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This is TALK OF THE NATION. I'm Ari Shapiro, in Washington, sitting in for Neal Conan. Last night, a man was arraigned and charged with second-degree murder for allegedly pushing someone into the path of an oncoming New York subway train. This hour we'll talk about the photograph that made Ki-Suck Han's death a national topic of debate.
The New York Post published this chilling image on its cover. The photo shows a man in the path of an oncoming train with the headline: "Doomed: Pushed on the Subway Track, This Man is About to Die." The entire horrifying episode has sparked a conversation about how we capture and share images of tragedy.
Photojournalists and editors, we want to hear from you this hour. Tell us about a time you had to make a tough call, whether to share a troubling image. Our phone number is 1-800-989-8255. You can email us at email@example.com, and you can also join the conversation at our website. Go to npr.org, and click on TALK OF THE NATION.
Later in this program, Rhode Island Senator Sheldon Whitehouse on the fiscal cliff. But first the photo everyone's talking about, and we begin with NPR media correspondent David Folkenflik. He's following this story, and joins us from the New York bureau. Hi, David.
DAVID FOLKENFLIK, BYLINE: Hey, Ari.
SHAPIRO: Before we get to the ethics of what happened, describe what we know. What are the facts of this story?
FOLKENFLIK: Well the facts are fairly straightforward. There was an altercation, you know, at a subway stop here in Midtown Manhattan. Folks were waiting for the Q Line, saw an altercation between the gentleman you mentioned, Ki-Suck Han, he's 61 years old, and a person later identified by police as Naeem Davis, a 30-year-old man. Some eyewitnesses later described Mr. Han to news outlets as having been a little bit aggressive and contentious.
The person identified by police as Davis pushed the man, and he tumbled into, you know, the tracks themselves. The Q Train was coming. He, as the photograph showed that you described, is literally trying to get himself back up onto the platform and cannot do it. And the train strikes and kills him.
Onlookers, you know, pull him back up afterward. A lot of questions raised as the photograph itself raised about the Post, questions were later raised both about onlookers, could they have done more and also whether the photographer himself should have done more rather than trying to take that picture.
SHAPIRO: Most people first heard about this story when they saw the cover of the New York Post, and there was an immediate outcry, as we said, against the photographer. What have we heard from him, and what has he said about what happened in those moments?
FOLKENFLIK: Well, his name is Umar Abbasi. He's been a photographer I believe on contract with the New York Post. Tabloids tend to have a lot of people on contract and freelancers rather than simply having a stable only because photographs are so important to the visual kind of storytelling in tabloid gossip, celebrity, crime, violence that so much is a staple of what they offer.
He says look, headline in front of me, he writes a little essay in the Post yesterday that says anguished photog, critics are unfair to condemn me. What he said after being criticized, ultimately by people as prominent as Al Roker of "The Today Show," CNN's Anderson Cooper, they said put down the camera, fellow, and go help this guy.
He said I was far too far away to help, myself. He said he took pictures in order to set off the flash to warn and alert the person driving the train to try to get them to put on the emergency brake. He did take 49 pictures, and people took that as evidence somehow that he had a lot of time to spare.
Actually, if you think about the way modern digital cameras work, you know, the camera, if you just hold it down, it's going to take shot after shot after shot after shot. He says I couldn't do anything, I responded as a photographer. There were people far closer than me. None of us reacted in there.
A lot of them, they said, were afraid of the way in which the gentleman who had pushed the victim down onto the tracks, was behaving up there.
SHAPIRO: I understand the photographer has also said he was paid for the photograph by the Post, as photographers are when their images are published. The Post has taken some heat for publishing the photo with this headline, doomed. Tell us about how they've reacted.
FOLKENFLIK: The Post has reacted by publishing day after day after day of front-page stories on this. You know, they are in a sense milking this horrific story, as tabloids are wont to do. It's a grisly, terrible story. The original photograph, if you see it, and we're one of the few news outlets that can talk about it without reproducing it as we're doing so, although obviously on our website we have to make choices ourselves, but the photograph in a sense is - evokes the notion of a snuff film.
I mean, you're seeing a guy moments before he's about to actually be killed, and that's a very rare image to capture. It's visceral and haunting, even though you're not seeing the actual violence occur quite yet. So the Post is taking heat, and the Post is liking the attention.
I mean, they're letting the photographer speak for them, in a sense, and they're letting their front page speak for them by reproducing the story in subsequent days.
SHAPIRO: Are there any hard and fast rules about this kind of situation for photojournalists, for newspapers that may publish those images?
FOLKENFLIK: There aren't hard and fast rules. In talking to journalists and news editors, people who are thinking about this issue and issues like this one, you know, they're trying to say what's the public good weighing what's the private pain that's incurred and also what's the effect on people who are going to see this.
After all, if you're putting this on the front page of the New York Post, you're ensuring that people and schoolchildren of, you know, all the neighborhoods in New York are going to see this on the newsstand. After all, that's how the Post is largely distributed. So you've got to think: Is this going to be too upsetting for the public to handle? Is this going to be too upsetting for the family, which has said publicly now that it is absolutely ravaged and distraught by this image?
Or is there a public good being served? I think it's - there's a public good being served in the notion that you are evoking the horror of this moment, you are making clear that it's - you're not sanitizing what violence is person-on-person. On the other hand, you know, you don't have to see all the grisliness of a murder victim to know that a murder is terrible and horrible.
And, you know, our standards in this country, while not hard and fast, as you say, are a lot less likely to be bloody than if you were to look at newspapers in particularly Latin America or other parts of the world.
SHAPIRO: We're going to hear from experts this hour who hold both views, that it should and that it should not have been published. But David, I want to ask you: Is there any difference when you're talking about what you described as tabloid journalism, something like the New York Post in contrast to the Wall Street Journal or the Financial Times?
FOLKENFLIK: Well, I don't think you'd find too many people at the Wall Street Journal or the Financial Times finding a specific instance of violence to be as interesting, unless it's evoking a greater truth. You know, you could see something that showed the horrors of genocide in the Balkans or Rwanda. Or you could show a dead body or some sort of atrocity being committed as a way of bringing attention of the world on something that they needed to bear witness to.
You know, ordinary crime is not something that you see - the prestige - broadsheet newspapers giving that kind of coverage to, nor typically the more prestigious, you know, broadcast news outlets. A tabloid, you know, local news and violence and crime is the texture or the warp and woof of what it does on a daily basis.
And, you know, for them, the controversy is not something to be avoided but courted. You know, I don't see this as being something where it's a gaffe on their part. I think they thought we have something gripping and visceral that everyone will be talking about it, and we don't care if it's in praise or condemnation, they're all going to want to look at the front page of this paper.
SHAPIRO: That's David Folkenflik, NPR media correspondent, following this story from our bureau in New York. Thanks, David.
FOLKENFLIK: You bet.
SHAPIRO: We're going to a caller now. This is John(ph) in Orlando, Florida. Hi John.
JOHN: Hi.
SHAPIRO: Tell us about your experience.
JOHN: Well, I was a journalist for the Army, and I was in Afghanistan in 2005, and there was a huge battle, and someone essentially fell dead at my feet. And I took a picture because it was literally at my feet. And that picture never made it out. I think every 10 years - if it had gone out, it would have been something that people would have been talking to.
The feet, the boots of a soldier with a dead person between them. Every many years, something happens, this discussion blows up, and we - it's over and over again. And I wouldn't say that the paper is doing a great job because they're reporting this image, but it is something that people have to see because it's what brings up the discussion of humanity that we have.
And taking the photo is not - whether this person should have tried to save that person or not, you know, I think it's a no-brainer. If you can, you try to save someone. But at the same time, I think that's a completely different issue from taking the photo. The photo has to be taken.
SHAPIRO: You know, John, just from the tone of your voice, it sounds as though the memory of this still has an emotional impact on you. What effect did taking this photo have on you as a journalist?
JOHN: Well, the photo is impressed in my mind forever, along with many, you know, thousands of photos, of the tens of thousands of photos that I took. The entire experiences will never go away. So I mean, I feel sorry for the guy who took the picture because literally that image is going to be stained on his corneas forever.
SHAPIRO: John, thanks for your call and for your service.
JOHN: Thanks.
SHAPIRO: So to help us explore some of the ethical questions surrounding this situation, we've asked Kelly McBride to join us from the Poynter Institute for Journalism in St. Petersburg, Florida. She's senior faculty in ethics, reporting and writing. Welcome back to TALK OF THE NATION, Kelly.
KELLY MCBRIDE: Thank you.
SHAPIRO: So you've been following this story in New York with the New York Post. You just heard this caller, John, who had this experience photographing a tragic, traumatic moment in a war zone. What are the ethics surrounding these situations for photojournalists?
MCBRIDE: Well in general, you have the decision of the photojournalist to take the photo. And John is right: If you have an opportunity to save somebody's life, you should, and I haven't heard anyone argue otherwise. And I'm not going to judge this photographer harshly because I don't know how far he was, and he says he was trying to save the guy's life. So I'm not going to judge him.
But the decision to publish a disturbing photo like that is a more complicated decision. And as a publisher, you're asking questions about the journalistic purpose. When you have an image from a war zone, a famous image that we might compare to this image of this man about to die would be the girl stripping off her clothes after she has been covered in napalm in Vietnam, an image like that causes a lot of harm.
It's an invasion of privacy to the people in the photo, and it's hurtful, harmful to the people who view the photo. But it has a broader journalistic purpose. It's meant to reveal something to the audience so that the audience can uphold their Democratic duties.
I'm not sure that this photo in the subway has any broader journalistic purpose. I've heard some vague descriptions of, you know, being a metaphor for the impending death that we all face, but there's no government to hold accountable. There's no systemic corruption. There's no malfeasance that caused this to happen. So there's nothing for us to do as audience members except look at the photo and be shocked.
And for that reason, I think this is much more prurient and voyeuristic than it is journalistic.
SHAPIRO: Hold on a moment, Kelly. We want you to stay with us. We're going to take a short break and come back with an opposing viewpoint. We're talking with Kelly McBride of the Poynter Institute, and after a short break, we'll hear from Stephen Mays. He has a different take on the New York Post's decision to run this photo.
Photojournalists and editors, we want to hear from you, as well. Tell us about a time you had to make a tough call about a troubling image. The number is 1-800-989-8255. Or you can email us, email@example.com. I'm Ari Shapiro, and this is TALK OF THE NATION from NPR News.
SHAPIRO: This is TALK OF THE NATION. I'm Ari Shapiro in Washington. Today we're talking about photojournalism and ethics, the tough calls the photographers and editors have to make about whether to run disturbing images. Of course we're talking about it because of the image that ran on the cover of the New York Post this week: a man on subway tracks moments before an oncoming train ended his life.
Ever since the image hit newsstands and the Web, a debate has raged about whether it should have run. We tried to contact the photo editor at the New York Post, who has not responded to our inquiry. So photojournalists and editors, we want to hear from you. Tell us about a time you've had to make a tough call about whether to run a photo.
Give us a call at 1-800-989-8255. Or email us at email@example.com. Kelly McBride of the Poynter Institute is still with us. She believes the image should not have been printed. But others maintain the New York Post was right to run it. Stephen Mayes is managing director of VII Photo Agency and former vice president of Getty Images. He joins us from our bureau in New York. Welcome, Stephen.
STEPHEN MAYES: Hello.
SHAPIRO: So make the argument. Why do you believe the Post was right to run this photo?
MAYES: Well, look, I've devoted the large part of my life to publishing pictures which people find difficult, many sorts of pictures that Kelly has described, you know, important issues, policy-changing subjects. And very often, you know, I find resistance. People don't want to publish the picture. And here's what I find difficult about this conversation is that to me the information is gruesome, the story is itself horrific.
And I first came about this when somebody described it to me, and my imagination just went crazy. I felt sick in my stomach. I use the subways, I'm a commuter, and I could see myself in that situation. That to me was the heart of the story. Why, then, do we choose photography as the medium to censor? What is it about the photograph that can't be shown yet can be said in words?
And that's where I find my struggle. And, you know, with regards to is this is - plainly (unintelligible) life-changing circumstance, but whether this is, you know, era-changing image, well, you know, I think there's even a discussion to be had about that. I mean, millions of us use the subway every day. Millions of us have looked over our shoulders as we stand, you know, hearing the train coming on and looking, just wondering who's behind us.
This is a daily reality for many of us, and this story isn't just about one man. It's about many of us. It's awful, it's horrific. The facts of it can't be varnished. But why censor the photograph?
SHAPIRO: So at the end of the day, it sounds to me, Stephen and Kelly, as though you use sort of the same measuring stick, which is, does this have news value, does this have journalism value? But perhaps you just measure this photograph in different ways on that scale. Kelly?
MCBRIDE: That's entirely possible. I tend to think that when something is going to cause harm that those are the moments when, as a journalist, you have to make sure that you have a higher purpose other than just telling a story. And it sounds to me like we may disagree on whether the standard changes when you're about to cause harm.
SHAPIRO: So let's talk about how photographers and editors make this judgment. Stephen, you've had these conversations before. Talk us through how they play out.
MAYES: Well, I think that very often what I find is people are making judgments on taste, and I find that a very difficult subject to venture into because we as picture professionals are looking at images, and we judge ourselves qualified to look at these pictures, and somehow we're not damaged by looking at them, but we're making the decision that other people will be damaged if they look at them, and I find that a very arrogant position.
What is it that makes me impervious to the message of this picture which somehow would affect other people? And I think it's wrong of us to intervene in that way and try and make those judgments for other people, particularly now in this day and age where we are in the Internet age, where the role of that gatekeeper, that patriarchal, I'm going to make this decision for your good about what you're allowed to see, is actually - is fading.
I think it's coming as a somewhat redundant argument. I doubt if many of your listeners have actually seen this in print. I guess most of them have actually seen it online. And therefore the discussion becomes one about vilifying the Post rather than picking up the issues that it raises, and there are issues around public safety, mental health, things that we should be talking about.
Why are we spending this time talking about the Post when they've brought in a serious issue to us, to our attention, for discussion?
SHAPIRO: Well, even before the Post made the decision to publish the photograph, there was the decision to snap the photograph. And I mentioned, Kelly, as I introduced you, that you advise photojournalists on how to make these decisions in difficult situations. What kinds of advice do you offer? What's the guideline?
MCBRIDE: Well, I tell them that if you are in a situation where someone's death is imminent or serious injury is imminent, and you are the most qualified person to help, and you might be the most qualified person because you're the closest person, or you're the only adult, or you speak the proper language in order to intervene, you have a moral, a human moral obligation to put down your camera and help out. And I've never heard anyone disagree with that.
MAYES: And I wouldn't disagree, either.
SHAPIRO: We're going to take another call now from Tony(ph) in Princeton, New Jersey. Hi, Tony, you're on the air.
TONY: Hi, good afternoon.
SHAPIRO: Tell us your story.
TONY: Well, I'm a photojournalist in New Jersey, and, you know, I was really shocked when I saw the cover of the Post yesterday. And, you know, a lot of the comments that your guests are making are very valid. But on a personal level, I am very sensitive about the people that I photograph, and I have deliberately not taken photos while other colleagues around me have because of the sensitive nature of the situation and putting myself in their shoes and not wanting to be photographed if I were in their shoes in that situation. And...
SHAPIRO: Can you give us an example?
TONY: For example there was a local story where a mother's daughter had died very tragically, and I was in a situation where it was a very personal moment where - between myself and the mom, and there were other photographers there. And I decided to step back and not take photos at this one particular time, and other photographers did.
And the long of the short of that story is that later on, that ended up helping me out because the mother came to me and said, you know, I'm glad you didn't take my picture then. I really appreciate it. And it ended up opening up the story for me later on, where I was given access by the family when other photographers weren't.
SHAPIRO: I imagine there must be two conflicting instincts. As a human, watching someone suffer, you don't want to take a photograph. But as a photojournalist, when you're hearing all the cameras click around you, part of you must just want to pull the camera up and take the shot.
TONY: Absolutely, yeah, that's a huge internal conflict. You know, thankfully I don't want to have to deal with it on a great level every day, but, you know, it's something that we all as photographers have to make a personal decision on. But, you know, with this case of the Post, you know, again I can't speak for the photographer, and in many circumstances I agree with, you know, make the picture if you can, and decide whether it's going to be published later on.
But, you know, my other larger issue is the general perception the public has of news photographers, that we're generally lumped into the whole paparazzi umbrella, which is really nothing what we do as photojournalists every day compares to what paparazzi do. And then in the days following Princess Diana's death, you know, I had somebody get in my face and personally accuse me of killing the princess.
And, you know, these kinds of things, as they build up, and, you know, specifically the Post publishing this picture, you know, is adding to that negative public perception that we as photojournalists have, and it makes my job harder every day.
SHAPIRO: Well, thanks for the call, Tony.
TONY: Sure.
SHAPIRO: You know, Stephen, I'm curious, as Tony raises a question of paparazzi, does it matter that the New York Post is a tabloid, and people expect sensationalism from it?
MAYES: Well, I think that it is part of the discussion, and I think that the reason why the Post has come under attack like this is because it's the Post. There's a certain classism I think at work here in the media. But look, we all play our different parts, and I think that, you know, what the Post has done, you could call it sensational. By the way, I find the headline very descriptive. I didn't see any...
SHAPIRO: The headline, doomed.
MAYES: Well, that's a fact, you know, and there were no adjectives or inflammatory adverbs. I mean, it was this man is going to die, he's doomed. And the Post is playing its part. It's putting this on the front page, running it big, as it had a huge impact. We are sitting here talking about it now. And that's their part in the role.
I think it's up to the rest of us to take any meaning out of that and do stuff with it. Here we are actually doing something very useful now, by the way, discussing photography. And I would just say, if I may, that I'm - the encouraging part about this discussion is that it does reassure me that photographs still have power, and those of us in the business, you know, have struggled a lot of times to persuade people that pictures really can tell stories in ways that have greater impact.
And there is no compassion fatigue. People are moved when they see images like this. It does contribute to the telling of the story. And that I find very encouraging.
SHAPIRO: All right, let's take another call. We're going to Boston, where Essdras is on the line. Hi, welcome to the show.
ESSDRAS: Hi, how are you doing? My name is Essdras. I'm a staff photographer for The Boston Globe. Back in 2004, 2005, when the Indonesian tsunami happened, I arrived at the scene nine days after the fact. So a lot of the images that told most of the story had been told. But I have the luxury of actually being judicious on what photos I took and I didn't. At some - this specific day, I came out to a mobile hospital, and I found this kid, and the kid, he was about three years old.
His skin had been completely ripped off because he'd been caught in the churning water, and I looked at this kid, and I'm, like, this is so sad. And I thought to myself: You know, this kid doesn't need this. I don't need to take this photo to tell the story, and I started walking away. And I literally was pushed out of the way by a Japanese photographer who saw me, and he followed my gaze, and he went and he got in the kid's face with a wide angle, and he made this photo.
I just shook my head, pulled out a telephoto, a long lens, and I made the same photo from afar. And at that point, a doctor in the hospital screamed at the both of us and kicked us out of there, which I was very happy about. That was a case where I made the photo, because the photo was going to show up and my bosses are going to say, where is this photo? I didn't want to take it, but I thought I did it in a more respectful way. So I'm not judging the guy who took the photo, but I know, on a daily basis, you have to deal with those situations, if that is your job.
SHAPIRO: Essdras, is there an argument that taking the photo had value in telling those of us who are half a world away what was actually going on there in a stronger way than words would have been able to do?
ESSDRAS: Well, the thing is, had I gotten there two days after it happened or right after it happened, yes. It had all the value in the world. But because it took us so long to get there, it had been nine days after the fact and so many photos have already been shown, that photo, really, to me, was not going to add anything to the impact that the whole story had already caused. The whole world already knew that hundreds of thousands of people had died. I don't think this photo would have made much difference.
And the photo exists and the photo never got published, and I use it sometimes when I teach ethics of journalism to say, you know, you've got to make decisions. And the right decisions are the decisions that you can live with, and that should be your barometer writer.
SHAPIRO: Thanks for the call, Essdras.
ESSDRAS: OK. Bye-bye.
SHAPIRO: And, Kelly McBride of the Poynter Institute, I wonder what you make of his story. Is this a common conflict for photojournalists in a crisis zone?
MCBRIDE: Yeah, you know, I find that photojournalists tend to be very, very emotional and gut reactive, that I don't know if it necessarily goes in hand-in-hand with operating with the visual medium. But one of the things that I would tell a photographer like that is your job is very important, and the images that you take are very important. You have the privilege of telling stories to the rest of the world, and the choices that you make of which stories you tell can change the course of history.
So I would tell him when you're faced with a situation like that where you have great, great compassion for the suffering individual and you have the opportunity to tell this person's story, look for alternatives that allow - and he did. He shot with the long lens, rather than getting right into the kid's face. Look for alternatives that can tell the story in a way that don't make the kid seem gruesome or disfigured in a way that's repulsive. Look for ways to exercise your compassion.
And most photographers do that every day with the choices that they make. The more sensitive the story, the more they're looking for different angles, different lenses, different ways to approach the story, so that they can show it and not be that paparazzi, callous person who's just invading someone's privacy in order to make a buck.
SHAPIRO: We're talking about photojournalism and ethics, and you're listening to TALK OF THE NATION, from NPR News. We have an email here from Chap(ph) in Charleston, South Carolina, and he writes: As a videographer, I find that whenever I'm filming, people are more likely to do risky things. I've had footage of people right before a watercraft plane crashed because they did a barrel roll in the sky and the wing collapsed. I once filmed somebody jump off a 76-foot cliff on a lake and land wrong, both within the same year. He says it's hard to know how to share these images. One way, it's exciting, and another, it makes me want to quit filming people altogether.
So this is a new wrinkle: the presence of a photographer or a videographer actually altering the action. Kelly?
MCBRIDE: Yeah. That happens all the time, and many photographers - I mean, if you've ever been a photographer at a football game, all you have to do is turn around and point your camera at the crowd to see how you change...
MCBRIDE: ...the way people behave. So it does happen, and most photographers are very careful to try and minimize that impact, especially when you have people doing audacious things like jumping off of buildings.
SHAPIRO: Stephen Mayes, as a director of a photo agency, you're often involved in these decisions of whether to publish or not. And we've talked about the decision of whether to take the photograph and the decision of whether to publish the photograph. How often is there disagreement between a photographer who says the world needs to see this and an editor who says, no they don't, or vice versa?
MAYES: It's hard to classify this disagreement, but it's very often the case that we submit pictures for publication that never appear. It's very hard, from our position, to know exactly why in every instance. But we put forward pictures which are disturbing. And a large part of what we do is trying to make people look at uncomfortable things that - you know, looking at pictures doesn't always need to be pleasurable or - but it, you know, one does need to learn from them, which we discussed already, and that can be difficult. And sometimes, editors with commercial considerations, frankly, will make decisions that maybe it's easier for their readers and their advertisers not to publish work. And that is a challenge.
SHAPIRO: We have time for one more brief call from Darren in Granite Falls, North Carolina. Hi, Darren. Tell us your story.
DARREN: Yeah. I'm a photojournalist, and I was a staff photographer at the (unintelligible) Daily News about six, seven years ago, and rolled out on a police scanner call to a child that was drowning in a retention pond. I was able to get out there very quickly, while paramedics and firefighters were in the pond trying to rescue the child. And apparently, he had become caught on something under the water. And while I was there shooting with a long lens, the mother of the child had come out, and was being held back and obviously incredibly distraught.
And about 15 minutes later, they were able to get this kid out of the water. I photographed him on the stretcher as they loaded him on the ambulance, photographed the mother. And in the newspaper, we decided to run the photo of the mother being distraught, and not the photo of the child, because at that point, he was already deceased.
SHAPIRO: Was it a difficult decision?
DARREN: Which part? The running of the photo or...
SHAPIRO: The decision to run the photo of the mother and not the photo of the child, or not to run any photo at all.
DARREN: Well, you know, some of those decisions were made over my head by the editors, but I think that running the child's body, that was pretty much a no-brainer. We weren't going to do that.
SHAPIRO: All right. Well, thank...
DARREN: But running the mother - and it got a lot of negative impact, you know, in the community. We had a whole day of letters to the editor just thrashing me, but I believe that drowning is one of the leading causes of deaths among children.
SHAPIRO: So perhaps some journalistic value there. Thanks for the call, Darren. And thanks also to our guests: Stephen Mayes, managing director of the VII Photo Agency and former vice president of Getty Images. He joined us from the New York bureau. And Kelly McBride, senior faculty in ethics, reporting and writing at the Poynter Institute in Saint Petersburg, Florida, she joined us today from a studio there. And thanks to both of you for joining the conversation today.
MCBRIDE: You're welcome.
MAYES: Thank you.
SHAPIRO: When we come back, Senator Sheldon Whitehouse on the fiscal cliff. I'm Ari Shapiro. It's TALK OF THE NATION, from NPR News. Transcript provided by NPR, Copyright NPR.


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The vacuums we use in our green cleaning services aren't normal vacuums. They are HEPA filter vacuums, which means that they what is being put back into the air has been filtered and is clean. We also microfiber cloths to eliminate the chance of cross contamination. They are positively charged so they require less products and provide better cleans by trapping dirt. They are also washed and reused so that they don't end up gathering dust in the local landfill.
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subset: commoncrawl


text:
Jennifer Giordano
Head, Talent Mobility Strategic Operations - Johnson & Johnson
Jennifer Giordano works with the Johnson & Johnson team and has held the role of Operations Manager, Global Mobility for the last 14 years. Jennifer is based in Ringoes, New Jersey, USA and attended University of Delaware.
Congratulate Jennifer
Making the Global Mobility Top 250 is no mean feat. Congratulate Jennifer on their remarkable achievement!
Comments are now closed
Thank you for your interest. Comments are now closed - feel free to message Jennifer on LinkedIn.
Emily Abrams
Senior Manager, Global Mobility & Immigration
Jennifer Ah Whaye
Global Mobility Lead, Global
Melanie Aldana
Global Mobility Manager
Charles Ameno
Global Mobility Leader
Sandeep Anand
Senior Lead, Global Operations and Mobility
Berna Anderson
Director, Global Mobility
Penny Angove
Asia Pacific Mobility Leader
Maxine Ansah
Director, Global Employment and Mobility Tax
Prasanna Aravamudhan
Senior Principal - Global Immigration
Asia Arbolante
Head of Global Mobility & Immigration
Monica Arosio
Head of Global Mobility, Senior Vice President
Madalina Badea
Manager, Global Mobility and Immigration
Beth Baker
Human Resources Director
Suresh Balan
General Manager
Emma Balogun
Talent Mobility Manager, Europe
Rosemary Barber-Lanch
Head of Global Mobility
Cassandra Bauer
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Diana Baumgartner
Department Manager Global Mobility
Cori Beaudet
Director, Abbott Talent Deployment
Sarah Beck
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Chris Benson
International Benefits COE Lead
Christin Bernhardt
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Sandy Beyer
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Mustafa Bharmal
Global Mobility Services Leader
Catherine Birchall
Global Mobility Manager
Chris Blair
Senior Global Mobility Manager
Diederik Blanken
Director International Mobility Operations
Hannah Bly
IA Manager
Kari Boardman
Global Mobility Manager
Tessa Boone
GM Manager for Policy, Vendor Mgmt & Tax
Maribeth Brewer
Global Mobility Program Manager
Robert Brezosky
Talent Mobility Leader
Robert Brizuela
Senior Relocation Manager
Steve Brown
Head of Talent & Career Mobility
David Buchner
Vice President - Global Mobility
Bianka Budai
Global Mobility Program Manager
Gary Burr
VP - Mobility and IAS
Ryan Busekist
Global Mobility Manager, EMEA Relocation
May Caffi
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Elise Caggianiello
Experienced Workforce Transformation Leader
Cecilia Calais
Head of Global International Assignments
Maya Camara
Global Mobility Manager
David Carmichael
Director, Global Mobility COE
Jim Carroll
Senior Manager, Global Mobility
Lillie Castillo
Sr. Director of Relocation
Chris Chalk
Global Mobility and Immigration Manager
Mauricio Chavez
Senior Global Mobility Manager
Lucy Chittenden
Head of Global Mobility
Andrea Choinski
Manager - International Mobility
Robert Church
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Rita Chye
Head, International Mobility & Corporate Travel
Robin Clowes
Senior Director, Global Mobility and Immigration
Jenniann Colon
Manager Global Mobility & Employee Services
Peter Conner
Executive Director
Elisabeth Constantin
Strategy Lead, Global Mobility & Immigration
Deb Convery
Director, Global Mobility & Immigration
Mala Cornell
Director Global Mobility Human Resources
Tanya Correa
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Cheryl Craig
Senior Manager, Global Talent Mobility
Phil Cramp
Executive Director
Scott Cromar
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Pieter Cross
HR International
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Tricia Danielsen
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Kristen Dardani
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Elodie Davignon
Sr Manager, Relocation & International Mobility
Alex De La Garza
Indeed Mobility, Sr. Manager
Mark Derksen
Head of Talent Mobility EMEA and APAC
Claudia Derp
Talent Mobility Director
Jan Desander
Head of Global Mobilty
Ranesha Dhanrathan
Global Mobility Leader
Susanne Engstrom
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Kristin Faison
Manager, Global Mobility
Saifu Fakhri
Manager, International Comp & Ben
Carolina Ferrer
International HR manager Halliburton
Tracy Figliola
Sr Director of GM and Global HR Shared Services
Karen Fitzgerald
VP - Head of Global Mobility
Debbie Foster
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Horst Gallo
Vice President, HR Talent Management
Jennifer Giordano
Head, Talent Mobility Strategic Operations
Magdalena Gobel
Global Mobility Expert
Juan Carlos Gonzalez
Director Global Mobility
Cath Good
Head of Global Mobility
Jean Grossman
Director, Global Mobility
Jackie Grube
Sr. Director, Global Mobility
Kerwin Guillermo
Global Head of Employee Mobility
Elizabeth Haefner
Senior Manager Cross Border Employment
Johnny Haines
Sr. Manager
Dawn Hale
Head of Global Mobility
Karen Hale
Senior Program Manager, Global Mobility
Leane Harding
Head of Global Mobility
Jodi Harris
Associate Director, Mobility & Immigration
Ghadeer Hasan
Head of Global Mobility
Georgina Hawkes
Head of Global Mobility
Praveen Hebbale
Director - Global Mobility Operations
Mark Helicar
Group Head of International Mobility
Neil Heline
Head of Global Mobility
Heather Henry
Head of People-Consultant
Rachel Henson
Senior Global Mobility Manager
Joy Hill
Global Mobility Manager
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Head of Global Mobility
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Elena Jiang
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Marisa Johnson
Global Mobility Programs Manager
Jill Johnson
Sr. Manager, Global Mobility, The Americas at BD
Kelly Jones
Director, Global Mobility/Immigration
Selina Jones-May
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Arjun Jonnalagadda
Global Mobility Operations
Nandakumar K
Head - International Assignments
Elizabeth Keller
Head - International Mobility & Immigration
Karen King
Senior Manager, Global Mobility
Andy King
Head of Global Mobility, People & Talent Ops
Ray Kirby
Sr. Manager, Talent Mobility
Sajra Kolonic
Head of International Mobility
Dharmesh Kothari
VP, Regional Mobility Lead, Asia Pacific and India
Dawn Kramer
Global Mobility & Domestic Relocation Manager
Klaudia Krawczyk
Talent Mobility Partner
Venkatesh Kulkarni
Manager - Global Mobility
Chiranjeevi Kumar Koppula
MD - Head of GM
Julia Le Pla
Executive Director EMEA Mobility Lead
Lynn Lee
Global Talent Partner
Eilleen MacDonald
Global Mobility Partner
Michael MacDonald
Global Mobility Manager
Trish Macdonald
Director Global Mobility
Holly Macfarlane
Specialist, Global Mobility
Brian Madine
Director - Global Total Rewards
Mickey Maher
GM & Immigration Manager
Jan Mak
Total Rewards - Global Mobility Policy and Tax
Denise Maluish
Human Resources
Kristin Manning
Global Mobility & Relocation Specialist
Magdalena Marchlewska
Global Comp, Equity & Mobility Lead
Tanya Mariottini
Director, Global Mobility
Kirsty Martin
International Mobility Senior Policy Advisor
Craig Mayben
Associate Vice President - Global Immigration
Stephen McGarry
Director, Global Mobility
Lynne Mecca
Global Mobility Manager Europe
Keryn Mendes
Sr. Global Mobility Specialist - APJ
Dennis Michels
Global Mobility / International C&B Director
Puja Midha
Global Mobility Leader
Catherine Miles
Global Mobility Manager
Carolyn Milligan
Director, Benefits APAC & EMEA
Nicole Milman
Head of Global Mobility & Immigration
Iva Mizerova
Vice President - Global Mobility
Sara Modena
Employee Mobility Services - Americas Lead
Ash Mohammed
Head of International Mobility
Rina Montalvo
Global Mobility Professional
Priscilla Monticelli
Global Mobility Senior Manager, EMEA
Kerry Moran
Global Mobility Manager
Prisco Morelos
Director, Global Mobility & Immigration
Joy Morrison
Director, Global Mobility
Lisa Mulholland
Global Director, HR Operations and Mobility
Sandeep Musalgaonkar
AVP - Head of India Global Mobility & HR Operations
Rae Myles
Immigration, Mobility, Recruiting Operations
Karen O'Brien
Senior Manager Global Mobility
Erin O'Grady
Sr Director, Global People Mobility Services
Melanie O'Hara
Head of Global Mobility
Anna Oberto
Global Mobility Director, AbbVie Talent Deployment
Paul Onitsuka
Senior Director, Global Mobility
Troy Pariag
Program Executive, Global Delivery Operations
Stephen Park
International Mobility Centre
Amy Parrent
Head of Global Mobility and Recognition
Rachel Parsons
Senior Director, Global Mobility
Robin Patterson
Manager, Global Mobility
Sherryl Patterson
HR Director, Global Mobility and International Benefits
Lyndsay Peters
Group Head of IM Operations
Tracie Pham
Senior Specialist, Talent Mobility
Michael Piker
Global Head of Reward and Benefits
Tim Potter
Director, Global Mobility Compliance
Satya Prakash
Director - Global Immigration Services & Mobility
Veronica Raygoza
Global Immigration Lead
Katherine Reilly-Tare
Head of Reward
Rachel Robertson
Senior Manager - Global Mobility
Christine Rolff
Director, Global Mobility Operatoins
Vicky Rose
Head of HR Operations
Emerson Ross
Global Mobility - U.S. Operations
Ruth Rubenstein
Head of Global Mobility & Immigration
Sangeeta Rupani
Global Immigration and Mobility Manager
Sylvia Salazar
Global Mobility Program Manager
Mark Sallis
AVP, Global Assignments | Employment Taxes
Amanda Santamour
Manager, Global Mobility & Immigration
Anuj Sarin
Group Head - GIMS
Sonja Schwartz
Senior Manager, Global Mobility
Lara Schwindt-Jenkins
Relocation Manager
Tracy Searl
International Mobility Regional Lead, Europe
Patricia Serwe
GM & Immigration Canada Region Lead
Pradeep Setlur
VP - Immigration and Mobility
Dini Shabazian
Senior Director, HR Global Mobility
Heather Sheira
Senior Global Mobility Professional
Ellen Shipley
Director, International Mobility
Fanni Siau
Global Mobility Consultant
Tricia Sirois
Manager, Global Mobility
Natacha Sittner
Global Mobility
Jessica Skye Paul
Director, Global Relocation Strategy & Supply Chain
Guy Smith
Senior Reward Manager
Kiran SN
Associate Vice President
Dawn Sparling
Global Mobility Specialist - Tax & Relocation
Hartmut Speck
Lead, Global Mobility Management
Mercedes Sperling
International Benefits & Global Mobility
Ashok Sreekumar
Vendor/Partner Ops Lead - Global Mobility
Uzma Stamp
Global Head of Global Mobility
Thomas Standring
Head of Mobility
Hannah Stewart
Global Mobility Manager
Matt Stone
Global Mobility Manager
Andreas Strohschein
Sr. Director, Enterprise Reward Partner, Mobility
Melissa Sudano
Director, Mobility & Benefits
Jason Suto
VP, Talent Mobility Partner
Lisa Symmons
Global Mobility Leader
Janet Tang
Global Mobility & Immigration Manager
Andrea Tarantino
Global Reward & Intl Mobility Director
Nicky Taylor
Corporate Head of Global Mobility
Sheila Teyu
Global Mobility & Benefits Manager
Samantha Thompson
Mobility Separation Lead
Caroline Thorley-Farrer
Group Global Mobility Director
Joanna Tickner
GM and Immigration Director - UKI & EMEA
Joyce Totams
Head of Global Mobility Tax & Governance
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HR Manager
Heather Tuttle
Director, International Benefits
Anja Vahldiek
Global Mobility Solutions Leader
Vini Valverde
Director, Global Mobility
Maaike Van de Broek
Head of Global Mobility
Simone van der Schalk
Director, Global Mobility
Carolyn Volovsek
Sr Manager - Global Mobility and Immigration
Bryan Waddle
Global Mobility Transformation Manager
Michael Washbourn
Sr. Manager Global Relocation Services
Janice Wass
Head Of Global Mobility
Nicolai Wassman
Global Mobility Manager
Yuki Watanabe
Senior Global Mobility Manager
Karen Welch
Global People Movement Lead
David Wells
Vice President HR Transformation
Diane Whitcomb
Head of International Mobility, US
Yvonne Wientzek
Global Mobility Enablement Leader
Daniel Wight
Manager, Global Mobility
Eleanor Winder
Global Mobility Lead
Kim Woodlock
Director of International Mobility
Becky Woods
Sr. Director, Global Mobility
Linda Yanoska
Head of Global Mobility
Sarah Yantifovitch
Manager, Global Mobility
Adele Yeargan
Director, Global HR Services & Technology
Shumin Yeo
Sr Manager, Global Mobility
Laura Young
Sr. Director, Global Mobility & Immigration


text:
Any Drain, Any Time, Any Place...Massachusetts...to fit your schedule! Servicing MA: Barnstable, Bourne, Brewster, Chatham, Cotuit, Dennis, Eastham, Falmouth, Harwich, Hyannis, Marstons Mills, Mashpee, Orleans, Provincetown, Sandwich, Truro, Wellfleet, Yarmouth
Title V septic inspections are required before the sale of any home in South Dennis, Massachusetts, and many remodeling projects require them as well. The process is simpler than you might think, though — our licensed inspectors can examine your septic system top to bottom to make sure it's in working order.
While we do our examination, we can also provide a full septic pumping service. This helps our inspector make a full round of observations, too.
An inspection can result in a pass, a fail, or a conditional pass. If you pass, you're all set — we'll provide you with proof of a successful inspection.
In the case of a conditional pass, our inspector will simply describe which component needs replacement or repair. In most cases, our team can make those changes quickly and professionally. Once you're cleared to go, we'll shake your hand heartily and issue a certificate of compliance that designates your Title V as "passed." Congrats!
For a failed inspection, we'll go over the reason for the fail and the South Dennis Board of Health will help determine the next steps to get you back on track to a healthy system.
Schedule Septic Inspection
A quick side note: Title 5 inspections do require digging up and inspecting each component of your system. Since these holes can be quite deep (and because we don't have that many shovels on hand!) we need to use a small backhoe for most inspections. As you might imagine, this is some serious digging, so our attorneys require us to state that, "we are not responsible for any damage to landscaping, including but not limited to grass, shrubs, trees, flowers, sprinkler lines/systems."
Your Title 5 inspection will be valid for two years. Good news, though: if you have your septic system serviced each year before the anniversary date of the last inspection, your Title 5 certificate will now last for three years.


text:
Trowel Craft Plastering provides residential and commercial plastering services throughout the Northern Suburbs and Eastern Suburbs of Melbourne including homes in Alphington.
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We provide services such as:


text:
Silicified Wood
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Buy 2 Major Appliances, Save 5% | Buy 3 or More, Save 10% ♦ See Details
♦Ends August 7, 2024 at 11:59PM EST. Excludes ground shipped products. Discount taken off regular or sale price excluding taxes, delivery, install/uninstall and haul-away. Only valid for new orders on whirlpool.com. Major appliances limited to washers, dryers, refrigerators, ranges, cooktops, dishwashers, microwaves and hoods. While supplies last.
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text:
Movie with the best rated bombings from key3ds
You need the Flash Player or the IOS or android app to see the bombings in action.
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Increasingly popular at celebrations, fireworks can be very traumatic for our pets. For some pets the loud sudden noises, bright colours and flashing lights are scary but the fear is eased with some home remedies. For other pets the fear of fireworks is a sign of true noise phobia.
How to help at home
Some simple changes around the house can help reduce stress for both dogs and cats. Dogs should be walked before dark so they're home before any fireworks start, and cats should be kept in the house. Make sure identity tags and microchip details are up to date so that if pets do run off they're able to be reunited with you. When fireworks do start try and act as normally as possible. Keep curtains drawn to block flashes of light and play the television or radio to cover some of the noise.
Both dogs and cat may appreciate a den to hide in. A dog crate is ideal; cover with a thick blanket containing a comfy bed and one or two favourite toys. Make sure outdoor cats are provided with a litter tray when kept inside overnight.
Can medication help?
Canine and feline pheromone products (such as Adaptil and Feliway) can help relax your pet in strange or stressful situations. They're available as a spray (great for around a den) or a plug-in diffuser. They're best used for a few days before fireworks start and can help to encourage your pet to relax.
Natural remedies are also available which can be given by mouth. These contain natural ingredients which can exert a calming effect. Like pheromone treatments they should be started a few days prior to the stressful event. Your vet can recommend a product, or they can be purchased online.
In some circumstances sedatives can be administered for firework phobias. These are only available via prescription from a vet who has examined your dog. Heavy sedatives such as diazepam will cause pets to be sleepy, but often don't reduce awareness. This can ultimately make phobias worse, so are really only advisable for patients at high risk of self-injury. Lighter sedatives have more recently become commercially available; your vet will be happy to advise on the best products for your pet.
What if the noise phobia is severe?
Fear of loud noises can be specific to fireworks, but for some dogs will extend to fear of gun shots, crow scarers and some traffic noise. Those truly affected animals are at serious risk of self-injury during periods of fireworks, alongside potentially severe mental stress. Noise phobias are often deep rooted and can be difficult and time consuming to resolve. The majority are treatable but with patience and hard work.
The most appropriate way to attempt treatment at home is by purchasing a noise desensitization CD. These are recordings of loud sounds such as fireworks. They should be played during daylight hours while the dog is relaxed, starting at a volume barely audible to human ears. Once the dog is paying no attention, the volume should be gradually increased until the dog is tolerating a high volume. This process can take months, so should be started in spring well in advance of bonfire night.
If desensitization using a recording is not progressing, you should consult the advice of a specialist veterinary behaviourist. They will assess your individual circumstances and work with you to help. Your vet can put you in touch with a recommended professional in your area.


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Apply the theme to transform your background screen, icon and launcher widget! 😀
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– Install Dodol Launcher (if you haven't yet).
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text: RSS New property listed in Estevan Rm No. 5 Posted on May 10, 2022 by Jamie Dyer Posted in Estevan Rm No. 5 Real Estate I have listed a new property at 210 Dukart RD in Estevan. See details here This lot is 5 acres and is located just off the new truck bypass. Services are at the properties edge ready to be installed onto location. Call for more details.


text:
It's been fun, and the LOLFed team is glad we were here to help bring a little levity to the financial crisis. But, we've moved on to greener pastures. Alyx still writes occasionally at civilizr.com, and you can find us all on the Twitterverse if you're so inclined.
Take it quantitatively easy,
Alyx (@a_lyx) and Jason (@jasongarner)


text: 2018FEB08 [大纪元] 金正恩胞妹是国际制裁对象 派她访韩何意? Expert : Choi Kang / President zoom + zoom - print social share Facebook Twitter social share Facebook Twitter [大纪元] 2018-02-08 金正恩胞妹是国际制裁对象 派她访韩何意? About Experts Choi Kang President Dr. CHOI Kang is the President at the Asan Institute for Policy Studies. Previously, he was the dean of Planning and Assessment at the Korean National Diplomatic Academy. In 2012, Dr. Choi served as the president at the Institute of Foreign Affairs and National Security (IFANS). He was also a professor and director general for American Studies at IFANS, a research fellow at the Korea Institute for Defense Analyses, and senior director for Policy Planning and Coordination on the National Security Council Secretariat. He holds several advisory board memberships including: the Committee on Foreign Affairs, Trade, and Unification of the National Assembly; Ministry of National Defense; Ministry of Unification; Air Force Development Committee; and the National Unification Advisory Council. Dr. Choi was also a South Korean delegate to the Four-Party Talks. He writes extensively on the ROK-US alliance, North Korean military affairs, inter-Korean relations, crisis management, and multilateral security cooperation. Dr. Choi received his B.A. from Kyunghee University, M.A. from the University of Wisconsin-Madison, and his Ph.D. in political science from Ohio State University. more