Oklahoma City Bombing

Oklahoma City Bombing
© Charles Porter, 1995
Oklahoma City, OK – April 19, 1995
Oklahoma City Bombing
© Charles Porter, 1995
Oklahoma City, OK – April 19, 1995
At
9:02,
on
April
19,
1995,
Gulf
War
vet,
Timothy
McVeigh
detonated
4,800
lbs
of
fertilizer
and
fuel
oil.
The
resulting
blast
destroyed
the
Alfred
P.
Murrah
Federal
government
Building
and
killed
168
people.
The
bombing,
largest
act
of
domestic
terrorism,
in
America,
shattered
pre‐911
America’s
innocence.
As
the
fires
raged
rescue
services
and
bystanders
rushed
to
pull
victims
out
of
the
twisted
wreckage.
Sifting
through
the
rubble
police
officer,
Sgt.
John
Avera
found
a
small
half
buried
body.
Shouting.
"I
have
a
critical
infant!
I
have
a
critical
infant!"
he
thrust
the,
1‐year‐old
Baylee
Almon
into
the
arms
of
nearby
firefighter
Oklahoma
City
fire
Capt.
Chris
Fields.
As
Chris
checked
Baylee
for
signs
of
life
two
amateur
photographers
both
raised
their
cameras.
Lester
LaRue
and
Charles
Porter
standing
just
three
feet
apart,
yet
unaware
of
each
other,
snapped
the
image
that
came
to
symbolize
the
victims
of
the
Oklahoma
City
Bombing.
Charles
Porter
a
25‐year‐old
credit
specialist
knew
he
had
something
less
than
3
hours
later
when
the
clerk
at
the
Wal‐
Mart
photo
counter
stopped
at
one
picture
and
began
to
cry.
A
friend
told
him
to
take
the
pictures
to
the
media,
and
looking
in
the
phone
book
he
found
the
Associated
Press
office
in
Oklahoma
City.
Wendel
Hudson,
who
was
the
AP
photo
editor
in
Oklahoma
City
right
away
saw
the
potential
of
the
shot,
and
sent
it
out
on
the
AP
wire.
Porter
returned
home
thinking
that
his
photo
might
end
up
in
the
local
paper,
until
he
received
a
long
distance
call:
I
get
this
phone
call
from
this
lady
and
she
says:
"Hi,
I
am
so­and­so
from
the
London
Times
and
I
want
to
know
if
you
are
Charles
Porter.
I
said:
"Yes
I
am,
but
how
do
you
know
who
I
am?"
She
said:
"Well
I
just
received
your
image
over
the
AP
wire..."
And
she
proceeded
to
explain
to
me
what
the
Associated
Press
wire
was.
I
said
that
I
didn't
know
how
to
respond
and
she
said,
"Well
sir,
can
I
ask
you
one
question?"
And
this
is
where
it
hit
home:
"Could
I
get
your
reaction
and
response
to
what
your
feelings
are
going
to
be,
knowing
that
your
image
is
going
to
be
over
every
newspaper
and
every
magazine
in
the
entire
world
tomorrow?"
I
was
silent
and
speechless,
and
chills
go
over
me
just
to
think
about
the
magnitude
and
the
enormity
of
where
that
picture
went
and
the
impact
that
picture
had
at
that
time.
It
was
beyond
my
scope
of
comprehension
and
understanding,
way
beyond.
Oklahoma City Bombing
© Charles Porter, 1995
Oklahoma City, OK – April 19, 1995
The
second
shooter,
Lester
LaRue,
a
safety
coordinator
employed
by
Oklahoma
Natural
Gas
Company
rushed
to
the
scene
of
the
explosion
thinking
that
the
blast
was
a
gas
leak.
When
he
could
drive
no
further
he
grabbed
the
company
camera
he
kept
in
the
car
and
starting
taking
pictures.
Later,
he
realized
he
too
had
something
special
when
while
developing
his
film
the
Moto‐Photo
clerk
asked
to
make
copies
to
show
some
people.
The
next
day,
the
clerk
called
and
said
Newsweek
wanted
to
see
his
negatives.
The
Magazine
paid
Lester
$14,000
for
the
picture
and
it
appeared
on
their
May
1,
1995
cover.
When
the
magazine
hit
the
stands
he
became
an
instant
celebrity
and
people
started
calling
to
make
deals.
Lester
was
both
proud
and
ashamed
of
his
claim
to
fame.
He
would
sign
magazines
on
the
bottom
right
corner
while
blocking
the
image
with
his
left.
He
was
uncomfortable
with
the
offers
of
money
for
photo
rights.
He
worried
the
picture
might
be
upsetting
the
baby's
mother.
But
a
couple
of
weeks
after
the
bombing,
he
saw
Aren
Almon,
the
babies
mother,
on
the
evening
news
saying
she
was
proud
her
daughter
had
come
to
symbolize
the
innocence
of
the
victims.
That
was
enough
for
Lester,
permission
granted.
Deals
where
made,
money
handed
over:
statues,
posters,
coins.
His
wife
suggested
T‐shirts,
with
some
of
the
profit
going
toward
a
downtown
statue
of
the
image.
The
shirts
were
only
in
stores
a
few
days
when
he
saw
Aren
Almon
holding
one
of
his
shirts
on
TV
livid
that
Lester
was
making
money,
off
the
image
of
her
dead
child.
Company
executives
at
Lester’s
work
started
to
get
worried.
They
thought
the
controversy
was
bad
for
public
relations.
Since
Lester
took
the
picture
with
a
company
camera
and
on
company
time
they
told
him
to
give
up
the
picture
and
any
money
earned,
he
refused.
After
months
of
neither
Lester
nor
management
budging,
at
10
a.m.
on
Sept.
6
his
manager
dropped
an
ultimatum
on
his
desk.
Sign
over
the
money
earned
and
any
picture
rights
to
the
company
or
pack
up
your
stuff
and
leave.
Lester
left.
As
he
drove
home
in
a
co‐workers
car
he
couldn’t
believe
it.
He
had
been
a
faithful
company
man
for
32
years,
didn’t
that
mean
anything?
Oklahoma City Bombing
© Charles Porter, 1995
Oklahoma City, OK – April 19, 1995
Aren
Almon,
Baylee’s
mother
had
avoided
seeing
her
dead
child
the
day
of
the
explosion
by
getting
her
father
to
identify
the
body.
The
next
day
the
shattered
Aren
couldn’t
avoid
the
sight
as
she
instantly
recognized
Baylee’s
lifeless
body
on
the
front
page
of
the
Daily
Oklahoman.
Hours
later
the
media
tracked
her
down
at
her
grandmother's
house.
McVeigh’s
bomb
not
only
ended
her
child’s
life
but
her
own
apartment
only
a
block
from
the
explosion
was
windowless
and
filled
with
debris
and
shattered
glass.
She
felt
alone,
crushed
by
the
loss
of
her
child.
Looking
at
the
paper
again
she
sought
comfort
in
the
same
arms
that
held
Baylee,
Chris
Fields.
Reporters
arranged
a
meeting;
she
only
got
in
a
few
words
before
breaking
down,
perfect
footage
for
the
evening
news.
She
came
to
rely
on
Chris
calling
him
2,
3
times
a
week.
She
called
him
so
much
that
tabloids
started
to
imply
that
their
relationship
had
developed
into
something
else.
Chris
and
Aren’s
fears
were
confirmed
when
photographers
started
to
ask
them
to
kiss
on
camera
and
request
shots
of
Chris’s
wife
standing
alone.
Aren
gladly
granted
some
interviews
and
even
gave
her
OK
for
some
uses
of
the
photograph.
But
now
the
picture
of
Baylee
in
Chris’s
arms
was
coming
to
symbolize
the
tragedy,
and
both
she
and
other
victims'
families
were
starting
to
resent
it.
Other
mother’s
started
to
speak,
out
of
grief
and
jealousy,
that
Aren
was
getting
all
the
attention.
On
TV
one
women
said,
“Aren
isn't
the
only
one
who
lost
a
child
in
bombing.
Why
should
Aren
get
all
the
publicity
‐
and
most
of
the
donations?”
At
a
gathering
of
victims'
relatives,
the
mother
of
another
dead
child
turned
to
Aren
and
said,
"We
don't
have
to
write
as
many
thank‐you
notes
as
you
do."
In
the
darkest
moments
as
the
world
seemed
to
turn
on
Aren
she
knew
she
could
always
depend
on
Chris.
Capt.
Chris
Fields.
Knew
he
had
to
be
careful
with
his
newfound
fame.
He
knew
of
fireman
who
took
it
too
far.
One
in
Texas
had
his
15min
when
he
saved
a
baby
trapped
in
a
Texas
well
but
when
the
publicity
faded
he
couldn’t
take
it
and
committed
suicide.
Even
days
after
the
picture
was
flashed
around
the
world
some
of
the
men
at
his
station
started
to
grumble,
"I
did
more
rescues
than
he
did,".
He
could
understand
their
attitude
because
of
one
picture
it
was
Chris,
not
them,
who
got
to
have
breakfast
with
Tom
Brokaw
and
Barbara
Walters,
and
get
free
trips
to
New
York
and
Los
Angeles
for
TV
interviews.
Oklahoma City Bombing
© Charles Porter, 1995
Oklahoma City, OK – April 19, 1995
Chris
by
all
accounts
didn’t
let
the
attention
go
to
his
head;
he
didn’t
even
consider
himself
a
hero.
How
could
he
when
everyone
he
tried
to
save
that
day
was
dead
or
died
later
of
their
injuries.
The
one
thing
he
could
do
was
being
there
for
the
Aren.
He
thought
Aren
would
find
it
was
important
that
as
he
was
the
last
one
to
hold
Baylee.
He
felt
it
was
his
duty
to
comfort
and
protect
her.
When
resentful
bombing
victims
vilified
her
on
the
TV
news,
he
defended
her.
When
she
needed
help
to
stop
the
exploitation
of
Baylee’s
photo,
he
gave
her
names
of
lawyers.
As
time
went
on
he
felt
more
of
a
friend
to
Aren
rather
than
Aren
being
just
another
one
of
his
duties
as
a
fireman.
A
memorial
now
sits
on
the
grounds
where
the
Murrah
building
stood.
168
empty
chairs
recall
those
who
died.
Amongst
the
168
chairs,
smaller
chairs
commemorate
the
19
children
killed,
15
in
the
same
day‐care
center.
The
chairs
are
lined
in
nine
rows,
symbolizing
the
9
floors
of
the
building.
Ten
years
after
the
bombing
Chris
Fields
has
gone
from
Capt.
to
Major
and
is
the
acting
battalion
chief
with
the
fire
department.
The
memories
don’t
bother
him
but
he
dreads
having
to
go
through
it
again.
Aren
is
now
married
with
two
kids,
Bella
and
Broox,
both
of
who
know
about
their
famous
half
sister.
After
Baylee’s
limb
body
appeared
on
TVs
across
the
world,
letters
started
to
flow
in
from
everywhere.
Many
only
had
"the
mother
of
the
baby
in
the
firefighter's
arms"
as
the
address.
There
where
poetry,
letters,
cards
but
most
had
one
thing
in
common,
money.
Aren
used
the
donations
to
get
her
life
in
order
buying
a
house
and
a
car
but
some
of
the
very
first
donations
she
used
to
set
up
a
group
called
Protecting
People
First
Foundation
(PPFF).
Since
the
beginning
PPFF’s
mission
has
stayed
the
same,
to
raise
awareness
about
the
deadly
effects
of
flying
glass
caused
by
a
terrorist
attack
or
natural
disaster.
After
the
Sept.
11
attack
on
the
Pentagon,
workers
thanked
her
because
the
protective
glass
helped
save
lives.
Oklahoma City Bombing
© Charles Porter, 1995
Oklahoma City, OK – April 19, 1995
On
April
18,
2005
the
family
celebrated
what
would
have
been
Baylee’s
11th
birthday.
The
cake
and
party
favors
are
for
her
kids.
They
still
have
the
party
every
year
and
the
kids
know
the
next
day
they’ll
go
to
the
Oklahoma
City
National
Memorial
and
lay
a
wreath
on
the
little
chair
that
bears
her
name.
Oklahoma
Natural
Gas
didn’t
stop
with
firing
Lester
and
on
October
5,
1995,
sued
claiming
copyright
ownership
of
the
photos.
Oklahoma
Natural
Gas
won.
The
court’s
denied
Lester’s
appeals
and
Lester
was
forced
to
give
up
copyright
ownership
and
pay
statutory
damages
in
the
sum
of
$34,623.50.
Chris
Porter’s
picture
went
onto
win
the
1996
Pulitzer
Prize.
After
the
bombing
Chris
quit
his
job,
moving
to
a
collection
agency
but
not
happy
there
he
left
that
too.
He
worked
odd
jobs,
and
sometimes
he
got
work
as
a
wedding
photographer.
Brides
had
no
idea
their
discount
photographer
was
a
Pulitzer
Prize
winner.
Eventually
he
went
back
to
school
and
found
his
destiny
‐
a
degree
in
physical
therapy.
The
Pulitzer
he
received
for
his
picture
is
somewhere
in
his
attic
in
a
box.
"My
life,"
Porter
says,
"is
not
defined
by
that
one
picture."
“Guerrillero Heroico”
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
“Guerrillero Heroico”
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
Guerrillero
Heroico
(Heroic
Guerrilla)
is
the
name
of
Alberto
Korda's
photo
of
Marxist
revolutionary
Che
Guevara.
On
March
4,
1960,
in
Havana,
Cuba,
a
ship
loaded
down
with
munitions
from
Belgium
accidentally
detonated
killing
75.
At
the
instant
of
the
explosion,
Che
Guevara
was
in
a
meeting
in
a
nearby
building.
After
hearing
the
blast
and
seeing
the
debris
cloud
from
a
window
overlooking
the
port
area,
he
drove
to
the
scene
and
spent
the
next
hours
giving
medical
attention
to
the
scores
of
crew
members,
armed
forces
personnel,
and
dock
workers
who
had
been
injured,
many
of
them
fatally.
The
next
day,
President
Fidel
Castro
called
a
memorial
service
and
mass
demonstration
at
Havana's
Colón
Cemetery,
to
honor
more
than
100
Cubans
killed
in
the
suspicious
the
day
before.
At
the
time,
Guevara
was
Minister
of
Industry
in
the
new
government,
and
Korda
was
Castro's
official
photographer.
After
a
funeral
march
along
the
seafront
boulevard
known
as
Malecón,
Fidel
Castro
gave
a
eulogy
for
the
fallen
at
a
stage
on
23rd
street.
During
Castro's
speech
before
thousands
of
onlookers,
at
11:20
am
for
a
few
seconds,
Guevara
came
into
view.
Korda
from
a
distance
of
about
25‐30
feet,
snapped
just
two
frames
of
him
before
he
disappeared
from
sight.
To
take
the
photo,
Korda
used
a
Leica
M2
with
a
90
mm
lens,
loaded
with
Kodak
Plus‐X
pan
film.
The
classic
picture
appears
on
frame
number
40
shot
horizontally.
Korda
immediately
realized
his
photograph
had
the
attributes
of
a
portrait.
I
remember
it
as
if
it
were
today
...
seeing
him
framed
in
the
viewfinder,
with
that
expression.
I
am
still
startled
by
the
impact
...
it
shakes
me
so
powerfully.
­Alberto
Korda.
During
the
rally,
Korda
took
pictures
of
Cuban
dignitaries
and
famous
French
existentialist
philosophers
Jean‐Paul
Sartre
and
Simone
de
Beauvoir,
both
admirers
of
Guevara
at
the
time.
Included
in
the
film
roll
were
shots
of
all
the
speakers
and
two
pictures
of
Che's
brief
appearance.
The
first
photo
had
Guevara
framed
alone
between
an
anonymous
soldier
and
a
palm
tree;
the
second
with
someone's
head
appearing
above
his
shoulder.
The
first
picture,
with
the
intruding
material
cropped
out,
became
Guevara's
most
famous
portrait.
The
editor
of
Revolución
where
Korda
worked,
decided
to
only
use
his
shots
of
Castro,
Sartre,
and
Beauvoir,
while
sending
the
Che
shot
back
to
Korda.
Believing
the
image
was
powerful,
Korda
made
a
cropped
version
for
himself.
He
kept
it
hanging
on
his
wall,
and
also
gave
copies
to
some
others
as
a
gift.
“Guerrillero Heroico” (continued)
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
Passed
out
to
the
occasional
friend
and
published
in
a
few
small
Cuban
publications,
Che's
image
remained
relatively
unknown
for
7
years.
The
photograph
was
then
acquired
by
wealthy
Italian
publisher
and
intellectual
Giangiacomo
Feltrinelli
in
1967.
Feltrinelli
had
just
returned
from
Bolivia
where
he
had
hoped
his
fame
would
help
in
negotiating
the
release
of
French
journalist
and
professor
Régis
Debray.
Debray
had
been
arrested
in
Bolivia
in
connection
with
guerrilla
operations
led
by
Che
Guevara.
As
Guevara's
eventual
capture
or
death
appeared
to
be
imminent
with
the
CIA
closing
in
on
his
whereabouts,
Feltrinelli
acquired
the
rights
to
publish
Che's
captured
Bolivian
Diary.
At
this
time
Feltrinelli
asked
Cuban
officials
where
to
obtain
Guevara
images
and
was
directed
to
Korda's
studio
where
he
presented
a
letter
of
introduction
from
the
government.
The
document
asked
for
Korda's
assistance
in
finding
a
good
portrait
of
Che.
Korda
knew
right
away
that
his
favorite
image
of
Che
was
perfect
and
pointed
to
the
1960
shot
of
Che
hanging
on
the
wall,
saying
that
the
photo
was
the
best
of
those
he
had
taken
of
Che.
Feltrinelli
agreed
and
ordered
2
prints.
When
he
returned
the
next
day
to
pick
them
up
Korda
told
him
that
because
he
was
a
friend
of
the
revolution
he
did
not
have
to
pay.
Upon
his
return
to
Italy,
Feltrinelli
disseminated
thousands
of
copies
of
the
poster
to
raise
awareness
of
Che's
precarious
situation
and
impending
demise.
Later
in
1968
after
his
October
9,
1967
execution,
Che's
Bolivian
Diary
with
Korda's
photo
on
the
cover
was
released
worldwide.
Feltrinelli
also
created
posters
to
promote
the
book,
which
sold
over
1
million
copies.
By
this
time,
Korda's
image
had
officially
entered
the
public
consciousness.
Alberto
Korda
later
expounded
that
if
Feltrinelli
had
paid
him
just
one
lira
for
each
reproduction,
that
he
would
have
received
millions.
However,
Korda
also
expressed
that
he
forgave
him,
because
through
his
actions,
the
image
became
famous.
Feltrinelli's
version
of
the
image
was
used
in
October
1967
in
Milan,
Italy,
when
spontaneous
protests
occurred
in
response
to
the
news
of
Che's
death.
Italian
photographer
Giorgio
Mondolfo
later
stated
that
"the
first
time
I
saw
the
picture
by
Alberto
Korda,
I
was
not
even
slightly
interested
in
the
author.
I
was
only
fifteen,
and
it
was
the
picture
that
had
drawn
us
‐
many
for
the
first
time
‐
to
gather
in
the
streets,
crying
Che
lives!"
Guerrillero
Heroico
also
appeared
in
the
July
1967
issue
of
Paris
Match.
Published
only
a
few
months
before
his
eventual
capture
and
execution,
the
issue
featured
a
major
article
entitled
"Les
Guerrilleros"
by
journalist
Jean
Lartéguy.
Lartéguy
wrote
"At
a
time
when
Cuban
revolutionaries
want
to
create
Vietnams
all
over
the
world,
the
Americans
run
the
risk
of
finding
their
own
Algeria
in
Latin
America."
The
article
ended
by
asking
"Where
is
Che
Guevara?"
The
caption
of
the
photo
read
"The
official
photograph
of
Che
Guevara;
on
his
beret
the
star,
the
symbol
of
the
Comandante."
It
is
not
known
who
provided
the
magazine
with
the
image,
and
it
was
also
not
credited
to
Feltrinelli.
However,
with
its
wide
circulation
throughout
Europe,
and
its
status
as
an
influential
news
journal,
Paris
Match
could
also
be
viewed
as
one
of
the
original
purveyors
of
the
image.
“Guerrillero Heroico” (continued)
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
Plaza
de
la
Revolución
‐
in
Havana,
Cuba
Cuban
historian
Edmundo
Desnoes,
has
stated
that
"Che's
image
may
be
cast
aside,
bought
and
sold
and
deified,
but
it
will
form
a
part
of
the
universal
system
of
the
revolutionary
struggle,
and
can
recover
its
original
meaning
at
any
moment."
That
meaning's
origin
harkens
back
to
when
Korda's
photo
was
first
published
on
April
16,
1961,
in
the
daily
Cuban
newspaper
Revolución,
advertising
a
noon
conference
during
which
the
main
speaker
was
"Dr.
Ernesto
'Che'
Guevara."
The
conference
was
disrupted
however,
when
1,300
CIA‐supported
counter‐revolutionaries
stormed
the
beaches
of
Cuba,
in
what
became
known
as
the
failed
Bay
of
Pigs
invasion.
The
very
first
time
Cubans
on
a
large
scale
became
familiar
with
the
photograph,
despite
its
earlier
reproduction
in
Revolución,
was
on
hearing
the
news
of
Che's
murder.
Upon
the
news
of
Che's
execution,
it
was
enlarged
and
draped
on
a
banner
down
the
five‐story
building
of
the
Ministry
of
the
Interior
in
the
Plaza
de
la
Revolución
in
Havana.
This
building
where
Che
himself
had
formerly
worked,
served
as
a
backdrop
to
Fidel's
eulogy
on
October
18,
1967,
publicly
acknowledging
the
death
of
Che
Guevara
before
a
crowd
of
over
a
million
mourners.
José
Gómez
Fresquet,
renowned
Cuban
poster
maker
and
graphic
artist,
recalls
how
on
hearing
the
news
of
Guevara's
death,
he
immediately
worked
all
night
producing
the
poster
to
be
used
at
the
rally
honoring
him
the
next
day.
Korda
had
given
Fresquet
a
copy
of
the
portrait
as
a
basis
for
the
poster,
which
he
created
on
red
paper.
This
was
the
first
privately
produced
Guerrillero
Heroico
to
be
created
in
Cuba.
Since
then
the
building
has
seen
many
versions
of
the
image,
and
today
a
permanent
steel
outline,
derived
from
the
photograph
adorns
the
building.
“Guerrillero Heroico” (continued)
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
In
1967,
Irish
artist
Jim
Fitzpatrick
was
also
using
Korda's
image
as
a
basis
for
creating
his
own
stylized
posters.
The
first
image
I
did
of
Che
was
psychedelic,
it
looks
like
he
is
in
seaweed.
His
hair
was
not
hair,
it
was
shapes
that
I
felt
gave
it
an
extra
dimension.
That
was
the
image
I
produced
for
the
magazine
and
that
was
done
before
he
died
and
that
is
the
important
thing
about
that
image.
At
first
it
did
not
print.
It
was
considered
far
too
strong
and
revolutionary.
I
was
very
inspired
by
Che's
trip
to
Bolivia.
He
went
there
with
the
intent
to
overthrow
the
intensely
corrupt
government,
helped
by
the
Americans
at
the
time,
and
that's
where
he
died.
I
thought
he
was
one
of
the
greatest
men
who
ever
lived
and
I
still
do
in
many
ways.
And
when
he
was
murdered,
I
decided
I
wanted
to
do
something
about
it,
so
I
created
the
poster.
I
felt
this
image
had
to
come
out,
or
he
would
not
be
commemorated
otherwise,
he
would
go
where
heroes
go,
which
is
usually
into
anonymity.
—Jim
Fitzpatrick,
2005
Fitzpatrick
"wanted
the
image
to
breed
like
rabbits"
and
hand
printed
thousands
of
images
to
give
away
to
anyone
for
free
in
London,
in
addition
to
getting
friends
to
pass
them
out
while
encouraging
others
to
make
their
own
versions.
He
printed
about
a
hundred
copies
at
a
time
to
fulfill
the
demand
of
political
groups
in
Ireland,
France,
and
Holland
who
began
requesting
the
image.
A
batch
was
also
sent
to
Spain,
where
they
were
seized
by
Franco's
police.
Because
of
Fitzpatrick's
desire
for
the
photo
to
reflect
something
of
himself,
he
raised
Che's
eyes
more
and
added
his
initial,
a
reversed
"F"
on
the
shoulder.
It
was
not
until
the
40th
anniversary
of
Che's
death,
that
Fitzpatrick
admitted
to
this
fact
stating
"I’m
a
bit
mischievous,
so
I
never
told
anyone."
At
this
time
Fitzpatrick
said
that
"I
love
the
picture
and
wherever
I
am
in
the
world,
if
I
see
it,
I
take
a
photo
of
it.
I
always
have
a
chuckle
when
I
see
that
little
"F".
I
know
that
it's
mine."
In
November
2008,
Fitzpatrick
announced
that
he
would
be
signing
over
the
copyright
of
his
Che
image
to
the
William
Soler
Pediatric
Cardiology
Hospital
in
Havana,
Cuba.
In
announcing
his
reason
for
ensuring
all
future
proceeds
would
go
to
the
children's
hospital,
Fitzpatrick
stated
that
"Cuba
trains
doctors
and
then
sends
them
around
the
world
...
I
want
their
medical
system
to
benefit."
Additionally,
Fitzpatrick
publicized
his
desire
to
gift
the
original
artwork
to
the
archive
run
by
Guevara's
widow,
Aleida
March.
“Guerrillero Heroico” (continued)
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
Guerrillero
Heroico
made
its
American
debut
in
1968,
when
the
image
appeared
in
painted
form
by
Paul
Davis,
for
a
poster
advertising
the
February
issue
of
Evergreen
Review.
Formatted
to
fit
New
York
subway
billboards,
the
response
was
systematic
defacement,
and
a
bomb
was
thrown
into
the
Evergreen
Review
offices.
"Che
was
the
revolutionary
as
rock
star.
Korda,
as
a
fashion
photographer,
sensed
that
instinctively,
and
caught
it.
Before
then,
the
Nazis
were
the
only
political
movement
to
understand
the
power
of
glamour
and
sexual
charisma,
and
exploit
it.
The
communists
never
got
it.
Then
you
have
the
Cuban
revolution,
and
into
this
void
come
these
macho
guys
with
straggly
hair
and
beards
and
big­dick
glamour,
and
suddenly
Norman
Mailer
and
all
the
radical
chic
crowd
are
creaming
their
jeans.
Che
had
them
in
the
palm
of
his
hand,
and
he
knew
it.
What
he
didn’t
know,
of
course,
was
how
much
that
image
would
define
him."
—Lawrence
Osborne,
New
York
Observer,
2003
[22]
British
pop
artist
Sir
Peter
Blake
has
referred
to
Guerrillero
Heroico
as
"one
of
the
great
icons
of
the
20th
century."
According
to
the
V&A
Museum,
"the
photograph
enshrines
Che
as
a
mythic
hero.
Taken
from
below,
the
revolutionary
leader
with
searching
eyes
and
resolute
expression
becomes
larger
than
life.
A
perspective
that
dominates
the
imagery
of
social
realism,
it
bears
an
irresistible
aura
of
authority,
independence
and
defiance."
The
V&A
Museum
goes
on
to
state
that
Korda's
famous
photograph
first
deified
Che
and
turned
him
into
an
icon
of
radical
chic.
Its
story,
a
complex
mesh
of
conflicting
narratives,
gave
Guerrillero
Heroico
a
life
of
its
own,
an
enduring
fascination
independent
of
Che
himself.
Jonathan
Green,
director
of
the
UCR
photography
museum,
has
remarked
that
"pop
art
is
a
rejection
of
traditional
figuration,
rhetoric,
and
rendition.
Its
egalitarian
anti‐art
stance
was
the
perfect
corollary
for
Che's
anti‐establishment
attitude."
Ironically,
Fitzpatrick's
graphic
was
later
used
in
a
1968
painting
attributed
to
Andy
Warhol
and
sold
to
a
gallery
in
Rome.
The
painting
used
the
same
graphic
processes
used
on
the
acclaimed
Marilyn
Monroe
pieces.
However
this
painting
was
a
forgery,
created
by
Gerard
Malanga
who
was
in
need
of
money.
When
Warhol
heard
of
the
fraud,
he
shrewdly
authenticated
the
fake,
providing
that
all
the
money
from
sales
went
to
him.
“Guerrillero Heroico” (continued)
© ALBERTO KORDA, 1960
Havana, Cuba – March 4, 1960
As
a
life‐long
communist
and
supporter
of
the
Cuban
revolution,
Alberto
Korda
claimed
no
payment
for
his
picture.
A
modified
version
of
the
portrait
through
the
decades
was
also
reproduced
on
a
range
of
different
media,
though
Korda
never
asked
for
royalties.
Korda
reasoned
that
Che's
image
represented
his
revolutionary
ideals,
and
thus
the
more
his
picture
spread
the
greater
the
chance
Che's
ideals
would
spread
as
well.
However,
Korda
did
not
want
commercialization
of
the
image
in
relation
to
products
he
believed
Guevara
would
not
support,
especially
alcohol.
This
belief
was
displayed
for
the
first
time
in
2000,
when
in
response
to
Smirnoff
using
Che's
picture
in
a
vodka
commercial,
Korda
sued
advertising
agency
Lowe
Lintas
and
Rex
Features,
the
company
that
supplied
the
photograph.
Lintas
and
Rex
claimed
that
the
image
was
in
the
public
domain.
The
final
result
was
an
out
of
court
settlement
for
(US)
50,000
to
Korda,
which
he
donated
to
the
Cuban
healthcare
system.
However,
he
was
not
against
its
propagation
altogether,
telling
reporters:
As
a
supporter
of
the
ideals
for
which
Che
Guevara
died,
I
am
not
averse
to
its
reproduction
by
those
who
wish
to
propagate
his
memory
and
the
cause
of
social
justice
throughout
the
world,
but
I
am
categorically
against
the
exploitation
of
Che's
image
for
the
promotion
of
products
such
as
alcohol,
or
for
any
purpose
that
denigrates
the
reputation
of
Che.
“Final Salute”- Reno, Nevada- August, 2005
© TODD HEISLER, 2005
“Final Salute”- Reno, Nevada- August, 2005
© TODD HEISLER, 2005
Inside
a
limousine
parked
on
the
airport
tarmac,
Katherine
Cathey
looked
out
at
the
clear
night
sky
and
felt
a
kick.
"He's
moving,"
she
said.
"Come
feel
him.
He's
moving."
Her
two
best
friends
leaned
forward
on
the
soft
leather
seats
and
put
their
hands
on
her
stomach.
"I
felt
it,"
one
of
them
said.
"I
felt
it."
Outside,
the
whine
of
jet
engines
swelled.
"Oh,
sweetie,"
her
friend
said.
"I
think
this
is
his
plane."
As
the
three
young
women
peered
through
the
tinted
windows,
Katherine
squeezed
a
set
of
dog
tags
stamped
with
the
same
name
as
her
unborn
son:
James
J.
Cathey.
"He
wasn't
supposed
to
come
home
this
way,"
she
said,
tightening
her
grip
on
the
tags,
which
were
linked
by
a
necklace
to
her
husband's
wedding
ring.
The
women
looked
through
the
back
window.
Then
the
23‐year‐old
placed
her
hand
on
her
pregnant
belly.
"Everything
that
made
me
happy
is
on
that
plane,"
she
said.
They
watched
as
airport
workers
rolled
a
conveyor
belt
to
the
rear
of
the
plane,
followed
by
six
solemn
Marines.
Katherine
turned
from
the
window
and
closed
her
eyes.
"I
don't
want
it
to
be
dark
right
now.
I
wish
it
was
daytime,"
she
said.
"I
wish
it
was
daytime
for
the
rest
of
my
life.
The
night
is
just
too
hard."
Suddenly,
the
car
door
opened.
A
white‐gloved
hand
reached
into
the
limousine
from
outside
‐
the
same
hand
that
had
knocked
on
Katherine's
door
in
Brighton
five
days
earlier.
“Final Salute”- Reno, Nevada- August, 2005
© TODD HEISLER, 2005
The
man
in
the
deep
blue
uniform
knelt
down
to
meet
her
eyes,
speaking
in
a
soft,
steady
voice.
"Katherine,"
said
Maj.
Steve
Beck,
"it's
time."
The
American
Airlines
757
couldn't
have
landed
much
farther
from
the
war.
The
plane
arrived
in
Reno
on
a
Friday
evening,
the
beginning
of
the
2005
"Hot
August
Nights"
festival
‐
one
of
the
city's
biggest
‐
filled
with
flashing
lights,
fireworks,
carefree
music
and
plenty
of
gambling.
When
a
young
Marine
in
dress
uniform
had
boarded
the
plane
to
Reno,
the
passengers
smiled
and
nodded
politely.
None
knew
he
had
just
come
from
the
plane's
cargo
hold,
after
watching
his
best
friend's
casket
loaded
onboard.
At
24
years
old,
Sgt.
Gavin
Conley
was
only
seven
days
younger
than
the
man
in
the
coffin.
The
two
had
met
as
17‐year‐olds
on
another
plane
‐
the
one
to
boot
camp
in
California.
They
had
slept
in
adjoining
top
bunks,
the
two
youngest
recruits
in
the
barracks.
All
Marines
call
each
other
brother.
Conley
and
Jim
Cathey
could
have
been.
They
finished
each
other's
sentences,
had
matching
infantry
tattoos
etched
on
their
shoulders,
and
cracked
on
each
other
as
if
they
had
grown
up
together
‐
which,
in
some
ways,
they
had.
When
the
airline
crew
found
out
about
Conley's
mission,
they
bumped
him
to
first‐class.
He
had
never
flown
there
before.
Neither
had
Jim
Cathey.
On
the
flight,
the
woman
sitting
next
to
him
nodded
toward
his
uniform
and
asked
if
he
was
coming
or
going.
To
the
war,
she
meant.
He
fell
back
on
the
words
the
military
had
told
him
to
say:
"I'm
escorting
a
fallen
Marine
home
to
his
family
from
the
situation
in
Iraq."
The
woman
quietly
said
she
was
sorry,
Conley
said.
Then
she
began
to
cry.
“Final Salute”- Reno, Nevada- August, 2005
© TODD HEISLER, 2005
When
the
plane
landed
in
Nevada,
the
pilot
asked
the
passengers
to
remain
seated
while
Conley
disembarked
alone.
Then
the
pilot
told
them
why.
The
passengers
pressed
their
faces
against
the
windows.
Outside,
a
procession
walked
toward
the
plane.
Passengers
in
window
seats
leaned
back
to
give
others
a
better
view.
One
held
a
child
up
to
watch.
From
their
seats
in
the
plane,
they
saw
a
hearse
and
a
Marine
extending
a
white‐gloved
hand
into
a
limousine,
helping
a
pregnant
woman
out
of
the
car.
On
the
tarmac,
Katherine
Cathey
wrapped
her
arm
around
the
major's,
steadying
herself.
Then
her
eyes
locked
on
the
cargo
hold
and
the
flag‐draped
casket.
Inside
the
plane,
they
couldn't
hear
the
screams.
Major
Steve
Beck
,described
the
scene
.
"See
the
people
in
the
windows?
They'll
sit
right
there
in
the
plane,
watching
those
Marines.
You
gotta
wonder
what's
going
through
their
minds,
knowing
that
they're
on
the
plane
that
brought
him
home.
They're
going
to
remember
being
on
that
plane
for
the
rest
of
their
lives.
They're
going
to
remember
bringing
that
Marine
home.
And
they
should."
The
2006
Pulitzer
Prizes
for
photography
was
awarded
to
Todd
Heisler
of
The
Rocky
Mountain
News
for
Feature
photography
for
“Final
Salute,”
the
emotional
and
heartbreaking
story
of
U.S.
Marines
whose
job
it
is
to
break
the
bad
news
of
a
soldier’s
death
to
families
and
to
escort
their
war‐torn
bodies
home
for
burial.
When
Time
Stood
Still
will
track
down
the
passengers,
crew,
soldiers
and
families
that
were
touched
by
the
delivery
of
this
most
precious
cargo.
“Burning Monk”
© MALCOLM BROWNE, 1963
June 11, 1963- Saigon, Viet Nam
“Burning Monk”
© MALCOLM BROWNE, 1963
June 11, 1963- Saigon, Viet Nam
On
June
11th,
1963
a
Buddhist
protest
march
was
making
it’s
way
down
one
of
Saigon’s
busiest
arteries,
Phan‐Dinh‐
Phung
St.
The
procession
of
around
400
Buddhist
monks
and
Nuns
moved
through
the
city
until
they
hit
Le‐Van‐Duyet
St
where
a
light
blue
car
that
was
part
of
the
procession,
the
car
seen
in
the
background
of
the
picture,
stopped.
The
hood
was
raised
as
if
the
car
had
engine
trouble
while
the
nuns
and
monks
in
the
parade
quickly
surrounded
the
car
forming
a
circle
of
some
seven
monks
deep.
Thich
Quang
Duc
a
66
year
old
monk
calmly
got
out
of
the
car
and
walked
to
the
center
of
the
circle
sitting
on
a
cushion
provided
for
him.
His
religious
brothers
removed
a
jerry
can
of
fuel
from
the
car
and
proceeded
to
pour
it
over
Quang‐Duc
who
was
now
meditating
in
the
lotus
position.
Quang‐Duc
with
his
Buddhist
prayer
beads
in
his
right
hand,
then
opened
a
box
of
matches,
lit
one
and
was
instantly
engulfed
in
flames.
He
did
not
move
while
his
body
was
incinerated,
while
Malcome
Browne
the
only
western
reporter
present
snaped
the
picture
of
the
monk
on
fire.
Malcome
Browne’s
image,
that
would
later
get
him
the
Pulitzer
prize
that
year,
was
on
news
covers
around
the
world
including
the
desk
of
American
President,
JFK.
When
Kennedy
saw
the
image
he
was
heard
to
remark,
"Jesus
Christ
…
This
sort
of
thing
has
got
to
stop."
Marking
the
beginning
of
the
end
of
American
support
for
the
Ngo
Dinh
Diem
regime.
For
many
the
story
was
their
first
introduction
to
religion
not
then
common
outside
of
Asia,
Buddhism.
Time,
in
its
article
"Faith
that
Lights"
article
attempted
to
introduce
a
faith
that
would
inspire
it’s
followers
to
light
themselves
on
fire.
When
describing
the
Eightfold
Path
Time
told
it’s
readers
that
Buddhism
was
"full
of
pitfalls,"
and
that
"in
many
Western
ways,
Buddhism
is
socially
useless.
It
has
only
a
limited
tradition
of
good
works,"
During
Vietnam’s
time
as
a
French
colony,
Catholicism
spread
throughout
with
the
colonial
government
favoring
Catholics
for
key
positions
in
the
government,
army,
and
police.
By
1963,
South
Vietnam
was
ruled
by
a
dictatorial
leader,
Ngo
Dinh
Diem.
Under
Diem,
most
of
South
Vietnam’s
power
was
held
in
the
hands
of
Catholics.
Diem’s
regime
oppressed
the
Buddhist
majority,
who
made
up
some
80%
of
the
country.
Most
high
ranking
government
figures
were
Catholic,
and
Buddhists
were
being
discriminated
against
in
Universities
and
government
jobs.
Government
policy
followed
a
strict
Catholic
morality
such
as,
“bans
on
dancing,
contraceptives,
divorce
and
polygamy,
[that
ran]
counter
to
customs
and
beliefs
of
the
majority.“
Buddhists
were
not
allowed
to
teach
or
practice
their
own
religion,
and
protesting
monks
and
nuns
were
being
beaten,
detained
and
tortured
by
Diem's
secret
police.
Even
in
the
fight
against
the
communists,
it
was
only
the
Catholics
who
were
given
weapons
with
which
to
fight
the
Viet
Cong.
It
was
this
intense
religious
persecution
that
Thich
Quang
Duc
was
protesting
against,
not
the
on
going
guerrilla
war
with
the
Viet‐cong.
“Burning Monk”; Saigon, Viet Nam
© MALCOLM BROWNE, 1963
The
ancient
city
of
Hue
is
arguably
the
heartland
of
Buddhism
in
Vietnam.
Hue
is
also
the
birthplace
of
Diem,
South
Vietnam’s
leader.
Ruled
by
Diem’s
two
brothers
‐‐
one
as
a
major/warlord,
the
other
ruled
as
the
Catholic
archbishop.
In
May
1963
Diem
celebrated
the
anniversary
of
his
brother’s
promotion
to
archbishop
in
a
ceremony
where
the
gold
and
white
Catholic
flag
flew
next
to
Vietnam’s
national
flag.
The
two
raised
flag’s
were
a
direct
violation
of
South
Vietnam
Law
prohibiting
any
flag
but
the
national
flag
to
be
flown.
Only
days
later,
Hue’s
Buddhist
community
attempted
to
fly
its
own
five‐
colored
flag
to
celebrate
the
2,587th
anniversary
of
Buddha’s
birthday.
The
government
said
no
and
when
people
took
to
the
streets
in
protest,
9
people
where
killed
by
government
forces
firing
into
the
crowd.
Diem
tried
to
blame
the
deaths
on
the
communists
but
the
damage
was
done.
People
spilled
onto
the
streets
demanding
change.
The
Buddhist
monks
disregarded
as
meditating,
out
of
touch,
holy
men
proved
surprisingly
knowledgeable
on
how
to
use
the
modern
media,
calling
reporters,
using
English
signs,
in
an
effort
to
get
their
plight
to
the
outside
world.
The
monks
strived
to
push
a
common
message
making
the
following
request
of
the
Diem
regime:
"Lift
its
ban
on
flying
the
traditional
Buddhist
flag;
Grant
Buddhism
the
same
rights
as
Catholicism;
Stop
detaining
Buddhists;
Give
Buddhist
monks
and
nuns
the
right
to
practice
and
spread
their
religion;
and
Pay
fair
compensations
to
the
victim's
families
and
punish
those
responsible
for
their
deaths."
Reporters
who
had
been
slugging
it
out
in
the
rice
paddies
covering
the
fight
against
the
Viet‐cong
quickly
moved
back
into
the
cities
to
cover
this
urban
civil
unrest.
Foreign
journalists
soon
had
their
phones
ringing
off
the
hook
as
they
received
tip
after
tip
telling
them
about
the
next
demonstration.
Thich
Quang
Duc,
real
name
Lam
Van
Tuc,
was
born
in
rural
Vietnam
in
1897.
At
the
age
of
seven
he
entered
the
religious
life
becoming
a
disciple
of
the
Zen
master
Hoang
Tham.
At
twenty
he
officially
became
a
monk
spending
the
next
decade
and
a
half
in
the
remote
Ninh
Hoa
Mountains.
In
1932
he
came
out
of
isolation
and
started
teaching
Buddhism
and
also
spending
time
rebuilding
Buddhist
pagodas.
By
1942
he
had
rebuilt
20
pagodas
and
the
same
year
moved
to
Saigon
where
he
settled
into
the
Quan
The
Am
temple
eventually
becoming
the
Head
of
rituals
Committee
of
the
United
Vietnamese
Buddhist
Congregation.
“Burning Monk”; Saigon, Viet Nam
© MALCOLM BROWNE, 1963
As
early
as
the
spring
of
1963,
western
reporters
knew
of
Buddhist
plans
to
use
staged
suicides
as
a
form
of
protest.
These
plans
where
never
taken
seriously
as
no
one
could
imagine
that
the
priests
of
a
religion
that
was
regarded
as
nonviolent
would
condone
suicide.
Even
after
the
deaths
from
the
flag
incident
the
Buddhists
followed
a
policy
of
non‐violent
marches
and
peaceful
rallies.
When
June
rolled
around
it
was
painfully
obvious
that
the
strategy
wasn’t
working.
The
protests,
"were
having
no
impact
on
the
general
populace,"
and
the
foreign
news
media
had
"lost
interest
completely."
So
the
monks
moved
to
Plan
B
and
escalate
the
protest.
In
secret
experiments
they
discovered
that
gasoline
burned
too
fast
risking
horribly
burning
the
protester
and
prolonging
the
agony.
They
solved
the
problem
by
creating
a
diesel
and
gas
mix
that
would
burn
hot
yet
burn
long
enough
to
guarantee
death.
By
early
June
the
foreign
media
started
ignoring
the
phone
tips
that
told
them
where
the
next
protest
was.
That
is
everyone
but
Malcome
Browne:
…So
while
other
correspondents
got
tired
of
the
endless
Buddhist
street
demonstrations
that
were
going
on
all
that
summer,
I
stuck
with
them,
because
I
had
the
sense
that
sooner
or
later
something
would
happen.
[The
night
before
the
Quang­Duc
protest,
a
message
was
sent]
to
half
a
dozen
other
American
correspondents,
but
they
all
ignored
it.
I
did
not.
That
morning
a
Buddhist
monk
went
out
and
sat
down
in
a
main
intersection
in
downtown
Saigon.
Two
of
his
fellow
monks
poured
gasoline
over
him,
and
he
set
himself
on
fire
and
died.
I
was
there,
the
only
western
correspondent
present
and
taking
pictures.
I
suppose
I
took
six
or
eight
rolls
of
35­millimeter
film.
It
was
clearly
theater
staged
by
the
Buddhists
to
achieve
a
certain
political
end.
At
the
same
time,
there
was
a
human
element
to
it
that
was
just
horrifying,
because
the
sequence
of
pictures
showed
the
initial
shock
of
the
flames
touching
his
face,
and
so
forth.
He
never
cried
out
or
screamed,
but
you
could
see
from
his
expression
that
he
was
exposed
to
intense
agony,
and
that
he
was
dying
on
the
spot
…
I've
been
asked
a
couple
times
whether
I
could
have
prevented
the
suicide.
I
could
not.
There
was
a
phalanx
of
perhaps
two
hundred
monks
and
nuns
who
were
ready
to
block
me
if
I
tried
to
move.
A
couple
of
them
chucked
themselves
under
the
wheels
of
a
fire
truck
that
arrived.
But
in
the
years
since,
I've
had
this
searing
feeling
of
perhaps
having
in
some
way
contributed
to
the
death
of
a
kind
old
man
who
probably
would
not
have
done
what
he
did
—
nor
would
the
monks
in
general
have
done
what
they
did
—
if
they
had
not
been
assured
of
the
presence
of
a
newsman
who
could
convey
the
images
and
experience
to
the
outer
world
.
Because
that
was
the
whole
point
—
to
produce
theater
of
the
horrible
so
striking
that
the
reasons
for
the
demonstrations
would
become
apparent
to
everyone.
“Burning Monk”; Saigon, Viet Nam
© MALCOLM BROWNE, 1963
Browne
would
later
recount
that
the
monks
at
the
protest
had
trouble
getting
Thich
Quang
Duc
horribly
burnt
corpse
into
a
casket,
"because
he
was
splayed
out
in
all
directions."
After
the
protest
Duc’s
body
was
burned
again
when
his
fellow
monks
cremated
him.
The
monks
claim
that
his
body
was
reduced
to
ashes
except
for
his
heart
which
while
singed
was
still
intact.
The
organ
was
declared
Holy
and
is
still
kept
as
a
holy
artifact
by
the
monks.
Before
Duc
died
he
composed
a
letter
to
explain
his
actions
and
asked
people
to
unite
and
work
towards
the
preservation
of
Buddhism
in
Vietnam
and
around
the
world.
This
became
known
as
the
Letter
of
Heart
Blood.
Diem’s
regime
handled
the
burning
badly.
He
quickly
tried
to
pass
off
the
whole
protest
as
a
Buddhist
plot
with
monks
working
somehow
with
the
communists.
He
tarred
Browne
with
same
brush
claiming
that
the
enemy
had
bribed
him.
Things
where
made
worse
when
the
Madame
Nhu
a
famous
outspoken
releative
of
Diem
was
quoted
as
saying,
“I
would
clap
hands
at
seeing
another
monk
barbeque
show…"
After
this
quote
Madame
Nhu
became
known
and
feared
as
the
“Dragon
Lady”.
The
regime
was
so
outraged
over
the
whole
incident,
and
in
a
later
protest,
the
secret
police
cornered
and
beat
Browne
and
some
reporter
colleagues,
including
Peter
Arnett.
Browne,
the
actual
target
was
able
to
half
climb
a
pole
while
Arnett
took
the
brunt
of
the
blows.
He
was
eventually
pulled
down
and
his
camera
smashed
but
not
before
he
snapped
off
a
few
pictures
with
the
same
Minolta
camera
that
captured
Duc’s
burning
body.
One
of
the
pictures
Browne
salvaged
from
the
camera
was
of
famous
Vietnam
correspondent
David
Halberstam
brawling
with
the
police
while
trying
to
pull
Arnett
to
safety.
Thich
Quang
Duc’s
suicide
was
the
first
of
many
other
self‐immolations
around
Vietnam.
The
Buddhist
protest
exposed
the
hypocrisy
of
the
American
policy
in
Vietnam.
The
question
of
how
could
the
white
house
claim
to
be
protecting
freedom
by
supporting
Diem,
when
the
government
practiced
such
severe
religious
persecution
was
not
answered.
After
a
crackdown
on
the
Buddhist
protests
began,
America
cut
off
aid
and
the
White
House
became
hostile
after
more
and
more
monks
and
nuns
doused
themselves
in
fuel
and
lit
themselves
on
fire.
When
American
intelligence
learned
of
a
plot
to
assassinate
Diem
in
a
coup
attempt,
US
officials
contacted
the
conspirators
and
assured
them
that
U.S.
would
not
interfere.
On
Nov
2,
1963
Diem
and
his
younger
brother
where
killed.
“Tank Man”,
© Charlie Cole, AP 1989
Tianamen Square, Beijing, China - June 5, 1989
“Tank Man”, Tianamen Square, Beijing, China
© Charlie Cole, AP 1989
Tianamen Square, Beijing, China - June 5, 1989
Tank
Man,
or
the
Unknown
Rebel,
is
the
nickname
of
an
anonymous
man
who
became
internationally
famous
when
he
was
videotaped
and
photographed
during
the
Tiananmen
Square
protests
on
June
5,
1989.
Several
photographs
were
taken
of
the
man,
who
stood
in
front
of
a
column
of
Chinese
Type
59
tanks,
preventing
their
advance.
The
most
widely
reproduced
version
of
the
photograph
was
taken
from
the
sixth
floor
of
the
Beijing
Hotel,
about
half
a
mile
(800
m)
away
from
the
scene,
through
a
400
mm
lens.
In
April
1998,
the
United
States
magazine
TIME
included
the
"Unknown
Rebel"
in
its
100
most
influential
people
of
the
20th
century.
The
man
stood
alone
in
the
middle
of
the
road
as
the
tanks
approached.
After
blocking
the
tanks,
the
man
climbed
up
onto
the
top
of
the
lead
tank
and
had
a
conversation
with
the
driver.
He
is
believed
to
have
said
"Get
out
of
my
city,
you
are
not
wanted
here".
Video
footage
shows
that
"anxious
onlookers"
then
pulled
the
man
away
and
absorbed
him
into
the
crowd
and
the
tanks
continued
on
their
way.
Eyewitness
reporter
Charlie
Cole:
“I
realized
that
the
public
security
bureau
had
been
watching
us
from
the
other
rooftop
by
binoculars.
So
I
went
in
and
took
the
film
out
of
the
camera
and
reloaded
it
into
the
plastic
film
can,
and
went
into
the
toilet,
took
off
the
top
of
the
toilet
and
put
it
in
the
holding
tank,
put
the
toilet
top
back
on.
And
shortly
after
that,
probably
10,
15
minutes
afterwards,
the
public
security
bureau
broke
through
the
door.
They
got
one
other
roll
of
film
from
the
shots
that
I'd
taken
from
the
night
before,
and
they
were
pretty
satisfied
they'd
cleaned
up
the
situation.
About
a
day­and­a­half
later,
I
worked
my
way
back
in
through
the
back
streets
to
the
Beijing
Hotel,
and
luckily,
nobody
had
flushed
the
toilet.”
Little
is
publicly
known
of
the
man's
identity
or
that
of
the
commander
of
the
lead
tank.
Shortly
after
the
incident,
British
tabloid
the
Sunday
Express
named
the
man
as
Wang
Weilin
(王 ),
a
19‐year‐old
student;
however,
the
veracity
of
this
claim
is
dubious.
Numerous
rumors
have
sprung
up
as
to
the
man's
identity
and
current
whereabouts,
but
none
are
backed
by
hard
evidence.
“Tank Man”, Tianamen Square, Beijing, China
© Charlie Cole, AP 1989
Tianamen Square, Beijing, China - June 5, 1989
There
are
several
conflicting
stories
about
what
happened
to
him
after
the
demonstration.
In
a
speech
to
the
President's
Club
in
1999,
Bruce
Herschensohn—former
deputy
special
assistant
to
President
of
the
United
States
Richard
Nixon—reported
that
he
was
executed
14
days
later;
other
sources
say
he
was
killed
by
firing
squad
a
few
months
after
the
Tiananmen
Square
protests.
In
Red
China
Blues:
My
Long
March
from
Mao
to
Now,
Jan
Wong
writes
that
the
man
is
still
alive
and
is
hiding
in
mainland
China.
Charlie
Cole
believes
that
the
man
was
taken
by
secret
police
and
was
probably
just
one
of
the
many
executed,
since
the
Chinese
government
was
never
able
to
produce
him
after
the
photo
became
public
The
People's
Republic
of
China
government
made
few
statements
about
the
incident
or
the
people
involved.
In
a
1990
interview
with
Barbara
Walters,
then‐CCP
General
Secretary
Jiang
Zemin
was
asked
what
became
of
the
man.
Jiang
replied
in
English,
"I
think
never
killed."
A
June
2006
article
in
the
Hong
Kong
Apple
Daily
stated
that
there
are
rumors
that
the
man
is
now
residing
in
Taiwan.
“Napalm Girl”, South Vietnam
© HUYNH CONG U1, 1972
“Napalm Girl”, South Vietnam
© HUYNH CONG U1, 1972
This
photo
of
Kim
Phuc
(full
name
Phan
Thị
Kim
Phúc)
was
taken
just
after
South
Vietnamese
planes
bombed
her
village.
She
had
only
lived
because
she
tore
off
her
burning
clothes.
AP
Photographer
Nick
Út
and
NBC
cameraman
Le
Phuc
Dinh
filmed
her
and
her
family
emerging
from
the
village,
after
the
air
strike,
running
for
their
lives.
This
photo
has
become
one
of
the
most
famous
and
memorable
photos
of
Vietnam
and
won
Nick
Út
the
Pulitzer
prize
in
1972.
AP
reporter
Nick
Út
was
sent
to
the
small
village
of
Trang
Bang
along
Route
1,
the
highway
that
leads
from
Saigon
towards
the
Cambodian
border.
North
Vietnamese
troops
had
taken
control
of
the
Highway
there
and
Nick
was
sent
to
cover
the
South
Vietnamese
soldiers
from
the
25th
Army
Division
who
were
ordered
to
retake
Trang
Bang
and
open
the
Highway.
When
Nick
arrived
he
and
other
reporters
also
on
assignment
stood
with
South
Vietnamese
soldiers
just
outside
the
village
watching
the
action.
The
South
Vietnamese
commander
of
the
unit
requested
an
air
strike
and
propeller
driven
Skyraiders,
Korean‐war
vintage
planes
from
the
518th
Vietnamese
Airforce
Squadron,
dropped
Napalm
on
the
village.
When
the
smoke
cleared
villagers
from
the
Trang
Bang
ran
screaming
from
the
village
to
the
soldiers
and
reporters
up
the
road.
Taking
pictures
with
two
cameras,
his
Leica
and
a
Nikon
with
a
long
lens,
Nick
Út
remembers
seeing
Kim
Phuc
running
naked
down
the
street:
As
soon
as
she
saw
me,
she
said:
"I
want
some
water,
I'm
too
hot,
too
hot,"
­
in
Vietnamese,
"Nong
qua,
nong
qua!"
And
she
wanted
something
to
drink.
I
got
her
some
water.
She
drank
it
and
I
told
her
I
would
help
her.I
picked
up
Kim
and
took
her
to
my
car.
Nick
quickly
released
that
without
help
Kim
would
die
and
so
drove
her
and
other
injured
family
members
to
the
hospital.
Kim
already
thought
she
was
doomed
and
while
reporters
and
soldiers
tried
to
treat
her
horrible
wounds
she
told
her
brother
Tam,
"I
think
I
am
going
to
die."
Driving
an
hour
to
the
provincial
Vietnamese
hospital
in
Cu
Chi,
halfway
up
the
highway
to
Saigon,
Kim
passed
out
from
the
pain.
“Napalm Girl”, South Vietnam
© HUYNH CONG U1, 1972
I
ran
up
about
10
miles
to
Cu
Chi
hospital,
to
try
to
save
her
life.At
the
hospital,
there
were
so
many
Vietnamese
people
–
soldiers
were
dying
there.
They
didn't
care
about
the
children.
The
hospital
was
used
to
war
injuries,
and
after
years
of
civil
war
knew
that
Kim's
chances
of
living
were
slim
to
none
and
tried
to
triage
her,
or
put
her
aside
so
they
could
treat
other
wounded
who
had
better
chances
of
living.
Only
at
Nick's
urging
that
the
girl
had
been
photographed
and
her
picture
would
be
shown
all
over
the
world
did
the
hospital
staff
agree
to
operate.
Nick
didn't
leave
to
develop
his
film
until
she
was
put
on
the
operating
table.
At
first
his
editors
refused
to
run
it
because
she
was
naked
but
when
nick
explained
that
she
had
no
clothes
because
they
had
been
burned
off
her
body
they
changed
their
minds
and
sent
it
around
the
world.
On
June
12,
1972
then
American
President
Richard
Nixon
was
recorded
talking
to
his
chief
of
staff,
H.R.
Haldeman,
discussing
the
Vietnam
War.
Among
other
things
he
was
recorded
saying
they
should
use
the
Atomic
bomb
in
Vietnam
and
talking
about
Kim's
photo
said,
"I'm
wondering
if
that
was
fixed,"
Haldeman
replied,
"Could
have
been."
While
Nixon
debated
with
his
staff
about
whether
she
was
a
fraud
Kim
defied
all
expectations
and
after
a
14
month
hospital
stay
and
17
surgical
procedures,
she
returned
home
to
the
napalm
bombed
village
of,
Trang
Bang.
Nick
continued
to
visit
until
the
fall
of
Saigon
three
years
later,
in
1975,
when
he
along
with
other
American
media
employees
were
evacuated.
As
Kim
grew
up
there
was
a
lot
of
pressure
from
government
and
anti‐war
groups
to
use
her
as
an
anti‐war
symbol.
She
requested
and
was
eventually
granted
permission
to
move
to
Cuba
to
study
pharmacy.
It
was
in
Cuba
that
she
meet
her
future
husband,
Bui
Huy
Tuan.
They
were
married
and
a
Korean
friend
paid
for
a
vacation
to
Moscow
in
1992.
On
the
return
flight
their
the
plane
stopped
over
in
Gander,
Newfoundland,
a
province
in
Canada.
As
it
was
refueling
she
and
her
husband
walked
off
and
defected
to
the
Canadian
government.
“Napalm Girl”, South Vietnam
© HUYNH CONG U1, 1972
The
two
live
in
Ajax,
Ontario
Canada
and
have
two
children,
Thomas
and
Stephen.
These
days
find
her
touring
the
world
and
giving
speeches
at
churches
and
schools
talking
about
her
story,
the
Kim
Foundation
and
her
hopes
for
peace:
I
should
have
died
My
skin
should
have
burned
off
my
body
But
I'm
still
beautiful,
right?
...Don't
see
a
little
girl
crying
out
in
fear
and
pain
See
her
as
crying
out
for
peace.
But
did
America
have
any
involvement
in
the
air
strike?
In
1996
Kim
gave
speech
at
the
United
States
Vietnam
Veterans
Memorial
in
Washington,
D.C.
on
Veterans
Day
where
she
said
that
we
cannot
change
the
past
but
can
work
for
a
peaceful
future.
After
the
speech,
Vietnam
war
veteran
John
Plummer,
now
a
Methodist
minister,
talked
to
some
of
his
old
buddies
and
got
them
to
ask
if
she
would
like
to
meet
him
for
he
stated
that
he
was
the
one
who
ordered
the
bombing.
She
accepted
and
they
met
briefly
and
Plummer
remembers
that,
As
I
approached
her,
she
saw
my
grief,
my
pain,
my
sorrow.
She
held
out
her
arms
to
me
and
we
embraced.
All
I
could
say
was
"I'm
sorry,
I'm
sorry,
I'm
so
sorry'
over
and
over
again.
And
I
heard
her
saying
to
me
"It's
all
right.
It's
all
right.
I
forgive.
I
forgive."
He
also
claims
that
later
in
the
day,
they
knelt
together
(Kim
had
converted
to
Chrisitanity
in
Vietnam)
and
prayed
together.
Plummer
said,
"Finally,
I
was
free.
I
had
found
peace.
“Napalm Girl”, South Vietnam
© HUYNH CONG U1, 1972
Plummer
claimed
that
he
received
a
call
from
an
American
military
adviser
working
with
a
South
Vietnamese
army
unit,
who
requested
an
air
strike
on
the
village
of
Trang
Bang.
He
relayed
the
request
for
a
strike
to
U.S.
Air
Force
personnel,
who
asked
the
South
Vietnamese
air
force
to
launch
it.
Later,
he
saw
the
photo
in
Stars
and
Stripes,
and
recognized
the
bombing
as
one
in
which
he
was
involved.
His
version
of
events
sparked
a
quite
a
bit
of
controversy
as
he
originally
was
quoted
as
saying
he
ordered
the
attack.
His
former
superior,
retired
Maj.
Gen.
Niles
J.
Fulwyler,
was
quoted
as
saying
that
Plummer
didn't
have
the
authority
to
order
the
attack
and
that,
"He
did
not
direct
that
Vietnamese
aircraft
in
that
attack,".
In
response
to
outraged
Vietnam
vets
claiming
he
exaggerated
his
role
in
the
bombing
Plummer
has
since
said
that
while
he
didn't
order
the
attack
he
definitely
relayed
the
orders
to
others
in
the
military
machine.
“Prey”
© KEVIN CARTER
, 1993
Sudan - March, 1993
“Prey”
© KEVIN CARTER
, 1993
Sudan - March, 1993
The
image
presaged
no
celebration:
a
child
barely
alive,
a
hungry
vulture.
Yet
the
photograph
that
epitomized
Sudan's
famine
would
win
Kevin
Carter
fame
‐‐
and
hopes
for
anchoring
a
career
spent
hounding
the
news,
free‐
lancing
in
war
zones,
waiting
anxiously
for
assignments
amid
dire
finances,
staying
in
the
line
of
fire
for
that
one
great
picture.
On
May
23,
14
months
after
capturing
that
memorable
scene,
Carter
walked
up
to
the
dais
in
the
classical
rotunda
of
Columbia
University's
Low
Memorial
Library
and
received
the
Pulitzer
Prize
for
feature
photography.
The
South
African
soaked
up
the
attention.
"I
swear
I
got
the
most
applause
of
anybody,"
Carter
wrote
back
to
his
parents
in
Johannesburg.
"I
can't
wait
to
show
you
the
trophy.
It
is
the
most
precious
thing,
and
the
highest
acknowledgment
of
my
work
I
could
receive."
Carter
was
feted
at
some
of
the
most
fashionable
spots
in
New
York
City.
Restaurant
patrons,
overhearing
his
claim
to
fame,
would
come
up
and
ask
for
his
autograph.
Photo
editors
at
the
major
magazines
wanted
to
meet
the
new
hotshot,
dressed
in
his
black
jeans
and
T
shirts,
with
the
tribal
bracelets
and
diamond‐stud
earring,
with
the
war‐weary
eyes
and
tales
from
the
front
lines
of
Nelson
Mandela's
new
South
Africa.
Carter
signed
with
Sygma,
a
prestigious
picture
agency
representing
200
of
the
world's
best
photojournalists.
"It
can
be
a
very
glamorous
business,"
says
Sygma's
U.S.
director,
Eliane
Laffont.
"It's
very
hard
to
make
it,
but
Kevin
is
one
of
the
few
who
really
broke
through.
The
pretty
girls
were
falling
for
him,
and
everybody
wanted
to
hear
what
he
had
to
say."
There
would
be
little
time
for
that.
Two
months
after
receiving
his
Pulitzer,
Carter
would
be
dead
of
carbon‐monoxide
poisoning
in
Johannesburg,
a
suicide
at
33.
His
red
pickup
truck
was
parked
near
a
small
river
where
he
used
to
play
as
a
child;
a
green
garden
hose
attached
to
the
vehicle's
exhaust
funneled
the
fumes
inside.
"I'm
really,
really
sorry,"
he
explained
in
a
note
left
on
the
passenger
seat
beneath
a
knapsack.
"The
pain
of
life
overrides
the
joy
to
the
point
that
joy
does
not
exist."
How
could
a
man
who
had
moved
so
many
people
with
his
work
end
up
a
suicide
so
soon
after
his
great
triumph?
The
brief
obituaries
that
appeared
around
the
world
suggested
a
morality
tale
about
a
person
undone
by
the
curse
of
fame.
The
details,
however,
show
how
fame
was
only
the
final,
dramatic
sting
of
a
death
foretold
by
Carter's
personality,
the
pressure
to
be
first
where
the
action
is,
the
fear
that
his
pictures
were
never
good
enough,
the
existential
lucidity
that
came
to
him
from
surviving
violence
again
and
again
‐‐
and
the
drugs
he
used
to
banish
that
lucidity.
“Prey”
© KEVIN CARTER
, 1993
Sudan - March, 1993
In
1993
Carter
headed
north
of
the
border
with
Silva
to
photograph
the
rebel
movement
in
famine‐stricken
Sudan.
To
make
the
trip,
Carter
had
taken
a
leave
from
the
Weekly
Mail
and
borrowed
money
for
the
air
fare.
Immediately
after
their
plane
touched
down
in
the
village
of
Ayod,
Carter
began
snapping
photos
of
famine
victims.
Seeking
relief
from
the
sight
of
masses
of
people
starving
to
death,
he
wandered
into
the
open
bush.
He
heard
a
soft,
high‐pitched
whimpering
and
saw
a
tiny
girl
trying
to
make
her
way
to
the
feeding
center.
As
he
crouched
to
photograph
her,
a
vulture
landed
in
view.
Careful
not
to
disturb
the
bird,
he
positioned
himself
for
the
best
possible
image.
He
would
later
say
he
waited
about
20
minutes,
hoping
the
vulture
would
spread
its
wings.
It
did
not,
and
after
he
took
his
photographs,
he
chased
the
bird
away
and
watched
as
the
little
girl
resumed
her
struggle.
Afterward
he
sat
under
a
tree,
lit
a
cigarette,
talked
to
God
and
cried.
"He
was
depressed
afterward,"
Silva
recalls.
"He
kept
saying
he
wanted
to
hug
his
daughter."
After
another
day
in
Sudan,
Carter
returned
to
Johannesburg.
Coincidentally,
the
New
York
Times,
which
was
looking
for
pictures
of
Sudan,
bought
his
photograph
and
ran
it
on
March
26,
1993.
The
picture
immediately
became
an
icon
of
Africa's
anguish.
Hundreds
of
people
wrote
and
called
the
Times
asking
what
had
happened
to
the
child
(the
paper
reported
that
it
was
not
known
whether
she
reached
the
feeding
center);
and
papers
around
the
world
reproduced
the
photo.
Friends
and
colleagues
complimented
Carter
on
his
feat.
His
self‐confidence
climbed.
Carter
quit
his
paper
and
became
a
free‐lance
photojournalist
‐‐
an
alluring
but
financially
risky
way
of
making
a
living,
providing
no
job
security,
no
health
insurance
and
no
death
benefits.
He
eventually
signed
up
with
the
Reuter
news
agency
for
a
guarantee
of
roughly
$2,000
a
month
and
began
to
lay
plans
for
covering
his
country's
first
multiracial
elections
in
April.
The
next
few
weeks,
however,
would
bring
depression
and
self‐doubt,
only
momentarily
interrupted
by
triumph.
The
troubles
started
on
March
11.
Carter
was
covering
the
unsuccessful
invasion
of
Bophuthatswana
by
white
right‐
wing
vigilantes
intent
on
propping
up
a
black
homeland,
a
showcase
of
apartheid.
Carter
found
himself
just
feet
away
from
the
summary
execution
of
right‐wingers
by
a
black
"Bop"
policeman.
"Lying
in
the
middle
of
the
gunfight,"
he
said,
"I
was
wondering
about
which
millisecond
next
I
was
going
to
die,
about
putting
something
on
film
they
could
use
as
my
last
picture."
His
pictures
would
eventually
be
splashed
across
front
pages
around
the
world,
but
he
came
away
from
the
scene
in
a
funk.
First,
there
was
the
horror
of
having
witnessed
murder.
Perhaps
as
importantly,
while
a
few
colleagues
had
framed
the
scene
perfectly,
Carter
was
reloading
his
camera
with
film
just
as
the
executions
took
place.
"I
knew
I
had
missed
this
f‐‐‐‐‐‐
shot,"
he
said
subsequently.
"I
drank
a
bottle
of
bourbon
that
night."
“Prey”
© KEVIN CARTER
, 1993
Sudan - March, 1993
At
the
same
time,
he
seemed
to
be
stepping
up
his
drug
habit,
including
smoking
the
crack
cocaine.
A
week
after
the
Bop
executions,
he
was
seen
staggering
around
while
on
assignment
at
a
Mandela
rally
in
Johannesburg.
Later
he
crashed
his
car
into
a
suburban
house
and
was
thrown
in
jail
for
10
hours
on
suspicion
of
drunken
driving.
His
superior
at
Reuter
was
furious
at
having
to
go
to
the
police
station
to
recover
Carter's
film
of
the
Mandela
event.
Carter's
girlfriend,
Kathy
Davidson,
a
schoolteacher,
was
even
more
upset.
Drugs
had
become
a
growing
issue
in
their
one‐year
relationship.
Over
Easter,
she
asked
Carter
to
move
out
until
he
cleaned
up
his
life.
With
only
weeks
to
go
before
the
elections,
Carter's
job
at
Reuter
was
shaky,
his
love
life
was
in
jeopardy
and
he
was
scrambling
to
find
a
new
place
to
live.
And
then,
on
April
12,
1994,
the
New
York
Times
phoned
to
tell
him
he
had
won
the
Pulitzer.
As
jubilant
Times
foreign
picture
editor
Nancy
Buirski
gave
him
the
news,
Carter
found
himself
rambling
on
about
his
personal
problems.
"Kevin!"
she
interrupted,
"You've
just
won
a
Pulitzer!
These
things
aren't
going
to
be
that
important
now."
New
York
was
a
respite.
By
all
accounts,
Carter
made
the
most
of
his
first
visit
to
Manhattan.
The
Times
flew
him
in
and
put
him
up
at
the
Marriott
Marquis
just
off
Times
Square.
His
spirits
soaring,
he
took
to
calling
New
York
"my
town."
With
the
Pulitzer,
however,
he
had
to
deal
not
only
with
acclaim
but
also
with
the
critical
focus
that
comes
with
fame.
Some
journalists
in
South
Africa
called
his
prize
a
"fluke,"
alleging
that
he
had
somehow
set
up
the
tableau.
Others
questioned
his
ethics.
"The
man
adjusting
his
lens
to
take
just
the
right
frame
of
her
suffering,"
said
the
St.
Petersburg
(Florida)
Times,
"might
just
as
well
be
a
predator,
another
vulture
on
the
scene."
Even
some
of
Carter's
friends
wondered
aloud
why
he
had
not
helped
the
girl.
Carter
was
painfully
aware
of
the
photojournalist's
dilemma.
"I
had
to
think
visually,"
he
said
once,
describing
a
shoot‐
out.
"I
am
zooming
in
on
a
tight
shot
of
the
dead
guy
and
a
splash
of
red.
Going
into
his
khaki
uniform
in
a
pool
of
blood
in
the
sand.
The
dead
man's
face
is
slightly
gray.
You
are
making
a
visual
here.
But
inside
something
is
screaming,
'My
God.'
But
it
is
time
to
work.
Deal
with
the
rest
later.
If
you
can't
do
it,
get
out
of
the
game."
“Prey”
© KEVIN CARTER
, 1993
Sudan - March, 1993
Carter
did
not
look
forward
to
going
home.
Summer
was
just
beginning
in
New
York,
but
late
June
was
still
winter
in
South
Africa,
and
Carter
became
depressed
almost
as
soon
as
he
got
off
the
plane.
"Joburg
is
dry
and
brown
and
cold
and
dead,
and
so
damn
full
of
bad
memories
and
absent
friends,"
he
wrote
in
a
letter
never
mailed
to
a
friend,
Esquire
picture
editor
Marianne
Butler
in
New
York.
Nevertheless,
Carter
carefully
listed
story
ideas
and
faxed
some
of
them
off
to
Sygma.
Work
did
not
proceed
smoothly.
Though
it
was
not
his
fault,
Carter
felt
guilty
when
a
bureaucratic
foul‐up
caused
the
cancellation
of
an
interview
by
a
writer
from
Parade
magazine,
a
Sygma
client,
with
Mandela
in
Cape
Town.
Then
came
an
even
more
unpleasant
experience.
Sygma
told
Carter
to
stay
in
Cape
Town
and
cover
French
President
Francois
Mitterrand's
state
visit
to
South
Africa.
The
story
was
spot
news,
but
according
to
editors
at
Sygma's
Paris
office,
Carter
shipped
his
film
too
late
to
be
of
use.
In
any
case,
they
complained,
the
quality
of
the
photos
was
too
poor
to
offer
to
Sygma's
clients.
According
to
friends,
Carter
began
talking
openly
about
suicide.
Part
of
his
anxiety
was
over
the
Mitterrand
assignment.
But
mostly
he
seemed
worried
about
money
and
making
ends
meet.
When
an
assignment
in
Mozambique
for
TIME
came
his
way,
he
eagerly
accepted.
Despite
setting
three
alarm
clocks
to
make
his
early‐morning
flight
on
July
20,
he
missed
the
plane.
Furthermore,
after
six
days
in
Mozambique,
he
walked
off
his
return
flight
to
Johannesburg,
leaving
a
package
of
undeveloped
film
on
his
seat.
He
realized
his
mistake
when
he
arrived
at
a
friend's
house.
He
raced
back
to
the
airport
but
failed
to
turn
up
anything.
Carter
was
distraught
and
returned
to
the
friend's
house
in
the
morning,
threatening
to
smoke
a
white
pipe
and
gas
himself
to
death.
Carter
and
a
friend,
Judith
Matloff,
36,
an
American
correspondent
for
Reuter,
dined
on
Mozambican
prawns
he
had
brought
back.
He
was
apparently
too
ashamed
to
tell
her
about
the
lost
film.
Instead
they
discussed
their
futures.
Carter
proposed
forming
a
writer‐photographer
free‐lance
team
and
traveling
Africa
together.
On
the
morning
of
Wednesday,
July
27,
the
last
day
of
his
life,
Carter
appeared
cheerful.
He
remained
in
bed
until
nearly
noon
and
then
went
to
drop
off
a
picture
that
had
been
requested
by
the
Weekly
Mail.
In
the
paper's
newsroom,
he
poured
out
his
anguish
to
former
colleagues,
one
of
whom
gave
him
the
number
of
a
therapist
and
urged
him
to
phone
her.
“Prey”
© KEVIN CARTER
, 1993
Sudan - March, 1993
The
last
person
to
see
Carter
alive,
it
seems,
was
Oosterbroek's
widow,
Monica.
As
night
fell,
Carter
turned
up
unannounced
at
her
home
to
vent
his
troubles.
Still
recovering
from
her
husband's
death
three
months
earlier,
she
was
in
little
condition
to
offer
counsel.
They
parted
at
about
5:30
p.m.
The
Braamfonteinspruit
is
a
small
river
that
cuts
southward
through
Johannesburg's
northern
suburbs
‐‐
and
through
Parkmore,
where
the
Carters
once
lived.
At
around
9
p.m.,
Kevin
Carter
backed
his
red
Nissan
pickup
truck
against
a
blue
gum
tree
at
the
Field
and
Study
Center.
He
had
played
there
often
as
a
little
boy.
The
Sandton
Bird
Club
was
having
its
monthly
meeting
there,
but
nobody
saw
Carter
as
he
used
silver
gaffer
tape
to
attach
a
garden
hose
to
the
exhaust
pipe
and
run
it
to
the
passenger‐side
window.
Wearing
unwashed
Lee
jeans
and
an
Esquire
T
shirt,
he
got
in
and
switched
on
the
engine.
Then
he
put
music
on
his
Walkman
and
lay
over
on
his
side,
using
the
knapsack
as
a
pillow.
The
suicide
note
he
left
behind
is
a
litany
of
nightmares
and
dark
visions,
a
clutching
attempt
at
autobiography,
self‐
analysis,
explanation,
excuse.
After
coming
home
from
New
York,
he
wrote,
he
was
"depressed
.
.
.
without
phone
.
.
.
money
for
rent
.
.
.
money
for
child
support
.
.
.
money
for
debts
.
.
.
money!!!
.
.
.
I
am
haunted
by
the
vivid
memories
of
killings
&
corpses
&
anger
&
pain
.
.
.
of
starving
or
wounded
children,
of
trigger‐happy
madmen,
often
police,
of
killer
executioners
.
.
.
"
And
then
this:
"I
have
gone
to
join
Ken
if
I
am
that
lucky.".
Execution of Viet Cong Guerilla, Saigon
© EDDIE ADAMS, AP 1968
Execution of Viet Cong Guerilla, Saigon
© EDDIE ADAMS, AP 1968
After
Nguyen
Ngoc
Loan
raised
his
sidearm
and
shot
Vietcong
operative
Nguyen
Van
Lem
in
the
head
he
walked
over
to
the
reporters
and
told
them
that,
"These
guys
kill
a
lot
of
our
people,
and
I
think
Buddha
will
forgive
me."
Captured
on
NBC
TV
cameras
and
by
AP
photographer
Eddie
Adams,
the
picture
and
film
footage
flashed
around
the
world
and
quickly
became
a
symbol
of
the
Vietnam
War’s
brutality.
Eddie
Adams’
picture
was
especially
striking,
as
the
moment
frozen
is
one
almost
at
the
instant
of
death.
Taken
a
split
second
after
the
trigger
was
pulled,
Lem’s
final
expression
is
one
of
pain
as
the
bullet
rips
through
his
head.
A
closer
look
of
the
photo
actually
reveals
the
bullet
exiting
his
skull.
“Two
people
died
in
that
photograph:
the
recipient
of
the
bullet
and
General
Nguyen
Ngoc
Loan”
‐Eddie
Adams.
This
is
their
story…
Nguyen
Ngoc
Loan
Nguyen
Ngoc
Loan
was
one
of
11
children
born
to
an
affluent
family
in
the
ancient
city
of
Hue.
He
finished
university
at
the
top
of
his
class
and
trained
as
a
jet
pilot
in
the
South
Vietnamese
Air
Force.
It
was
in
the
air
force
that
he
met,
Nguyen
Cao
Ky,
the
flamboyant
pilot
who
once
flew
a
helicopter
into
the
courtyard
of
his
girlfriend's
house
to
impress
her.
Ky
would
later
become
Prime
Minister
of
South
Vietnam
from
1965
to
1967,
and
then
Vice
President
until
his
retirement
from
politics
in
1971.
When
in
power
Ky
Surrounded
himself
with
trusted
men
including
his
friend,
Nguyen
Ngoc
Loan
who
he
put
in
charge
of
the
national
police.
As
police
chief
Loan
immediately
gained
a
reputation
among
reporters
for
his
anger
and
hair‐trigger
temper
when
the
Vietcong
struck
civilian
targets.
Nguyen
Van
Lem
The
prisoner
whose
last
instant
is
captured
in
Adam’s
shot
was
Nguyen
Van
Lem.
A
Viet
Cong
operative,
who
like
other
Viet
Cong
agents
went
by
the
secret
name
of
Captain
Bay
Lop
(Lop
was
his
wife’s
first
name).
His
wife,
who
still
lives
in
Saigon
(Now
Ho
Chi
Minh
City),
confirms
that
Lem
was
a
member
of
the
Vietcong
and
that
he
disappeared
shortly
before
the
Tet
Offensive
never
to
return.
Lem’s
role
in
the
Viet
Cong
is
murky.
Most
reports
give
him
the
role
of
a
Captain
in
a
Viet
Cong
assassination
and
revenge
platoon
responsible
for
the
killing
of
South
Vietnamese
policemen
and
their
families.
Eddie
Adams
was
told
by
Loan
that
Lem
had
killed
one
of
Loan’s
friends
and
his
family.
History
hasn’t
clarified
Lem’s
role
in
the
Vietcong
and
the
Vietnamese
government
has
never
acknowledged
his
role
in
the
war.
Lem's
widow
and
children
lived
in
poverty
for
years
before
being
discovered
by
a
Japanese
TV
crew
living
in
a
field.
It
was
only
then
that
the
Vietnamese
government
provided
her
shelter.
Execution of Viet Cong Guerilla, Saigon
© EDDIE ADAMS, AP 1968
Eddie
Adams,
the
man
who
captured
Lem’s
final
instant
was
a
former
Marine
photographer
in
the
Korean
War.
Working
for
AP,
he
had
arrived
in
Vietnam
a
few
weeks
before
the
Tet
Offensive.
This
was
his
third
tour;
the
first
was
when
marines
initially
touched
down
in
Vietnam
in
1965.
On
the
second
day
of
the
Tet
Offensive
Eddie
heard
reports
of
fighting
near
the
Cholon,
the
Chinese
section
of
the
capital.
The
AP
and
NBC
were
office
neighbors
and
often
pooled
resources
when
reporting
the
war.
So
Eddie
teamed
up
with
one
of
NBC's
cameramen,
Vo
Su,
and
went
to
check
out
the
location
were
the
fighting
was
reported.
The
two
shared
a
vehicle
but
as
they
got
closer
started
to
proceed
on
foot.
I
just
followed
the
three
of
them
as
they
walked
towards
us,
making
an
occasional
picture.
When
they
were
close
­
maybe
five
feet
away
­
the
soldiers
stopped
and
backed
away.
I
saw
a
man
walk
into
my
camera
viewfinder
from
the
left.
He
took
a
pistol
out
of
his
holster
and
raised
it.
I
had
no
idea
he
would
shoot.
It
was
common
to
hold
a
pistol
to
the
head
of
prisoners
during
questioning.
So
I
prepared
to
make
that
picture
­
the
threat,
the
interrogation.
But
it
didn't
happen.
The
man
just
pulled
a
pistol
out
of
his
holster,
raised
it
to
the
VC's
head
and
shot
him
in
the
temple.
I
made
a
picture
at
the
same
time.'
The
prisoner
fell
to
the
pavement,
blood
gushing.
NBC
also
acquired
film
footage
of
the
incident,
thanks
to
the
South
Vietnamese
journalist
with
Adams,
Vo
Suu,
a
cameraman
for
NBC
correspondent
Howard
Tuckner.
The
color
footage
of
the
execution
filmed
by
Vo
Suu
was
shown
to
a
stunned
America
already
shocked
by
images
of
a
supposed
“defeated”
on
the
offensive
during
the
Tet
attack.
After
the
picture
and
footage
flashed
across
the
world
there
were
cries
for
Loan
to
be
charged
with
War
Crimes
for
his
summary
execution
of
Lem.
Loan's
execution
would
have
violated
the
Geneva
Conventions
for
captured
soldiers
or
Prisoners
of
War
(POWs)
if
Lem
had
been
wearing
a
military
uniform.
Since
Lem
was
caught
wearing
civilian
clothes,
plaid
shirt
and
black
shorts,
Loan
was
only
restricted
by
the
laws
of
the
South
Vietnamese
government,
which
allowed
the
use
of
such
harsh
measures.
In
May
1968
only
a
few
months
after
the
execution
picture,
now,
Brigadier
General
Loan
was
seriously
wounded.
While
leading
charge
against
a
Viet
Cong
strong
point
a
machine
gun
burst
had
ripped
off
his
leg.
Once
again
a
photograph
captured
Loan.
This
time
the
general
was
bleeding
profusely
while
the
broad‐shouldered
Australian
war
correspondent,
Pat
Burgess,
carried
him
back
to
his
lines.
Execution of Viet Cong Guerilla, Saigon
© EDDIE ADAMS, AP 1968
Loan
was
taken
to
Australia
for
treatment
but
when
it
was
discovered
who
he
was
there
was
such
an
outcry
from
the
Australian
public
he
was
moved
to
the
Walter
Reed
Army
Medical
Center
in
Washington.
After
recovering
from
his
injuries
the
one
legged
Loan
returned
to
Saigon
where
because
he
had
been
relieved
of
his
command
due
to
his
injuries
devoted
his
time
to
setting
up
hospitals
and
the
helping
Vietnamese
war
orphans.
When
the
South
Vietnam
fell
to
the
north
in
1975,
Loan
at
almost
the
last
moment
made
it
out
of
the
country
on
a
South
Vietnamese
plane
after
being
denied
help
by
the
fleeing
Americans.
He
settled
in
the
United
States
eventually
opening
a
pizzeria
in
northern
Virginia.
He
lived
a
quite
life
until
he
was
forced
to
close
his
restaurant
in
1991
when
his
identify
was
discovered.
In
1998,
at
67,
he
died
of
cancer
but
is
survived
by
his
six
children
his
wife,
Chinh
Mai;
and
nine
grandchildren.
"The
guy
was
a
hero.
America
should
be
crying,"
Eddie
Adams
response
when
he
learned
of
Loan’s
death.
I
won
a
Pulitzer
Prize
in
1969
for
a
photograph
of
one
man
shooting
another
…
The
general
killed
the
Viet
Cong;
I
killed
the
general
with
my
camera.
Still
photographs
are
the
most
powerful
weapon
in
the
world.
People
believe
them,
but
photographs
do
lie,
even
without
manipulation.
They
are
only
half­truths.
What
the
photograph
didn't
say
was,
"What
would
you
do
if
you
were
the
general
at
that
time
and
place
on
that
hot
day,
and
you
caught
the
so­called
bad
guy
after
he
blew
away
one,
two
or
three
American
soldiers?"
General
Loan
was
what
you
would
call
a
real
warrior,
admired
by
his
troops.
I'm
not
saying
what
he
did
was
right,
but
you
have
to
put
yourself
in
his
position…This
picture
really
messed
up
his
life.
He
never
blamed
me.
He
told
me
if
I
hadn't
taken
the
picture,
someone
else
would
have,
but
I've
felt
bad
for
him
and
his
family
for
a
long
time.
Eddie
Adams
the
Pulitzer
Prize
for
the
Associated
Press
in
1969.
He
has
always
felt
guilty
over
his
role
in
demonizing
Loan.
After
the
picture
was
released
in
1969
the
AP
assigned
Adams
to
follow
Loan
around
Vietnam.
In
this
time
Adams
remembers,
"I
.
.
.
found
out
the
guy
was
very
well
loved
by
the
Vietnamese,
you
know.
He
was
a
hero
to
them
.
.
.
and
it
just
saddens
me
that
none
of
this
has
really
come
out."
United States Lynching
© Bettmann/Corbis, 1930
Marion, Indiana - August 7, 1930
United States Lynching
© Bettmann/Corbis, 1930
Marion, Indiana - August 7, 1930
Lawrence
H.
Beitler
purchased
the
Dexheimer
Studio
in
Marion,
Indiana
ca.
1925.
From
there,
he
operated
photography
studios
in
Marion
through
the
1950s
and
died
in
1961.
One
night
in
August
of
1930,
he
took
his
camera
out
of
the
studio.
A
large
mob
of
thousands
gathered
at
the
city
jail
where
three
young
black
men
were
held
on
charges
of
killing
a
white
man
and
raping
his
girlfriend.
Before
they
could
be
tried,
the
three,
Thomas
Shipp
(19),
Abram
Smith
(19)
and
James
Cameron
(16),
were
dragged
from
the
jail
and
severely
beaten.
They
had
been
jailed
on
suspicion
of
killing
a
white
man,
Claude
Deeter,
who
had
been
parked
in
a
car
with
a
white
woman,
Mary
Ball.
Rumors
of
rape
soon
began
to
fly
around
the
city
and
surrounding
countryside.
This
"galvanized
the
town,"
true
to
the
honored
American
tradition
of
instant
violence
whenever
black
men
were
suspected
of
sexual
advances
on
white
women,
whether
or
not
those
advances
actually
occurred.
So
Shipp
and
Smith
were
strung
up,
after
being
unspeakably
brutalized.
Cameron,
who
is
now
in
his
eighties,
believes
to
this
day
that
he
was
spared
by
an
act
of
God;
the
truth,
though
probably
more
mundane,
apparently
never
will
be
known
but
possibly
had
something
to
do
with
belated
second
thoughts
among
some
members
of
the
crowd.
In
the
photograph,
some
look
happy.
Several
are
smiling.
One
man
points
to
the
bodies
with
what
certainly
appears
to
be
pride.
A
few
in
the
crowd
seem
less
celebratory,
but
overall
the
photo
suggests
mass
complicity
and
the
pride
white
Marion
took
in
this
public
execution.
No
one
was
ever
convicted
of
participating
in
the
lynching
‐‐
two
men
were
speedily
acquitted
‐‐
and
there
was
considerable
evidence
of
complicity,
or
at
least
silent
support,
among
law‐enforcement
officers.
Cameron
somehow
survived
and
lived
to
tell
the
horrifying
tale….
United States Lynching
© Bettmann/Corbis, 1930
Marion, Indiana - August 7, 1930
Cameron
[then
16]
was
with
his
two
friends,
Abe
[Abram]
Smith
and
Tommy
[Thomas]
Shipp,
when
his
friends
decided
to
rob
someone
they
saw
sitting
in
a
parked
car.
Shipp
gave
Cameron
a
gun,
and
Cameron
opened
the
door
to
the
car.
What
he
saw
stunned
him.
"That
white
man
[Claude
Deeter],
in
that
car,
was
my
friend.
I
shined
his
shoes,
sometimes,
and
he
always
asked
me
about
my
family."
Cameron
gave
the
gun
back
to
his
friends
and
ran.
He
heard
gunshots
as
he
ran,
but
he
didn't
stop
until
he
reached
his
home.
Police
later
came
to
take
him
away.
A
white
man
was
dead
and
his
white
girlfriend
[Mary
Ball]
had
been
raped,
they
said.
After
questioning
at
the
station,
the
police
took
Cameron
to
jail.
"I
will
never
forget
my
mother
pleading
and
crying
for
them
to
take
her
instead
of
me.
That's
just
not
something
you
forget."
The
three
boys
were
put
into
separate
cells
until
an
angry
mob
led
by
the
Ku
Klux
Klan,
came
to
get
them,
one
by
one.
He
was
third,
and
as
he
was
taken
to
the
tree
where
his
friends
had
met
their
deaths,
Cameron
begged
people
he
knew
for
help,
but
they
said
nothing.
The
following
account
has
been
excerpted
from
James
Cameron's
book
A
Time
of
Terror:
Thousands
of
Indianans
carrying
picks,
bats,
ax
handles,
crowbars,
torches,
and
firearms
attacked
the
Grant
County
Courthouse,
determined
to
'get
those
goddamn
Niggers.'
A
barrage
of
rocks
shattered
the
jailhouse
windows,
sending
dozens
of
frantic
inmates
in
search
of
cover
...
The
door
was
ripped
from
the
wall,
and
a
mob
of
fifty
men
beat
Thomas
Shipp
senseless
and
dragged
him
into
the
street
...The
dead
Shipp
was
dragged
with
a
rope
up
to
the
window
bars
of
the
second
victim,
Abram
Smith.
For
twenty
minutes,
citizens
pushed
and
shoved
for
a
closer
look
at
the
‘dead
nigger.’
By
the
time
Abe
Smith
was
hauled
out
he
was
equally
mutilated.
‘Those
who
were
not
close
enough
to
hit
him
threw
rocks
and
bricks.
Somebody
rammed
a
crowbar
through
his
chest
several
times
in
great
satisfaction.’
Smith
was
dead
by
the
time
the
mob
dragged
him
‘like
a
horse‘
to
the
courthouse
square
and
hung
him
from
a
tree.
The
lynchers
posed
for
photos
under
the
limb
that
held
the
bodies
of
the
two
dead
men.
After
souvenir
hunters
divvied
up
the
bloodied
pants
of
Abram
Smith,
his
naked
lower
body
was
clothed
in
a
Klansman's
robe
—
not
unlike
the
loincloth
in
traditional
depictions
of
Christ
on
the
cross.
Lawrence
Beitler,
a
studio
photographer,
took
this
photo.
For
ten
days
and
nights
he
printed
thousands
of
copies,
which
sold
for
fifty
cents
apiece.
United States Lynching
© Bettmann/Corbis, 1930
Marion, Indiana - August 7, 1930
An
ABC
News/Nightline
account
quotes
Cameron
as
saying,
"When
they
got
me
down
to
street
level,
the
uniformed
police
was
helping
the
mobster
members,
who
had
their
robes
and
open‐face
hoods
on.
They
were
helping
…
to
clear
a
path
from
the
jail
up
to
the
courthouse
square,
which
was
just
a
half
a
block
away.
And
one
young
lady
was
standing
on
the
hood
of
an
automobile
that
was
parked
on
the
jail
lawn,
and
she
was
jumping
up
and
down
saying,
'Kill
all
the
niggers!
Kill
all
the
niggers!
Kill
all
the
niggers!'"
Finally,
Cameron
stood
with
death
on
both
sides
of
him
as
they
put
the
noose
around
his
neck.
"At
that
moment
I
said
'Lord
forgive
me
my
sins'
and
I
felt
this
calm
wash
over
me.
It
had
been
a
miracle
up
until
that
point
that
I
had
not
been
beaten
to
death.
Then
came
the
next
miracle."
As
Cameron
stood
there
waiting
for
his
death,
he
heard
a
voice.
"[It
said:]
'Take
this
boy
back.
He
had
nothing
to
do
with
this,'"
Cameron
said.
"I
heard
this
voice,
but
no
one
else
did.
Nevertheless,
the
crowd
grew
quiet
and
they
released
me."
The
following
account
has
been
excerpted
from
James
Cameron's
book
A
Time
of
Terror:
Thousands
of
Indianans
carrying
picks,
bats,
ax
handles,
crowbars,
torches,
and
firearms
attacked
the
Grant
County
Courthouse,
determined
to
'get
those
goddamn
Niggers.'
A
barrage
of
rocks
shattered
the
jailhouse
windows,
sending
dozens
of
frantic
inmates
in
search
of
cover
...
The
door
was
ripped
from
the
wall,
and
a
mob
of
fifty
men
beat
Thomas
Shipp
senseless
and
dragged
him
into
the
street
...The
dead
Shipp
was
dragged
with
a
rope
up
to
the
window
bars
of
the
second
victim,
Abram
Smith.
For
twenty
minutes,
citizens
pushed
and
shoved
for
a
closer
look
at
the
‘dead
nigger.’
By
the
time
Abe
Smith
was
hauled
out
he
was
equally
mutilated.
‘Those
who
were
not
close
enough
to
hit
him
threw
rocks
and
bricks.
Somebody
rammed
a
crowbar
through
his
chest
several
times
in
great
satisfaction.’
Smith
was
dead
by
the
time
the
mob
dragged
him
‘like
a
horse‘
to
the
courthouse
square
and
hung
him
from
a
tree.
The
lynchers
posed
for
photos
under
the
limb
that
held
the
bodies
of
the
two
dead
men.
Then
the
mob
headed
back
for
James
Cameron
and
‘mauled
him
all
the
way
to
the
courthouse
square,’
shoving
and
kicking
him
to
the
tree,
where
the
lynchers
put
a
hanging
rope
around
his
neck.
Cameron
credited
an
unidentified
woman's
voice
with
silencing
the
mob
and
opening
a
path
for
his
retreat
to
the
county
jail
and,
ultimately,
for
saving
his
life
...
After
souvenir
hunters
divvied
up
the
bloodied
pants
of
Abram
Smith,
his
naked
lower
body
was
clothed
in
a
Klansman's
robe
—
not
unlike
the
loincloth
in
traditional
depictions
of
Christ
on
the
cross.
Lawrence
Beitler,
a
studio
photographer,
took
this
photo.
For
ten
days
and
nights
he
printed
thousands
of
copies,
which
sold
for
fifty
cents
apiece.
United States Lynching
© Bettmann/Corbis, 1930
Marion, Indiana - August 7, 1930
In
1931
he
was
convicted
as
an
accessory
to
the
murder.
He
spent
four
years
in
prison,
was
free
at
age
21,
and
attended
technical
high
school
and
college.
He
and
his
wife,
Virginia,
wed
nearly
65
years,
raised
five
children,
and
Cameron
supported
them
as
a
truck
driver,
laundry
man,
record
store
owner,
waiter,
junk
man
and
maintenance
engineer.
Cameron
dedicated
much
of
his
life
to
working
as
an
activist
for
civil
rights
and
justice,
founding
three
NAACP
chapters
in
the
1940s.
He
was
a
strict
father,
instilling
pride
in
his
children,
says
his
59‐year‐old
son,
Virgil,
who
recalls
how
the
family
resisted
the
segregation
policies
at
movie
theaters
in
Indiana.
"We
sat
wherever
we
wanted,"
he
says.
"We
were
the
Camerons.
He
had
that
type
of
strength.
He
would
not
tolerate
racism."
Cameron
was
always
determined
to
tell
his
story.
In
1946,
he
sent
a
letter
to
his
idol,
poet‐writer
Langston
Hughes,
seeking
advice.
He
received
an
answer
(framed
on
his
museum
wall)
but
no
publisher.
Decades
passed
and
in
1979,
he
and
his
wife
visited
Israel
and
Yad
Vashem,
the
Holocaust
memorial,
where
he
was
moved
by
exhibits
of
Jewish
persecution
and
the
inscription:
"To
remember
is
salvation.
To
forget
is
exile."
Turning
to
his
wife,
he
said,
"Honey,
we
need
a
museum
like
that
in
America
to
show
what
happened
to
black
people."
After
starting
a
collection
of
memorabilia
in
his
basement,
he
became
the
founder
of
America's
Black
Holocaust
Museum
in
Milwaukee,
Wisconsin.
It's
the
most
important
thing
in
the
world
to
me
to
carry
on
this
fight,
to
explain
the
history
that's
been
hidden
...
from
black
people,"
he
says.
"I
wonder
if
God
saved
me
for
this
mission,"
he
says.
He
pauses,
then
answers
his
own
question.
"It
had
to
be.
And
I
thank
him
for
that."
According
to
PBS,
Mary
Ball
later
testified
that
Cameron
had
fled
before
the
shootings
and
that
she
had
not
been
raped.
Cameron
was
released
after
serving
around
four
years
in
prison,
and
he
received
a
pardon
in
1993
from
Indiana
Governor
Evan
Bayh.
This
photograph
inspired
the
lyrics
of
the
song
"Strange
Fruit,"
which
Billie
Holiday
recorded
in
1939.
Holiday
approached
her
recording
label,
Columbia,
about
recording
the
song.
Columbia,
fearing
a
backlash
by
record
retailers
in
the
South,
as
well
as
negative
reaction
from
affiliates
of
Columbia's
co‐owned
radio
network,
CBS,
refused
to
record
the
song.
She
turned
to
her
friend
Milt
Gabler
(uncle
of
comedian
Billy
Crystal)
whose
Commodore
label
produced
alternative
jazz.
Holiday
sang
the
song
for
him
a
cappella
which
so
moved
Gabler
that
he
wept.
United States Lynching
© Bettmann/Corbis, 1930
Marion, Indiana - August 7, 1930
In
time,
"Strange
Fruit",
became
Holiday's
biggest
selling
record.
Though
the
song
became
a
staple
of
her
live
performances,
Holiday's
accompanist
Bobby
Tucker
recalled
that
Holiday
would
break
down
every
time
after
she
sang
it.
Holiday
closed
all
her
shows
with
it.
Just
as
the
song
was
about
to
begin,
waiters
would
stop
serving,
the
lights
in
club
would
be
turned
off,
and
a
single
pin
spotlight
would
illuminate
Holiday
on
stage.
During
the
musical
introduction,
Holiday
would
stand
with
her
eyes
closed,
as
if
she
were
evoking
a
prayer.
The
song
ultimately
became
the
anthem
of
the
anti‐lynching
movement.
The
dark
imagery
of
the
lyrics
struck
a
chord.
It
also
contributed
to
what
would
later
become
the
Civil
Rights
movement
of
the
50s
and
60s.
In
December,
1999,
Time
(magazine)
magazine
called
it
the
song
of
the
century.
Although
this
was
Marion,
Ind.,
most
of
the
nearly
5,000
lynchings
documented
between
Reconstruction
and
the
late
1960s
were
perpetrated
in
the
South.
(Hangings,
beatings
and
mutilations
were
called
the
sentence
of
"Judge
Lynch.")
Some
lynching
photos
were
made
into
postcards
designed
to
boost
white
supremacy,
but
the
tortured
bodies
and
grotesquely
happy
crowds
ended
up
revolting
as
many
as
they
scared.
Today
the
images
remind
us
that
we
have
not
come
as
far
from
barbarity
as
we'd
like
to
think.
The
event
in
Marion
was
notable
as
the
last
confirmed
lynching
of
blacks
in
the
Northern
United
States.
Hazel Bryan
© Will Counts 1957
Little Rock, Arkansas – September 4, 1957
Hazel Bryan
© Will Counts 1957
Little Rock, Arkansas – September 4, 1957
During
the
historic
1957
desegregation
of
Little
Rock
Central
High
School,
26‐year‐old
journalist
Will
Counts
took
a
photograph
that
gave
an
iconic
face
to
the
passions
at
the
center
of
the
civil‐rights
movement—two
faces,
actually:
those
of
15‐year‐old
Elizabeth
Eckford
on
her
first
day
of
school,
and
her
most
recognizable
tormentor,
Hazel
Bryan.
The
story
of
how
these
two
women
struggled
to
reconcile
and
move
on
from
the
event
is
a
remarkable
journey
through
the
last
half‐century
of
race
relations
in
America.
On
the
morning
of
September
4,
1957,
15‐year‐old
Eckford,
wearing
a
new
dress,
walked
down
Little
Rock’s
Park
Street
through
a
jeering
crowd
to
attend
Little
Rock
Central
High
School.
When
the
image
was
taken
she
had
been
turned
away
by
Arkansas
National
Guardsmen
after
she
tried
to
enroll
at
the
all
white
high
school.
It
was
the
fourth
school
year
since
segregation
had
been
outlawed
by
the
Supreme
Court.
Things
were
not
going
well,
and
some
southerners
accused
the
national
press
of
distorting
matters.
This
picture,
however,
gave
irrefutable
testimony,
as
Elizabeth
Eckford
strides
through
a
gantlet
of
white
students,
including
Hazel
Bryant
(mouth
open
the
widest),
on
her
way
to
Little
Rock’s
Central
High.
Hazel
Massery
(born
Hazel
Bryan)
was
a
student
at
Little
Rock
Central
High
School
during
the
1950s.
She
was
depicted
in
this
iconic
photograph
that
showed
her
shouting
at
Elizabeth
Eckford,
one
of
the
Little
Rock
Nine,
during
the
integration
crisis.
In
her
later
life,
she
would
work
with
Eckford
to
further
the
goals
of
racial
harmony.
In
1998,
Massery
told
The
Guardian,
"I
am
not
sure
at
that
age
what
I
thought,
but
probably
I
overheard
that
my
father
was
opposed
to
integration....
But
I
don't
think
I
was
old
enough
to
have
any
convictions
of
my
own
yet."
Later
in
life
she
changed
her
mind;
she
had
thought
of
Martin
Luther
King
as
a
"trouble‐maker",
but
realized
"deep
down
in
your
soul,
he
was
right".
In
1963,
having
changed
her
mind
on
integration
and
feeling
guilt
for
her
treatment
of
Eckford,
she
took
the
initiative
of
contacting
Eckford
to
apologise.
They
went
their
separate
ways
after
this
first
meeting,
and
Eckford
did
not
name
the
girl
in
the
picture
when
asked
about
it
by
reporters.
Hazel Bryan
© Will Counts 1957
Little Rock, Arkansas – September 4, 1957
By
1997,
she
had
worked
with
young
black
mothers‐to‐be
and
minority
students
as
part
of
amends,
as
well
as
being
irked
by
being
permanently
represented
in
the
media
by
a
single
photo.
However,
as
part
of
the
40th
anniversary
celebration
of
Central
High's
integration,
Will
Counts
wanted
to
take
a
second
photo
symbolising
reconciliation;
Massery
agreed
and
was
reintroduced
to
Eckford.
The
two
swiftly
became
friends,
spending
time
together
to
the
point
that
she
joked
she
was
Eckford's
chauffeur.
She
appeared
with
Eckford
and
the
rest
of
the
Little
Rock
Nine
on
The
Oprah
Winfrey
Show,
and
at
the
40th
Anniversary
Celebration
of
integration
at
Central
High.
The
reunion
provided
an
opportunity
for
acts
of
reconciliation,
as
noted
in
this
editorial
from
the
Arkansas
Democrat­Gazette
:
"One
of
the
fascinating
stories
to
come
out
of
the
reunion
was
the
apology
that
Hazel
Bryan
Massery
made
to
Elizabeth
Eckford
for
a
terrible
moment
caught
forever
by
the
camera.
That
40­year­old
picture
of
hate
assailing
grace
—
which
had
gnawed
at
Ms.
Massery
for
decades
—
can
now
be
wiped
clean,
and
replaced
by
a
snapshot
of
two
friends.
The
apology
came
from
the
real
Hazel
Bryan
Massery,
the
decent
woman
who
had
been
hidden
all
those
years
by
a
fleeting
image.
And
the
graceful
acceptance
of
that
apology
was
but
another
act
of
dignity
in
the
life
of
Elizabeth
Eckford."
However,
many
people
saw
the
new
friendship
as
forced
and
artificial,
including
former
classmates,
Eckford's
son,
the
rest
of
the
Little
Rock
Nine,
and
Oprah
Winfrey.
Many
Little
Rock
alumni
took
the
view
that
Massery
should
have
apologised
to
them
as
well
for
painting
them
all
as
racists,
while
the
rest
of
the
Nine
felt
Eckford
had
been
conned.
Soon
after,
the
friendship
began
to
fray
as
Eckford
began
to
believe
Massery
"wanted
me
to
be
cured
and
be
over
it
and
for
this
not
to
go
on...
She
wanted
me
to
be
less
uncomfortable
so
that
she
wouldn't
feel
responsible
anymore."
Massery
also
began
to
revise
parts
of
her
story
to
present
the
photo
as
an
isolated
incident
(when
she'd
been
involved
in
racist
dialogue
after
it)
and
attempted
to
avoid
implicating
her
family
as
a
source
of
racial
views.
The
friendship
quietly
dissolved
in
1999,
and
she
retreated
from
the
public
eye,
speaking
of
her
public
actions
as
a
mistake.
The
two
women
have
only
spoke
twice
since,
both
times
in
2001
(the
first
being
a
call
to
Eckford
during
9/11),
though
the
Masseries
sent
a
condolence
card
after
Eckford's
son
was
killed.
Kent State Shootings
© John Paul Filo, Daily News/AP 1970
Kent, Ohio – May 4, 1970
Kent State Shootings
© John Paul Filo, Daily News/AP 1970
Kent, Ohio – May 4, 1970
The
Kent
State
shootings,
ccurred
at
Kent
State
University
in
the
city
of
Kent,
Ohio,
and
involved
the
shooting
of
students
by
members
of
the
Ohio
National
Guard
on
Monday,
May
4,
1970.
Four
students
were
killed
and
nine
others
were
wounded,
one
of
whom
suffered
permanent
paralysis.
Some
of
the
students
who
were
shot
had
been
protesting
against
the
American
invasion
of
Cambodia,
which
President
Richard
Nixon
announced
in
a
television
address
on
April
30.
However,
other
students
who
were
shot
had
merely
been
walking
nearby
or
observing
the
protest
from
a
distance.
Photographs
of
the
dead
and
wounded
at
Kent
State
that
were
distributed
in
newspapers
and
periodicals
world‐wide
amplified
sentiment
against
the
United
States'
invasion
of
Cambodia
and
the
Vietnam
War
in
general.
In
particular,
the
camera
of
Kent
State
photojournalism
student
John
Filo
captured
a
fourteen‐year
old
runaway,
Mary
Ann
Vecchio,
screaming
over
the
body
of
the
dead
student,
Jeffrey
Miller,
who
had
been
shot
in
the
mouth.
The
photograph,
which
won
a
Pulitzer
Prize,
became
the
most
enduring
image
of
the
events,
and
one
of
the
most
enduring
images
of
the
anti‐Vietnam
War
movement.
The
shootings
led
to
protests
on
college
campuses
throughout
the
United
States,
and
a
student
strike
‐
causing
more
than
450
campuses
across
the
country
to
close
with
both
violent
and
non‐violent
demonstrations.
At
the
time
John
Filo
was
in
the
University
student
photography
lab
when
the
shots
rang
out.
He
quickly
ran
outside
and
below
recalls
what
happened:
The
bullets
were
supposed
to
be
blanks.
When
I
put
the
camera
back
to
my
eye,
I
noticed
a
particular
guardsman
pointing
at
me.
I
said,
"I'll
get
a
picture
of
this,"
and
his
rifle
went
off.
And
almost
simultaneously,
as
his
rifle
went
off,
a
halo
of
dust
came
off
a
sculpture
next
to
me,
and
the
bullet
lodged
in
a
tree.
I
dropped
my
camera
in
the
realization
that
it
was
live
ammunition.
I
don't
know
what
gave
me
the
combination
of
innocence
and
stupidity...
I
started
to
flee­­run
down
the
hill
and
stopped
myself.
"Where
are
you
going?"
I
said
to
myself,
"This
is
why
you
are
here!”
And
I
started
to
take
pictures
again.
...
I
knew
I
was
running
out
of
film.
I
could
see
the
emotion
welling
up
inside
of
her.
She
began
to
sob.
And
it
culminated
in
her
saying
an
exclamation.
I
can't
remember
what
she
said
exactly
…
something
like,
"Oh,
my
God!"
”
Kent State Shootings
© John Paul Filo, Daily News/AP 1970
Kent, Ohio – May 4, 1970
To
take
the
picture
Filo
used
a
Nikkormat
camera
with
Tri
X
film
and
most
of
the
exposures
were
1/500
between
5.6
and
f
8
depending
on
if
the
sun
was
behind
a
cloud
or
not.
Vecchio
had
joined
the
protest
while
visiting
the
campus,
where
she
had
befriended
two
of
the
other
students
who
were
hit
by
gunfire
that
day:
Sandra
Scheuer,
who
was
killed;
and
Alan
Canfora,
who
was
wounded.
Eight
of
the
guardsmen
were
indicted
by
a
grand
jury.
The
guardsmen
claimed
to
have
fired
in
self‐defense,
which
was
generally
accepted
by
the
criminal
justice
system.
In
1974
U.S.
District
Judge
Frank
Battisti
dismissed
charges
against
all
eight
on
the
basis
that
the
prosecution's
case
was
too
weak
to
warrant
a
trial.
In
May
2007,
Alan
Canfora,
one
of
the
injured
protestors,
demanded
that
the
case
be
reopened,
having
found
an
audiotape
in
a
Yale
University
government
archive
allegedly
recording
an
order
to
fire
("Right
here!
Get
Set!
Point!
Fire!")
just
before
the
13
second
volley
of
shots.
Filo
continued
his
career
in
photojournalism,
eventually
rising
to
a
picture
editing
job
at
the
American
weekly
news
magazine
Newsweek.
He
now
is
on
staff
in
the
communications
department
of
CBS.
A
runaway
from
Opa‐locka,
Florida
where
she
attended
Westview
Junior
High
School,
Vecchio
bartered
her
story
after
the
shootings
to
a
local
reporter
in
exchange
for
a
bus
ticket
to
California.
She
was
found
by
police
before
she
boarded
the
bus,
and
sent
back
to
her
family,
who
reportedly
later
sued
t‐shirt
companies
for
40%
of
the
profits
of
sales
featuring
Filo's
photograph.
Following
Filo's
publication
of
the
photograph
through
the
Tarentum
Valley
Daily
News
edition
of
the
Pittsburgh
Tribune‐Review,
Florida
governor
Claude
Kirk
labelled
Vecchio
a
dissident
communist.
After
Vecchio
married
Joe
Gillum
in
1979,
the
couple
moved
to
Las
Vegas,
Nevada,
where
Vecchio
became
a
clerk
at
a
coffee
shop.
In
1995,
Vecchio
met
John
Filo
for
the
first
time,
when
both
were
scheduled
to
appear
at
an
Emerson
College
conference
commemorating
the
25th
anniversary
of
the
shootings.
Now,
they
will
face
each
other
on
camera
for
the
first
time
and
openly
discuss
what
happened
When
Time
Stood
Still.
Muhammad Ali Knocks Out Sonny Liston
© Neil Leifer, 1965
Lewiston, Maine – May 25, 1965
Muhammad Ali Knocks Out Sonny Liston
© Neil Leifer, 1965
Lewiston, Maine – May 25, 1965
“It
is
a
great
picture
of
a
key
moment,
filled
with
emotion
and
destined
to
remain
etched
in
the
minds
of
its
viewers,"
says
"You
can
describe
this
picture
to
someone,
without
showing
it
to
them,
and
they
know
exactly
what
you're
talking
about.
It's
a
true
icon
of
sports
photojournalism."
-Steve
Fine,
Director
of
Photography;
Sports
Illustrated
Less
than
two
minutes
into
the
Heavyweight
title
bout,
while
Ali
was
pulling
away
from
Liston,
Ali
hit
Liston
with
an
extremely
quick
punch
which
didn't
seem
to
have
much
weight
behind
it.
However,
Liston
awkwardly
went
down,
first
lurching
forward
to
the
canvas
then
sprawling
out
onto
his
back,
spread‐eagled.
In
the
total
shambles
that
followed,
referee
Jersey
Joe
Walcott
never
counted
over
Liston
and
never
made
Ali
go
to
a
neutral
corner,
while
Ali
yelled
hysterically
at
Liston,
running
around
the
ring,
arms
aloft.
During
this
time
Liston
made
an
attempt
to
get
back
to
his
feet,
before
again
rolling
onto
his
back.
After
Liston
finally
got
up,
ringside
boxing
writer
Nat
Fleischer,
who
had
absolutely
no
authority,
informed
Walcott
that
Liston
had
been
on
the
canvas
for
over
10
seconds
(during
which
time
the
fight
briefly
resumed),
and
that
the
fight
should
be
over.
Walcott
then
waved
the
fight
off.
The
photograph
of
the
knockdown
of
this
fight
is
one
of
the
most
heavily
promoted
photos
in
the
history
of
the
media,
and
was
even
chosen
as
the
cover
of
the
Sports
Illustrated
special
issue,
"The
Century's
Greatest
Sports
Photos".
Speculations
circulated
about
Liston’s
fall,
many
spectators
considered
the
bout
fixed,
even
the
FBI
investigated
the
case.
Some
say
while
preparing
for
the
fight,
Liston
was
visited
by
Black
Muslims
who
threatened
to
kill
his
daughter
Eleanor
if
he
should
win
the
rematch,
others
say
Liston
lay
down
for
money.
Nearly
four
decades
later,
it
hasn't
been
resolved
if
Ali
actually
landed
the
punch
‐‐
"the
phantom
punch"
as
it's
often
referred
to
‐‐
that
floored
Liston.
One
of
Liston's
assistant
trainers
later
said
Liston
threw
the
fight
for
fear
of
being
murdered
by
Black
Muslims.
While
Liston
publicly
denied
taking
a
dive,
Sports
Illustrated
writer
Mark
Kram
said
that
years
later
Liston
told
him,
"That
guy
[Ali]
was
crazy.
I
didn't
want
anything
to
do
with
him.
And
the
Muslims
were
coming
up.
Who
needed
that?
So
I
went
down.
I
wasn't
hit."
.
Muhammad Ali Knocks Out Sonny Liston
© Neil Leifer, 1965
Lewiston, Maine – May 25, 1965
Neil
Leifer
is
one
of
America's
top
sports
photographers,
with
his
images
appearing
on
more
than
200
Sports
Illustrated,
Time
and
People
covers.
He
has
photographed
15
Kentucky
Derbies,
countless
World
Series
games,
the
first
10
Super
Bowls
and
every
important
heavyweight
title
fight
since
1960.
He
has
photographed
his
favorite
subject,
Muhammad
Ali,
on
more
than
80
occasions.
There's
no
sport
I
enjoy
photographing
as
much
as
boxing.
The
atmosphere
of
a
big­time
fight­­the
crowd,
the
fashion
show,
all
the
celebrities­­is
electric.
When
you're
shooting
ringside,
you
feel
what
the
fighters
feel,
hot
under
the
overhead
ring
lights,
squeezed
in
between
the
other
photographers,
all
of
us
pressed
up
to
the
apron.
When
a
fighter
is
against
the
ropes,
you're
so
close
that
even
with
a
wide­angle
lens,
you've
got
to
lean
back
to
get
the
fighters
in
frame.
Over
the
last
42
years,
I've
shot
almost
every
major
fight
and
every
major
fighter,
from
Sugar
Ray
Robinson
and
Floyd
Patterson,
to
Joe
Frazier
and
George
Foreman,
to
Mike
Tyson
and
Evander
Holyfield,
to
Sugar
Ray
Leonard
and
Oscar
de
la
Hoya.
But
my
favorite
subject,
no
matter
what
the
sport,
was
and
still
is
Muhammad
Ali.
I
took
my
most
famous
picture
on
May
25,
1965,
when
Ali
stopped
Sonny
Liston
with
one
punch
in
the
first
round
of
their
heavyweight
championship
fight
in
Lewiston,
Maine.
When
Sports
Illustrated
published
its
special
issue,
"The
Century's
Greatest
Sports
Photos,"
my
picture
of
Ali
standing
over
Liston
was
the
cover,
and
I
was
honored
and
thrilled
by
SI's
choice.
This
image
represents
the
way
people
want
to
remember
Ali:
strength,
confidence
and
braggadocio.
A
two­minute
fight
might
be
a
major
disappointment
for
the
fans,
but
for
a
photographer,
it
doesn't
matter
whether
it
goes
15
rounds
or
15
seconds.
All
any
editor
ever
expected
from
me
was
a
great
knockout
picture.
In
Lewiston,
the
knockout
happened
exactly
where
I
wanted
it
to,
and
my
only
thought
was,
"Stay
right
there,
Sonny!
Please
don't
get
up!"
Leifer
says
it
was
a
matter
of
being
in
the
right
place
at
the
right
time,
luck…important
to
any
photographer.
The
photographer
between
Ali’s
legs
is
Herbie
Scharfman,
the
other
Sports
Illustrated
photographer,
but
as
Leifer
explains
“It
didn’t
make
a
difference
how
good
he
was
that
night.
He
was
obviously
in
the
wrong
seat.
What
the
good
sports
photographer
does
is
when
it
happens
and
you’re
in
the
right
place,
you
don’t
miss…I
didn’t
miss.”