German-American Immigration & History
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This statue of migrant family is found on the Freemantle Wharf. Many ships coming from Europe had Fremantle as their first stop before continuing on to the eastern states.
Given how the British and Europeans arrived here I do find it ironic that some want to ban all further migration, particularly of certain peoples. As Australia is not reproducing at replacement rate we do need to have a reasonable migration strategy, but not be swamped by the untold millions in the world that would like a safe home, work and place to raise their children.
Since coming back from WA I have tested positive for Covid and spent all day in bed. This is the second time I have got Covid and it seems worse than the last time, which is annoying! HSS
My trip to Las Vegas during this #COVID19 #pandemic
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Immigration Officer: Why are you here?
Me: I'm an immigrant...this is my mother's last wish- to experience working & living in the USA.
The large expansive magnificent Registry Room or Great Hall as it is now called in the main building of the Immigration Museum at Ellis Island is completely lit with natural light because of its large semi-circular windows. When this edifice opened in 1900, it was touted as fire-proof which was a requirement of the United States government after the original station that opened 1892 had burned down, thus the use of bricks, concrete and ceramic tile is found throughout; the attention to detail is discernable in both this lovely open room as well as the exterior [ see image of exterior posted on my photostream flic.kr/p/eX6LEQ ].
First let’s make this clear that first and second class passengers on ships were inspected on the ships and allowed to go directly ashore. In this now open space on the second level back starting 1900 were bench after bench and enclosures for medical examinations. All steerage class passenger immigrants until 1924 believed that they started their process in this Registry Room and at its peak it is estimated that 10,000 immigrants were processed in 24 hour periods, 10,000….wow. However, the process actually started on the long flight of stairs to the second story registry room. There were doctors strategically posted at the top of the staircase who’s only purpose was to screen the immigrants as they went up the stairs, looking for signs like shortness of breath, limping and excessive gazing which allowed them to classify people with conditions like asthma, physical disability and mental illness respectively. If the doctors at the top of the stairs suspected one of the conditions based on his observation, he would mark that individual with chalk denoting what he suspected on their shoulder, for example the ‘L’ denoted lameness. If you had a chalk marking you were taken to special screening rooms away from the registry for a more in depth medical/mental evaluation. The truth is that only 1-2% of the eager immigrants were turned away, that number though totals a quarter of a million, 250,000 that were turned around, left the Registry Room, grabbed their belongings and re-boarded a steam ship returning as steerage passengers taking them back to their native country. Many were given a reprieve and shuttled to the infirmary on the south end of the island with hopes that whatever was ailing them would heal and allow their passage to America. In this hall, if you stop and think about it were so many anxiously awaiting, questioned, examined and given a yea or nay after being on a crowded, pungent sea vessel as the steerage area was nothing to write home about for 2 at least weeks with as much of their belongings that they could carry. The recurring theme through the immigration museum was “Island of hope, island of tears”. It is estimated even with all the immigration that’s occurred after Ellis Island 30 years of processing that stopped in 1924 that almost 40% of the current American population can trace its origin to Ellis Island.
Where does the island get its name? From its first proprietor, Samuel Ellis who opened a tavern for sea faring people in the latter part of the 1700’s, though the island Ellis owned was a much smaller plot of land barely visible during high tide. When Samuel passed, the Ellis family sold the island to New York State who in turn sold it the US government to build a fort for the war of 1812. When the excavation began for the New York City Subway, little Ellis Island initially doubled in size and as they city of New York continued to dig underground, the island continued to increase in size, they had to put the dirt & rocks somewhere. When the United States altered its policies to control and monitor immigration in the USA, New York City was the principal port for Trans-Atlantic sea travel from Europe, the small island just off the Jersey City shore already the property of the federal government, close to the Central New Jersey Railroad Terminal was a perfect way to keep in incoming immigrants isolated from the populations of New York and New Jersey until they could be properly processed and screened. This all stopped in 1924 when the immigration laws changed, but the facilities on the island continued to operate mainly as a detention facility for illegal aliens until 1954. It sat abandoned and neglected until 1965 when President Lyndon B Johnson declared it part of the Statue of Liberty National Monument which fell under the auspices of the National Park Service. However, it would not be until almost 20 years later in 1983 that actual work was done and the main building was restored to state it was in 1918-1920 and opened as the immigration museum in 1990. The southern part of the island, where the hospital and other medical buildings are have only been worked on in the past decade, mainly structurally fortifying them so they don’t collapse. I attended a lecture by Stephen Wilkes given by B&H Photo and Lexar, a professional photographer that was given the opportunity to shoot the buildings before they started clear them out. A New York photographer, he worked for 5 years until 2003 and captured the almost eerie deserted hospital buildings beautifully using only natural light. The work is in a book called ‘Ellis Island: Ghosts of Freedom’. I can’t imagine the emotion Stephen felt because I remember as I snapped this image, standing on the second floor balcony, I could almost see and feel the many people below with their hearts in their hands, with hope and anxiety. It is hard not feel like that in this place; I’m the offspring of immigrant parents as are my children as my ex-wife was an immigrant as well. Immigration is very much part of the fabric of America.
Captured with Olympus Evolt E-510 with an Olympus Zuiko 14-42MM F3.5-5.6 lens, processed in Photomatix and cleaned up in Adobe Photoshop Lightroom.
Nash, nativo di Blackpool nel Lancashire inglese, scrisse questa canzone quando, non avendo all’epoca ancora la doppia nazionalità, fu fermato dagli agenti dell’immigrazione al suo ingresso negli USA. Non volevano farlo entrare e lo tennero in attesa per un bel po’ finchè alcuni fans lo riconobbero e cominciarono ad assieparsi per aver un autografo. Solo allora le guardie si decisero a concerdergli il visto d’ingresso.
Fu per Nash un’esperienza molto irritante ed umiliante.
Figuriamoci se non sei Graham Nash, se non sei nessuno, anzi, un disperato, affamato, sporco e per giunta africano che cerca di passare la frontiera con la Francia a Ventimiglia, o su un treno del Sempione per raggiungere la Svizzera, o fermato al Brennero cercando di raggiungere l’Austria o la Germania...
Ma che Europa è questa, che taglieggia ed affama la sua stessa gente (vedi Grecia) e chiude le frontiere rifiutando la dovuta accoglienza a profughi che fuggono da guerre e carestie?
Nash, a native of Blackpool in English Lancashire, wrote this song when, not having the dual nationality at the time, he was stopped by immigration agents as he entered the US. They didn't want to let him in and kept him waiting for quite a while until some fans recognized him and began to gather for an autograph. Only then did the guards decide to grant him an entry visa. It was a very irritating and humiliating experience for Nash. Imagine if you are not Graham Nash, if you are no one, on the contrary, a desperate, hungry, dirty and moreover African who tries to cross the border with France in Ventimiglia, or on a Simplon train to reach Switzerland, or stopped at Brenner trying to reach Austria or Germany ... But what kind of Europe is this, which cuts and starves its own people (see Greece) and closes its borders by refusing to accept refugees fleeing war and famine?
Bird migration is the regular seasonal movement, often north and south, along a flyway, between breeding and wintering grounds. Many species of bird migrate. Migration carries high costs in predation and mortality, including from hunting by humans, and is driven primarily by the availability of food.
I was lucky... This flock of birds, was flying around, late in the afternoon, right outside my window in a really low flight ...
A white building overlooks the immigration station at Angel Island, in the San Francisco Bay. 211014
Yungaba Immigration Centre is a heritage-listed former immigration hostel at 102 Main Street, Kangaroo Point, City of Brisbane, Queensland, Australia, alongside the Brisbane River. It was designed by John James Clark and built c. 1885 by William Peter Clark. It is also known as Yungaba Immigration Depot, Immigration Barracks, and No.6 Australian General Hospital. It was added to the Queensland Heritage Register on 21 October 1992.
Yungaba House has now been converted for upmarket living. It sits just below the western end of the Story Bridge seen in my recent shot of the city of Brisbane. You can see the safety fence on the bridge above the roof of the centre. The building extends out of shot on the left, it's quite large. The city, on the other side of the river can be seen in the rear.
For those interested, this rather long Wiki article will take you through the lot.
The second part of the exhibition was aimed towards immigration into Germany.
"You will find yourself in the extension building in Germany - in a shop passage in 1973. Up-to-date daily newspapers are hanging in front of a kiosk. The headlines read: "Recruitment freeze in Germany", "No more guest workers to Germany". It was November 24, 1973, the day after foreign workers stopped recruiting. How was it in the Federal Republic that day? How important was the political decision for West German society and the people who had already immigrated?"
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Der zweite Teil der Ausstellung befasst sich mich der Einwanderung nach Deutschland.
Man kommt als erstes auf diesen Kiosk zu.
"Im Erweiterungsbau finden Sie sich in Deutschland wieder – in einer Ladenpassage im Jahr 1973. Vor einem Kiosk hängen gut sichtbar aktuelle Tageszeitungen. Die Schlagzeilen lauten: „Anwerbestopp in Deutschland“, „Keine Gastarbeiter mehr nach Deutschland“. Es ist der 24. November 1973, der Tag nach dem Anwerbestopp ausländischer Arbeitskräfte. Wie sah es in der Bundesrepublik an diesem Tag aus? Welche Bedeutung hatte die politische Entscheidung für die westdeutsche Gesellschaft und die bereits eingewanderten Menschen?"
Sometimes I think...we left the sun behind...immigrated...to have these little funny reflections of moonlight on dark dead stones...
sorry....rarely...
Client: SBS
Agency: US Sydney
Production Company: Engine
Director:Simon Robson
US Sydney / Creatives:
Alex Tracy ( Account Director)
Josh Moore ( Executive Creative Director)
Nigel Clark ( Copywriter)
Tim Chenery ( Art Director)
Amelia Peacocke ( Producer)
Sacha Moore ( Agency Producer)
Corinne Porter ( Agency Producer)
Tim Stuart ( Account manager)
Animation Credits:
Executive Producer: Adam Wells
Typography: Luca @ Like Minded
Illustration: Pete J McDonald
Lead 2D animation: Robert Grieves
animation: Marko Pfann
3D: Shaun Schellings & Damien Mahoney
VFX artist: Lee Sandiford
Sound Design: Tone Aston @ Nylon