national landscape – and I’m only showing a fraction of it.

    “That, to me, is an important realization. The scale is shocking; how it is changing the United States,” said Taylor, a professor of art at the University of Arizona.

    The imagery will ultimately be shown in an exhibition incorporating the stories of some of the people captured inside this system. These audio recordings come from a collaboration with Taylor and a group which provides free legal service to detained migrants in Arizona, the Florence Project, and writer Francisco Cantú.

    When the project is eventually presented in a gallery, it will also include data on the costs, profits and revenue of corporations involved. Late in the the Obama era, the Department of Justice (DoJ) discontinued all use of private prison corporations to house detainees, but the DoJ during the Trump administration reversed this policy.

    Between 2015 and 2018, as the administration began to ramp up its crackdown on immigrants, the targeted average daily population of detained immigrants grew 50%. Corporations won contracts from Ice worth hundreds of millions of dollars.

    Taylor said the project was fraught because he was taking artistic photos and video of sites where traumas have occurred, but hopes the final work will help people understand how those inside are being used to support an industry. The detainees’ vulnerability during the Covid-19 pandemic added to an urgency to spotlight the facilities, he said.

    Excerpts from some of the interviews follow. Each of the interviewees was given a pseudonym because their asylum cases are pending. Alejandro and Alonzo’s interviews were translated from Spanish.

    All three were held at facilities operated by CoreCivic, which disputes allegations about conditions and said it was committed to health and safety.
    ‘They are not interested in our lives’

    Alonzo – La Palma correctional center in Eloy, Arizona

    When Covid first struck the detention center, Alonzo said he helped organize strikes to protest the conditions inside which were exposing everyone, including the guards, to the illness.

    The 34-year-old said he was refused access to a Covid test even though he was feeling unwell. A month later, he said he was taken to the hospital because he was having such trouble breathing and his skin was turning black. “The truth is that you need to be dying there so that they can take care of you, what they do with you there is lousy, lousy, lousy. They are not interested in our lives in the least.”

    In a hospital emergency room, a doctor told Alonzo he had blood clots and probably had cancer because they found tumors in his lungs and kidneys.

    “When they give me this news, they tell me that they have to return me to La Palma correctional center and put me in a cell. I spent a day and a half locked up without being able to get out at all. On that day they gave me half an hour to bathe, let my family know what was happening to me, and locked me up again.

    “During this time that I was there, there were many people. We stood up to be treated, there were colleagues who collapsed inside the tank, people who convulsed. We prayed because the nurses who treated us, the nurses came and told us, ‘You have nothing, it’s a simple flu,’ and nothing happens.”

    Alonzo described witnessing many suicide attempts. He said he found strength in his wish to see his daughters again and his belief in God. “I always had something in my mind and in my heart, that God did not save me from Mexico to come to die in a forgotten cell. I knew within myself that I was not going to die there.”

    He said the strikes came about as conditions worsened. “One day we all got organized and got together to talk. ‘You know what, brother? There is no Cuban here, there is no Mexican here, there is no Indian here, there is no Venezuelan here, there is no Nicaraguan here, there is nothing. Here we are all here. Because we are all infected, because we are all dying. This is fighting for our existence, it is no longer fighting for a residence, it is no longer fighting for a parole, it is no longer fighting for bail, it is all fighting to get out of here alive.’”
    ‘They told me I had Covid-19. They never gave me treatment’

    Alejandro – Central Arizona Florence correctional center

    Alejandro approached a border checkpoint to seek asylum after three months of waiting in Mexico, seeking refuge from political persecution in his native Cuba. At the border, his pregnant wife was allowed to stay with a relative in the US, while Alejandro, 19, was detained.

    During his three months in detention, he was told he tested positive for Covid-19, which he was skeptical of because he didn’t have symptoms and was asthmatic. He said he was put in solitary confinement because of the test result, then transferred to a civil jail, where he said conditions were worse.

    The most painful part of all, however, was missing the birth of his son after his wife underwent a difficult pregnancy.
    Joe Biden reverses anti-immigrant Trump policies hours after swearing-in
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    “Imagine, it broke my heart, I could hardly speak. Every time I spoke to my wife, or listened to the child, a lump would form in my throat that I could not swallow. It was a thing that does not let you swallow, that makes your chest constrict from so much suffering, from so much pain … If you are a parent, you know what I am telling you … The words did not come out from so much suffering … I spoke a few words and cried. She could hardly speak. Sometimes it was better not to call, because if I called I would feel worse than not calling.”

    Alejandro said he cried every day in detention and was treated by a psychologist in a five-minute “speed date” appointment. “She asked me, ‘Hi, I understand you have a boy, how are you feeling?’ I told her I felt bad, how else was I going to feel? She said, ‘you need to read, to relax,’ just that. Nonsense, something quick. They told me I had Covid-19 and they never gave me any treatment, just water. They told me, ‘Drink water, lots of water.’”
    Responses from #CoreCivic and Ice

    A CoreCivic company spokesman, Ryan Gustin, denied the allegations Alejandro and Alonzo made about conditions in their facilities. “We have responded to this unprecedented situation appropriately, thoroughly and with care for the safety and wellbeing of those entrusted to us and our communities,” Gustin said. “We don’t cut corners on care, staff or training, which meets, and in many cases exceeds, our government partners’ standards.”

    CoreCivic said all detainees were supplied with face masks and denied any allegations that detainees were refused Covid tests. “Initially, detainees were asked to sign an acknowledgment form related to the use of the masks.” The spokesman said detainees were not placed in solitary confinement because of a positive test; he said there were “cohorting procedures … which are intended to prevent the spread of infection” which involve no loss of privileges or activities. CoreCivic denied claims of multiple suicide attempts saying “any such incident would be reported to our government partner”.

    Ice, which oversees the facilities, said the agency was “firmly dedicated to the health and safety of all individuals in our custody”.

    “Since the outbreak of Covid-19, Ice has taken extensive steps to safeguard all detainees, staff and contractors, including: reducing the number of detainees in custody by placing individuals on alternatives to detention programs, suspending social visitation, incorporating social distancing practices with staggered meals and recreation times, and through the use of testing, cohorting and medical isolation.”
    ‘Let me go back home and face my death’

    Mary – in Central Arizona Florence correctional complex one night, then Eloy detention center

    Mary was first detained in Mexico, where she arrived after traveling from her home in Uganda. She was eventually released, sought asylum in the US at a border checkpoint and was detained for five and a half months.

    Detention conditions were similar in the two countries, she said, except Mexican guards occasionally held days where people could socialize with family or friends who were also detained.

    The isolation Mary experienced in the US was intense. She didn’t speak to her young children in Africa the whole time because she couldn’t afford the costs of the calls and relied on a volunteer to relay messages between the mother and her children.

    Also, because she doesn’t speak Spanish, it was more difficult for her to make relationships with immigrants inside from mostly Spanish-speaking countries, and the schedules in the prison made it difficult to develop relationships with others.

    “The Cameroonians were there, but again, everybody used to feel sad, everybody used not to talk. It was like that, since you were sad all the time, you could not communicate, you could not joke.”

    She, like many others, described how many people just wanted to be deported instead of waiting out their time in detention.

    “One day I thought that if the judge denies me, I’ll just tell her or him, ‘Let me go back home and face my death, because I never wanted to stay in detention more. I was thinking about that, but I could not again decide since I was afraid of getting back home.

    https://www.theguardian.com/us-news/2021/jan/29/ice-immigration-detention-centers-drone-photography-rare-look-arizona
    #privatisation #complexe-militaro-industriel #business #asile #migrations #réfugiés #centres #centres_de_détention #détention_administrative #rétention #industrie #photographie #USA #Etats-Unis #enfermement #Californie

    ping @isskein

  • ’Four years of propaganda’ : Trump social media bans come too late, experts say
    https://www.theguardian.com/us-news/2021/jan/07/donald-trump-facebook-social-media-capitol-attack

    Platforms have long let his dangerous posts stand – and researchers say the Capitol attack is ‘exactly what we expected’ In the 24 hours since the US Capitol in Washington was seized by a Trump-supporting mob disputing the results of the 2020 election, American social media companies have barred the president from their platforms for spreading falsehoods and inciting the crowd. Facebook, Snapchat and Twitch suspended Donald Trump indefinitely. Twitter locked his account temporarily. Multiple (...)

    #Facebook #Snapchat #Twitch #Twitter #manipulation #censure #modération #extrême-droite #QAnon (...)

    ##élections
    https://i.guim.co.uk/img/media/6ccb8e4e2744c1f733c632b6e14178fcdf87ccad/0_150_4500_2700/master/4500.jpg

  • Musique. Gabba Gabba Hey ! Dans l’intimité des Ramones
    par Philippe Richard
    Leave Home, deuxième album du fondamental groupe punk américain est luxueusement réédité 40 ans après sa sortie. Entretien avec Ed Stasium, ingénieur du son et producteur favori des quatre faux frères, qui a supervisé l’affaire.

    Comment a commencé votre collaboration avec les Ramones ?

    Je travaillais depuis quelques années comme producteur. En 1976, j’étais à Montreal. Mais mon ami Tony Bongiovi m’a appelé pour rejoindre l’équipe qui allait monter le studio Power Station à New York. En attendant que ce studio ouvre, il était entendu qu’ils me proposent des « missions », dans un petit studio généralement utilisé pour des publicités, le Sundragon, à New York également. J’ai commencé par ce deuxième album des Ramones.

    Vous les connaissiez ?

    Non. Ils avaient sorti leur premier album en avril, mais j’étais au Canada, à enregistrer du soft rock ou des gens comme Robert Charlebois…

    Vous n’arrivez que le deuxième jour de l’enregistrement de Leave Home, en septembre 1976 ?

    J’avais des problèmes de dernière minute à régler avec le studio canadien. Bob Clearmountain, qui était également dans l’aventure Power Station a assuré les prises le premier jour. Les bases de cinq chansons étaient déjà faites quand je suis arrivé. Ce deuxième jour, on en a mis dix en boîte..

    C’est beaucoup, non ?

    En studio, les Ramones arrivaient parfaitement préparés. Tout l’enregistrement n’a duré que six ou sept jours. Johnny (le guitariste) tenait ses troupes et était très tatillon sur cette discipline à avoir en studio, mais le vrai architecte des Ramones était Tommy (le batteur).

    Son rôle est sous-estimé ?

    Totalement. Du concept des Ramones, de leur style jusqu’à leurs chansons : pas de solos, des chansons courtes, des riffs simples. Tommy a été essentiel. Il avait déjà travaillé dans un studio. C’est le seul à avoir été présent sur toutes les prises. Johnny, une fois que ses parties guitares étaient jouées, il partait.

    Il ne joue pas toutes les parties guitares ?

    Johnny était un spécialiste. Une fois qu’il avait fait son job, les parties principales, il ne voulait pas s’embêter. Tommy et moi avons joué les overdubs et les arrangements.

    Tony Bongiovi et Tommy Ramone sont crédités comme producteurs, pas vous..

    Je revendique de l’avoir été. Mais bon, ça a été l’arrangement de l’époque.

    Vous vous êtes tout de suite entendu avec les Ramones ?

    Oui. On a un peu le même background, on venait de banlieues ouvrières. Et je jouais de la guitare, en préférant moi aussi le feeling à la technique pure. Avant d’être ingénieur du son et producteur, j’ai pas mal tourné dans les clubs. Mais il ne faut pas s’y tromper. Les Ramones étaient d’excellents musiciens. Le style de Johnny est marquant. Joey était capable de parfaitement doubler ou harmoniser sa voix, sans avoir besoin de plusieurs prises.

    Vous vous êtes très vite intégré à la scène du CBGB, le club qui a abrité la scène punk/new wave new-yorkaise…

    Ça a été une période fantastique. En 1977, j’ai aussi enregistré Rocket To Russia , le troisième album des Ramones et le 77 des Talking Heads, qui étaient aussi sur le label Sire

    Sentiez-vous les tensions dans le groupe ? Notamment entre Joey le libéral et Johnny le conservateur ?

    Je n’ai jamais senti de tension entre eux en studio. Ils laissaient leurs conflits à la porte du studio. Les drogues aussi, je n’ai jamais vu Dee Dee (le bassiste) arriver avec de la dope en studio. Les seules frictions auxquelles j’ai assisté ont été entre Johnny et Phil Spector, sur l’album End of the Century (1980), sur lequel je n’étais qu’ingénieur du son. (Selon une anecdote fameuse, Spector a sorti un de ses flingues chéris pour intimider le groupe et imposer sa vision de l’album).

    Pour revenir à Leave Home , pourquoi était-il utile de remixer l’album ?

    Dès que l’on a fini, on s’est tous dit qu’il y avait trop de reverb, que le son n’était pas assez frontal. Il faut dire qu’à l’époque, je n’avais pas encore vu les Ramones en live. Je ne les ai vus au CBGB qu’après le mix final. Je n’avais pas pu mesurer la puissance de leurs concerts. Dans le remix du 40e anniversaire, on a enlevé de la reverb, et remit les gutares de Johnny au centre, alors qu’elles étaient balancées sur les côtés du spectre du son.

    La réédition contient de nombreux titres bonus. Lesquels préférez-vous ?

    Ils sont basés sur des bandes studio que j’avais gardées depuis 1976. Ce sont des versions de travail et des mix alternatifs. J’aime particulièrement le mix ave les chœurs doo woop de You’re gonna Kill That Girl , avec les harmonies vocales au début.

    Une chanson, Carbona not Glue avait dû être retirée de l’album ?

    Oui, en raison d’une menace de plainte de la société de produits ménagers Carbona (il est vrai que la chanson parle d’un jeune homme qui préfère sniffer des produits Carbona plutôt que de la colle…)

    https://www.youtube.com/watch?v=vyEEdcow2vE

    Sur la version européenne, il avait été remplacé par la chanson Sheena is a Punk Rocke r. Elle a été enregistrée dans le même studio ?

    Oui, un peu plus tard. Le patron de Sire a senti que ce pouvait être un single (elle reste une des chansons les plus fameuses des Ramones).

    Vous avez également remixé l’album suivant Rocket to Russia ?

    Il a été enregistré au studio Power Station. Autant Sundragon était un placard à balais, autant le Power Station avait une salle très grande, avec un haut plafond et beaucoup de reverb naturelle. L’album a été enregistré live. J’ai fait un remix alternatif en enlevant tous les overdubs pour retrouver la force de ces instants. Un remix back to basics.

    (PS : Rocket to Russia était sorti en novembre 1977. La date de la réédition n’est pas encore connue. D’ici à la fin de l’année ?

    Vous avez travaillé comme ingénieur ou coproducteur sur six albums (1) des Ramones de 1976 à 1980. Puis n’êtes revenus que pour Mondo Bizarro , en 1992. Pourquoi votre collaboration s’était-elle interrompue ?

    On est toujours restés amis. C’est plutôt la maison de disques qui souhaitait les voir travailler avec d’autres producteurs….

    (1) Leave Home (1977), Rocket to Russia (1977), Road to Ruin (1978), Rock’n’roll High School (1979), It’s Alive (1979), End of the Century (1980).

    Le coffret du 40e anniversaire de Leave Home comprend 3 cd et un vinyl. On y retrouve les versions originelles et remastérisées, ainsi qu’un Cd de bonus. Le vinyl présente la version remixée et remastérisée. Rhino/Universal. Entre 45 € et 50 €. L’album contient de nombreuses chansons emblématiques du groupe, dont Gimme Shock Treatment, Suzy is a Headbanger, ou Pinhead, sur laquelle Dee Dee Ramone lance le fameux Gabba Gabba Hey !, l’une des interjections fétiches des Ramones (avec Hey Ho Let’s Go, et One Two Three Four pour introduire les morceaux qui partent en trombe).

    Parallèlement, les éditions Futuropolis viennent de sortir la BD One Two Three Four Ramones de Cadène, Béteaucourt, Cartier, (95 p, 20 €), soit le parcours des Ramones, sur les pas de Dee Dee Ramone, le bassiste toxicomane. Mieux vaut connaître un peu le sujet, car il y a quelques raccourcis. Mais pour les amateurs des Ramones, c’est un must.

    Les Ramones ont été en activité de 1974 à 1996. Aucun des membres originels n’est encore en vie.Joey Ramone (Jeffrey Ross Hyman)est décédé en 2001, victime d’un lymphome, à l’âge de 49 ans.Dee Dee Ramone (Douglas Glenn Colvin) est décédé en 2002, d’une overdose, à l’âge de 50 ans.Johhny Ramone (John William Cummings)est décédé en 2004 d’un cancer de la prostate, à l’âge de 55 ansTommy Ramone (Thomas Erdélyi) est décédé en 2014, à l’âge de 65 ans.

    Le deuxième batteur du groupe, Marky Ramone (Mark Bell), se produit toujours sur scène, sous son nom. Il a 61 ans.

    #Ramones #remix #CBGB
    http://www.ouest-france.fr/culture/musique-gabba-gabba-hey-dans-l-intimite-des-ramones-5192569
    https://www.discogs.com/fr/Ramones-Leave-Home/release/663086