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Emilio Morenatti: ‘I would give up the Pulitzer to have my leg back. I’d even burn my work’ | Culture

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Emilio Morenatti gets off the high-speed Barcelona-Madrid AVE train with his camera at the ready, even though he’s not on a job. The camera, he says, is his third arm. Dressed in a polo shirt and long pants, it’s impossible to tell he is missing his left leg.

Morenatti’s leg was blown off in 2009 by a bomb in Afghanistan when he was accompanying US troops on a mission that he was advised against going on.

The chief photographer for the Associated Press in Spain and Portugal is now waiting for a visa to enter the US and collect the Pulitzer Prize for his photos of the elderly and homeless in Barcelona during the worst of the coronavirus pandemic. Morenatti says he is proud that, after all the restrictions he had to work around in order to take them, his photos were displayed as part of a state tribute to Covid victims. If he feels at all bitter about the obstacles that were put in his path, it doesn’t show.

Question. Is the revenge sweet?

Answer. In a way, yes. The authorities that asked for the photos are the same ones who denied us photographers access to hospitals and cemeteries. I could have refused them, but I am more interested in exposing the hypocrisy. We live in an aseptic society that doesn’t want to see certain things. But I think with this pandemic, there’s been a click. Something has changed. If this means making people think, I feel I have done my job.

Q. The Pulitzer is like the Nobel Prize of its field. What now?

A. Just keep working. If losing a leg – with all the family, professional and self-imposed pressures that entailed – didn’t detract from my passion or distract me from pursuing my career, this won’t either, even less so. That’s what I want to shield against; I still don’t want to sit down and edit someone else’s photos.

Q. Did the loss of your leg alter your perspective?

A. Yes, in particular my approach to victims. I feel vulnerable now; I see my two-legged colleagues and I’m the only one with one leg and I feel envious. I don’t hide my disability and, when I portray the vulnerable, I take certain liberties, as one cripple to another. It gives you empathy and the freedom to push through certain barriers.

The beauty of a photo is about trapping the viewer; it’s like those carnivorous flowers that attract you with their colors and then ensnare you

Q. “From one cripple to another!” That’s good but also tough.

A. A lame guy who saw my prosthesis once said to me, “I’m going to talk to you as one cripple to another” and I thought it was a great idea. Because being lame is not only physical, it’s mental. I miss my leg every day. Disability causes friction, pain and frustration. My mind gets used to it, but I deal with it every day. Before, I would go for a walk without thinking. Now, every outing requires logistics. It is not easy. It’s a subject that interests me a lot. That’s why the limp comes through in some of my photos.

Q. During lockdown, you went out to visit the sick with health workers. Did you also give a bit of that side of yourself to the people you photographed?

A. It felt a bit like that, yes. The elderly were very much in need of company, of human contact, of someone to pay them a visit. The doctors made the visit, but I went with them. In the Pulitzer series, there is a photo in which an old woman holds the doctor’s hand and also my own, while I took her picture with the other one. She started telling us about her life. That is also therapy, isn’t it? We could feel that people needed that support. And me too, of course.

Q. Is the camera your shield or weapon?

A. It is a part of me. Sometimes it is a shield. I have been very moved by some of the photos I have taken; they have been moments of great intensity. I remember [nursing home residents] Agustina and Pascual’s kiss that made me cry and, right then, I do remember I was using the camera as a shield. But the question is what it would be like for me not to have the camera. And that is Murphy’s Law. The day you don’t take it out with you, something happens, and that really tortures me: the photos I haven’t taken.

Agustina Cañamero, 81, kisses her husband Pascual Pérez, 84, in a care home in Barcelona, on June 22, 2020.
Agustina Cañamero, 81, kisses her husband Pascual Pérez, 84, in a care home in Barcelona, on June 22, 2020.Emilio Morenatti / AP

Q. What are the images you can’t get out of your head?

A. I remember an explosion in Gaza that landed very close to us. Those bombs are enormously violent. Everything inside you moves. There is a moment of silence, because your eardrums are blocked, and then you see smoke, people running and people who can’t run because they are dead, wounded, dismembered. I go over these kinds of situations in my head. And when it happened to me, when my leg was blown off, I watched the man who gave me a tourniquet and saved my life as if it was happening in slow motion. That slowness is something that happens again and again in my life. It is all accompanied by smells, screams, pain, nausea, all of which will accompany you all your life because your photo will never match the level of violence of a situation like that.

Q. But it is the photo that remains when the situation is over.

A. That is the privilege of this profession. And that’s what keeps me tied to it. It’s a privilege like being a superhuman or superhero. I have been in extraordinary situations, and the commitment that one acquires from being there and documenting them is what makes you do your best and say: I’m going to do it better than anyone else, even better than myself. It’s pure adrenaline.

Q. You won’t remember, but I met you while you were working at the 1992 World Expo in Seville. You were a young photographer at that time with a reputation for partying.

A. No, I don’t remember you! You’ll have to show me a full-length photo of yourself from back then [laughs]. I was a kid. I was always hungover. I was consumed by the drive and arrogance of my 20s. I was born in Zaragoza because my father is a policeman and was stationed there, but I grew up in Jerez. We were a big family of modest means in a down-at-heel neighborhood. I didn’t know anything about photography or English at that time. I did a lot of crazy things. I photographed Lady Di at the Expo, I also took myself on the island of Perejil [over which a turf battle in 2002 between Spain and Morocco] in an inflatable boat, and that brazenness was the springboard for my call from Associated Press. I’ve been a bit of a kamikaze, but as far as I’m concerned surviving means squeezing the most out of things.

I don’t hide my disability and, when I portray the vulnerable, I take certain liberties, as one cripple to another

Q. Did you feel marginalized by journalists?

A. Very much so. And I still do. I see my children and I think: they are going to have everything I didn’t have. I learned to survive on the job. Then I tried to educate myself intellectually, and I continue to do so.

Q. Have you already taken your dream photo?

A. No, and it’s impossible to do so, because it would have been during the Spanish Civil War. I dream of the Battle of the Ebro, of having worked with [photographer Robert] Capa. I would have loved to do what I’m doing now at that decisive moment in Spanish history.

Q. Would you like to cover a red carpet event?

A. I think that would be a drag. I would do it, just as we photographers do other things we don’t like, but it doesn’t interest me at all, like soccer. That, for me, is not photojournalism, which I understand to be a reflection of society. That particular element of society already has too much attention and doesn’t need to be given more. I focus on places where attention is scarce. My mission is to make visible…

Q. … what we don’t want to see?

A. Yes, so that it is discussed and not forgotten. And that’s where I think the language used has to be intelligent, because if not, there’s rejection. The beauty of a photo is about trapping the viewer; it’s like those carnivorous flowers that attract you with their colors and then ensnare you. That’s where I channel all my knowledge and 30 years of experience.

Q. Is there anything you do for pleasure to ease the suffering of injustice?

A. I would love to play the guitar. I am a lousy musician and I have already exasperated several teachers. But something happens to me: I’m practicing, I see a change of light through the window, I throw the guitar down and go out to take pictures. And that’s with just one leg. I’d have to be totally disabled to learn to play decently.

Q. How close are friends to asking you to take pictures at their weddings?

A. You’d be surprised. Friends in the south are calling me El Puli [after the Pulitzer], which is a way of putting me in my place in case I get too big for my boots. The other day, a friend I used to work on a newspaper with in Jerez said, “Do you remember when I told you they were going to give you the Pulitzer for the terrible photos you took? Well, now they finally did!”

Q. Well, thank you very much, Puli.

A. Thank you, but, you know, I would give up the Pulitzer to have my leg back and be able to use two legs again. I’d even burn my work. It might contradict everything I’ve just said, but that’s how I feel.

English version by Heather Galloway.

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Census 2022 – what difference does it make?

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Next Sunday, April 3rd, is Census night. Millions of people in homes countrywide will fill in page after page of questions, some of which are deeply personal and many of which might be unfamiliar.

But what it is it all about?

At a basic level, Census 2022 will be used to inform planning of public policy and services in the years ahead, according to the Central Statistics Office.

The questions will cover a range of environmental, employment and lifestyle issues, including the use of renewable energy sources in homes.

The questions will help inform policy development in the areas of energy and climate action, and the prevalence of internet access, to understand the availability of and need for internet connections and range of devices used to access the internet.

Questions also focus on changes in work patterns and will include the trend of working from home and childcare issues, while questions are also asked about the times individuals usually leave work, education or childcare, to help identify and plan for transport pattern needs locally and nationally.

Other topics covered include volunteering and the type of organisations volunteers choose to support, tobacco usage and the prevalence of smoke alarms in the home.

And of course there is a time capsule – the chance to write something which will be sealed for the next 100 years.

In this episode of In The News, the head of census administration Eileen Murphy and statistician Kevin Cunningham about what it all means for us.

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Oscars 2022: Will Smith makes Oscar history after slapping Chris Rock over joke about wife Jada Pinkett Smith | Culture

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Will Smith took the Oscar for Best Actor at last night’s 94th Academy Awards, but he also became the protagonist of the ceremony for other reasons. The night was following the script, until Smith slapped comedian Chris Rock on the stage after the latter made a joke about the shaved head of the former’s wife, Jada Pinkett Smith. Rock had quipped that he was “looking forward to GI Jane 2,” in reference to her look. Pinkett Smith has revealed publicly that she has alopecia. It looked as if the moment had been planned, until Smith went back to his seat and shouted: “Get my wife’s name out of your fucking mouth.”

The moment, which immediately became Oscar history but for all the wrong reasons, left the attendees with frozen smiles, and asking themselves whether it was possible that a veteran such as Smith could have lost his cool in front of tens of millions of people. After taking the prize for Best Actor, the superstar actor made a tearful apology, saying that he hoped the Academy “will invite me back.” Later on, actor Anthony Hopkins called for “peace and love,” but it was already too late. The incident overshadowed the success of CODA, which took the Oscar for Best Picture. Just like the time when Warren Beatty mistakenly named La La Land as the big winner of the night, no one will speak about anything else from last night’s awards.

At first sight, Smith’s actions looked as if they were scripted. When he first heard Rock’s joke, he laughed. But his wife was seen on camera rolling her eyes, and it was then that the actor got up onto the stage and hit Rock. When he returned to his seat he raised his voice twice to shout “Get my wife’s name out of your fucking mouth,” sending a wave of unease and shock through the attending audience. The fact that he used the f-word, which is prohibited on US television, set alarm bells ringing that this was real and not a planned moment. In fact, the curse word was censored by the broadcaster, ABC, in the United States.

During a break, Smith’s PR manager approached him to speak. In the press room, which the actor skipped after collecting his prize, instructions were given to the journalists not to ask questions about the incident, Luis Pablo Beauregard reports. The next presenter, Sean “Diddy” Combs, tried to calm the situation. “Will and Chris, we’re going to solve this – but right now we’re moving on with love,” the rapper said.

When Smith took to the stage to collect his Best Actor award for his role as Richard Williams – the father of tennis stars Venus and Serena – in King Richard, he referred to the character as “a fierce defender of his family.” He continued: “I’m being called on in my life to love people and to protect people and to be a river to my people. I know to do what we do you’ve got to be able to take abuse, and have people talk crazy about you and have people disrespecting you and you’ve got to smile and pretend it’s OK.”

He explained that fellow actor Denzel Washington, who also spoke to Smith during a break, had told him: “At your highest moment, be careful, that’s when the devil comes for you.”

“I want to be a vessel for love,” Smith continued. “I want to be an ambassador of that kind of love and care and concern. I want to apologize to the Academy and all my fellow nominees. […] I look like the crazy father just like they said about Richard Williams, but love will make you do crazy things,” he said. He then joked about his mother, who had not wanted to come to the ceremony because she had a date with her crochet group.

The Los Angeles Police Department released a statement last night saying that Chris Rock would not be filing any charges for assault against Smith. “LAPD investigative entities are aware of an incident between two individuals during the Academy Awards program,” the statement read. “The incident involved one individual slapping another. The individual involved has declined to file a police report. If the involved party desires a police report at a later date, LAPD will be available to complete an investigative report.”

On December 28, Pinkett Smith spoke on social media about her problems with alopecia. She stated that she would be keeping her head shaved and would be dealing with the condition with humor. “Me and this alopecia are going to be friends… Period!” she wrote on Instagram.



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House-price inflation set to stay double digit for much of 2022

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House-price inflation is expected to remain at double-digit levels for much of 2022 as the mismatch between what is for sale and what buyers want continues.

Two new reports on the housing market paint a picture of a sector under strain due to a lack of supply and increased demand driven by Covid-related factors such as remote working.

The two quarterly reports, one each from rival property websites myhome.ie and daft.ie, suggest asking prices accelerated again in the first quarter of 2022 as the stock of homes available for sale slumped to a new record low.

Myhome, which is owned by The Irish Times, said annual asking-price inflation was now running at 12.3 per cent.

Price

This put the median or typical asking price for a home nationally at €295,000, and at €385,000 in Dublin.

MyHome said the number of available properties for sale on its website fell to a record low of 11,200 in March, down from a pre-pandemic level of 19,000. The squeeze on supply, it said, was most acute outside Dublin, with the number of properties listed for sale down almost 50 per cent compared with pre-pandemic levels.

It said impaired supply and robust demand meant double-digit inflation is likely until at least mid-2022.

“Housing market conditions have continued to tighten,” said author of the myhome report, Davy chief economist Conall Mac Coille.

“The broad picture of the market in early 2022 remains similar to last year: impaired supply coupled with robust demand due to Ireland’s strong labour market,” he said.

Soure: MyHome.ie

“One chink of light is that new instructions to sell of 7,500 in the first 11 weeks of 2022 are well up from 4,800 in 2021, albeit still below the 9,250 in 2019. The flow of new properties therefore remains impaired,” said Mr Mac Coille.

“Whatever new supply is emerging is being met by more than ample demand. Hence, transaction volumes in January and February were up 13 per cent on the year but pushed the market into ever tighter territory,” he said.

He said Davy was now predicting property-price inflation to average 7 per cent this year, up from a previous forecast of 4.5 per cent, buoyed strong employment growth.

Homes

Daft, meanwhile, said house asking prices indicated the average listed price nationwide in the first quarter of 2022 was €299,093, up 8.4 per cent on the same period in 2021 and and just 19 per cent below the Celtic Tiger peak, while noting increases remain smaller in urban areas, compared to rural.

Just 10,000 homes were listed for sale on its website as of March 1st, an all-time low. In Dublin, Cork and Galway cities, prices in the first quarter of 2022 were roughly 4 per cent higher on average than a year previously, while in Limerick and Waterford cities the increases were 7.6 per cent and 9.3 per cent respectively.

The report’s author, Trinity College Dublin economist Ronan Lyons, said: “Inflation in housing prices remains stubbornly high – with Covid-19 disturbing an equilibrium of sorts that had emerged, with prices largely stable in 2019 but increasing since.

“As has been the case consistently over the last decade, increasing prices – initially in Dublin and then elsewhere – reflect a combination of strong demand and very weak supply.”


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