# data[].attributes.body
In the website BallotPedia, Biden issued his gun safety plan along with a statement on the anniversary of the Sandy Hook shooting.  In the website BallotPedia, Sanders campaigned in Iowa, speaking at a presidential forum on organic food production.

# data[].attributes.body
With which political party I align the most is to being a democrat, after the quiz it showed that I was a hard liberal. When I register to vote, I would like to be identified as a Democrat.

# data[].attributes.headline
(Post#8)  Investigating Youth- Led Movements in History

# data[].attributes.subject
(Post#8)  Investigating Youth- Led Movements in History

# data[].attributes.body
In the Article " 7 Time in History When Students Turned to Activism"  It talks about how students have had enough about a specific topic and would actually want to go against the gov't to spread awareness and send a message.  Although some started slow, it showed how teens would react by supporting the protest, some small others large but all are each extraordinary and unique in their own ways. In the events you can see either discrimination or a major tragedy that will rile teens up and want to make a change. I feel like people who do this at first are the one's who are affected then others will join in along the way. Something that student activist can learn from the past is to be bold because you need to be the one to take charge because no one will do your ideas if you're not bold and confident.

# data[].attributes.attachment_link.title
7 Times in History When Students Turned to Activism (Published 2018)

# data[].attributes.attachment_link.description
The survivors of the Parkland, Fla., high school shooting have surprised many with their public activism. But they are hardly the first students to push the adult world for political change.

# data[].attributes.headline
(Post#6 & Post #7) My Political Socialization Family

# data[].attributes.subject
(Post#6 & Post #7) My Political Socialization Family

# data[].attributes.body
My family influences me to have  a specific  political ideology.  Growing up, my parents always had to face racism and to me I could never imagine the pain they had been through so I want them to not suffer anymore.  I want them to have the basic rights that everyone should have in the United States.  My parents always talk about the people who make a difference like MLK, Malcolm X, Caesar Chavez, just to name a few and would always talk about the success they had.  Even though it took awhile they tried multiple times with failure that occurred with most attempts.  My parents want me to help them out so that their lives can be better and that's something I would do since they're my family.

# data[].attributes.body
Based on my political beliefs I am liberal. For example I believe in equality which tends to be a more liberal view. In addition, helping out the communities in need is important to me which reflects a more liberal view

# data[].attributes.headline
(Post#4) -Bob Adelman: From Civil Rights to Making a Difference

# data[].attributes.subject
(Post#4) -Bob Adelman: From Civil Rights to Making a Difference

# data[].attributes.body
Bob Adelman was one of the few photographers that were documenting the road to equality, he even marched with the civil rights group. This photograph is of Bod Adelman and in the photo you see Martin Luther King Jr. making his speech. The image is powerful because it shows the support that people have for this movement to be a right for every person affected by this disadvantage that minorities have. This image speaks to me because I want change in our society since the racist root of America have never left and would like to make a difference for my community. This issue is important because it still goes on to this day, and something needs to be done about it. This image is from 1963, at Washington D.C.

# data[].attributes.attachment_link.readable_text
Bob Adelman, a photographer known for his sweeping, dramatic and intimate coverage of the civil rights movement, was found dead in Miami Beach, Fla., over the weekend. The Mr. Adelman, 85, a In 2014 he was named, in essence, a photographer in residence at the Library of Congress, a position created to draw attention to the importance of the medium in American life. He spoke then with James Estrin about his life and career. The conversation has been edited. philosopher-turned-photographer, forged a career committed to social activism as well as aesthetics. As the national photographer for the Congress of Racial Equality and later for Look magazine, he documented the movement in Birmingham and Montgomery in Alabama and the 1963 March on Washington. Miami Herald reported that a friend discovered him at his home Saturday with a head wound.
Q: Where were you born?

A: I'm straight out of Brooklyn. I was born in 1930. I went to Stuyvesant and I grew up in the Rockaways.

Q: You started photographing while you were studying philosophy at Columbia?

A: I studied philosophy primarily because I was trying to find my way in the world. I had a great need to sense some sort of purpose and direction in life, so I studied philosophy for the best reasons. There wasn't a course in "What's the purpose of life?," so the next best thing was something I had a great delight in, which was art.

While I was at Columbia I was very absorbed and interested in the arts, so when I became involved in photography I always thought of it as applied aesthetics. That's a bad philosophy joke.

I was doing the Lord's work - social/political photography during the day - and at night I photographed art. At Columbia my field was aesthetics, and I knew quite a bit about art, and I photographed in the course of my career many of New York's best-known artists, including Jim Rosenquist, Andy Warhol and Roy Lichtenstein.

Q: So how did you become a photographer?

A: I didn't really go to photography school. I went to work as an apprentice with different photographers. Starting out, I just answered ads in the paper, and I could talk a better game than I could do. I really learned photography by starting in the darkroom and got to the camera later.

Q: So you're doing your philosophy and you're partying downtown with Andy Warhol?

A: Well, that process took me a couple of years. I decided after I found workable answers to the things that bothered me, I became more interested in making and doing.

Q: What were these workable answers you came up with? Because if you have the secret of life, I would like to know it.

A: I didn't think that there was any great focus to life and that we were here on Earth waiting to be saved, or that this world was a drama of salvation preparing us for the next. I didn't believe in the supernatural. So I didn't think there was any overarching purpose to life, but I thought that we were given meanings.

We have families, we belong to countries, we have affections and values that we care deeply about. Finding projects that would be meaningful in connection to these values that I had would be as much purpose as I could find.

Q: Where do the values come from?

A: Well, you get your mother's milk. I, for instance, my parents and family always had a strong sense of social justice and were very interested in the arts. I guess they come partly from where you are, and partly from enthusiasms that develop out of your own interaction with the world. When I read about the civil rights sit-ins, I remember having a wet eye.

By 1964 and 1965 I was spending a lot of time with the civil rights movement.

Q: Tell me about the Lord's work.

A: In the early 1960s the country was very frozen when it came to the race problem. The Supreme Court had spoken, but not much had changed.

Q: How did you get involved?

A: When I saw and read about the student sit-ins, I thought, "Well, you know, that's a way forward." And of course, the treatment of the demonstrators was very disturbing to me, and their courage was very moving. I was a political idealist, so I went on a Freedom Ride to Maryland and eventually I became the national photographer for CORE, and I worked with SNCC [the Student Nonviolent Coordinating Committee] too.

Q: What was that like?

A: For me to get involved in something, I had to see some purpose to it. I realized that my involvement would be very dangerous, but I had a long think with myself and decided that this was something worth risking your life for.

The photographs were very important, they were used as evidence in court cases, they were used to help raise money for the movement. Eventually some of my photographs were used in the congressional Kerner Commission. I know that Garry Winogrand famously said that photographs don't change things. I think that's a very silly thing to say because they do.

Q: For the next several years you were in the thick of the movement and spent time with the Rev. Dr. Martin Luther King Jr. Tell me something about him that I don't know.

A: He believed that everyone was an aspect of God, and that when he spoke to them they deserved the attention and concern as if he were directly talking to God.

He loved to laugh too.

Q: So you talked philosophy with him?

A: I first really got to know him in Birmingham. I stayed at the Gaston Motel and on a couple of occasions had breakfast with Doc. But he was a very quiet person - that was the other thing I was going to mention to you.

Q: What did he think of you photographing?

A: He had a key appreciation of photography. He thought photographs were key to the movement ... to reveal the cruelty and mean spirited nature of segregation. My current view of it is that we fought the last battles of the Civil War.

Segregation was an organized system of terror that was instated and reinforced by the Klan or leaders of communities, and our fellow citizens were victimized. We needed photography to reveal this, to show people exactly what was going on, and the demonstrations progressively peeled away what racism and segregation meant.

Q: You spent a little more time with King later?

A: Yes, I was so much in awe of him. He would joke with me often. In Selma I was wearing five cameras because there weren't zoom lenses and I didn't want to run out of film, so he kidded me.

Q: What was the most dangerous thing that happened to you?

A: I guess it was during Freedom Summer in Louisiana. CORE and SNCC had a joint program and I was in St. Francisville, in West Louisiana. There was a very courageous man named Joe Carter who had tried to register [to vote] four times before. CORE and the F.B.I. arranged that he be allowed to try to register, and he passed the test. He was part of a group of 40 blacks who went to the registry.

That night, he and his neighbors expected the Klan: He lived on the end of a dirt road and his neighbors had rifles. The demonstration, going to town had been nonviolent - once he was home he felt he had the right to defend himself.

The Klan came down the road shooting their guns up in the air. When they got close to the house there was a volley. There must have been 20 people out in the field there and they fired back and there was a gunfight. The Klan quickly retreated because they're not heroes, they're just terrorists.

Q: Excuse me, you were in the house?

A: Yes. I stayed with him for three days. I interviewed him because I wanted to try to understand where he got this courage and determination. It was a story that ran in Ebony. What I could distill was that not being able to vote meant that you were still partly a slave. It was removing the last badge of slavery if you voted.

Q: But when the shooting is going on, what were you doing?

A: I wasn't trying to photograph. It was too dark. I was on the floor. But I did take a wonderful picture of Reverend Joe earlier in the evening, he posed for me in front of his house with a gun. It's a picture that means something to a lot of people.

Q: Are you photographing these days?

A: Well, we missed 45 years here.

In the '60s and '70s I got involved in housing, I got involved in the war on poverty, I worked for the Office of Economic Opportunity. It really made a big difference. We know during that decade that poverty was cut from 20 percent to 10 percent. The project I did for the Office of Economic Opportunity was with Indians, particularly in Arizona and North Dakota, living in grass huts and getting modest new homes.

I did a lot of work with education. I originated a reading program, which was actually published by The New York Times, called "The Sidewalk Series," and I photographed and tape-recorded kids' play activities. Kids were reading "Dick and Jane" at the time, which they didn't relate to. So I brought in the fun and excitement of their after-school activities.

Q: You're most known for your civil rights photos, but you also photographed artists.

A: I've always had a strong documentary and sociopolitical orientation to my work. Unfortunately for that way of thinking, John Szarkowski, who was a friend and very kindly helped get me my Guggenheim, changed his perspective. He thought that contemporary photography was more about personal documentation and not sociopolitical. So amongst photographers, sociopolitical photography is relegated to being historical and not considered truly artistic.

Serious photography of social and political nature is not considered art in the same way as social and political art is quite acceptable in painting, music or literature.

Q: What are you shooting now?
Follow @jamesestrin and @nytimesphoto on Twitter. Lens is also on Facebook and Instagram.
A: I have a little town in Alabama that I go back to every now and then. I did a book called "Down Home." When the civil rights movement was at its peak in '65, I got an assignment from Look, and I was wondering, "What's really going on?"

We picked a little Faulknerian town called Camden, Ala. There was a courthouse and old mansions. Blacks would come into the shop on Saturday, and the first bale of cotton was displayed on the street. Anyway, so I go back to that town as a bellwether for me of what's changing and what's staying the same.

It hasn't been published, and now I call this project "Home Again." The schools are desegregated, but not really integrated. Some white children go to the mostly black public schools, but there's a private school. The restaurants have been desegregated. They have a black sheriff, and some whites think they're living in a third world country.

Anyway, it's a complicated picture.

# data[].attributes.attachment_link.title
Bob Adelman: From Civil Rights to Making a Difference

# data[].attributes.attachment_link.description
Bob Adelman, a photographer known for his sweeping, dramatic and intimate coverage of the civil rights movement, was found dead in Miami Beach, Fla., over the weekend. The Mr. Adelman, 85, a In 2014 he was named, in essence, a photographer in residence at the Library of Congress, a position created to draw attention to the importance of the medium in American life.

# data[].attributes.headline
(Post#3) Song: Black or White by Michael Jackson

# data[].attributes.subject
(Post#3) Song: Black or White by Michael Jackson

# data[].attributes.body
nBack or White by Michael Jackson talks bout the issue of inequality and racism.  The message of the song is to spread awareness about racism and how there should be  equality though races, ethnicity, religion, etc.  This issue matters to me because my parents have to face racism and I believe that no one should be put down for another persons gain.  A quote from the song is "it's not about races, just places, faces, where your blood comes from, is were your space is I've seen the bright get duller, I'm not going to spend my life being a color", in this quote he is stating that we should be judging people based on their races, but rather we should acknowledge people for who they truly are.

# data[].attributes.attachment_link.title
Michael Jackson - Black Or White (Official Video - Shortened Version)

# data[].attributes.headline
(Post# 2) ACLU- I registered to vote but the poll worker says I'm not on the list of registered voters

# data[].attributes.subject
(Post# 2) ACLU- I registered to vote but the poll worker says I'm not on the list of registered voters

# data[].attributes.body
Two things that were useful with the resource was that "All voters are entitled to a provisional ballot, even if they are not in the poll book."  That was good to know because it can come in handy for the future.  Another thing would be "If they still can’t find your name, ask for a provisional ballot." for the same reason that it can help in the future.

# data[].attributes.attachment_link.provider_name
Know Your Rights | American Civil Liberties Union

# data[].attributes.attachment_link.readable_text
Learn more here about what voter intimidation looks like, your voting rights, and how to exercise them at the ballot box.

I registered to vote, but the poll worker says I'm not on the list of registered voters

Your rights

All voters are entitled to a provisional ballot, even if they are not in the poll book.

After Election Day, election officials must investigate whether you are qualified to vote and registered; if you are, they must count your provisional ballot.

What to do

Ask the poll worker to double check for your name on the list of registered voters.

If your name isn't there, ask if there is a supplemental list of voters (sometimes, voters who register closer to Election Day are placed on a supplemental list of registered voters).

You may also request that the poll workers check a statewide system, if one is available, to see if you are registered to vote at a different polling place.

If they still can't find your name, ask for a provisional ballot.

Additional information

If you are turned away or denied a provisional ballot, you can call the Election Protection Hotline (1-866-OUR-VOTE or 1-888-VE-Y-VOTA) and the U.S. Department of Justice Voting Rights Hotline: 800-253-3931; TTY line 877-267-8971.

You can also contact your county clerk, elections commissioner, elections supervisor; or your state board of elections.

I need accommodations for my disability or limited English proficiency

Your rights

Under federal law, all polling places for federal elections must be accessible to disabled and elderly voters, or must provide alternate means for casting a ballot on the day of the election.

Under federal law, all limited English proficiency voters and voters with disabilities may obtain assistance in voting from a person of their choice, as long as this person is not the voter's employer, or an agent of the employer or of the voter's union.

In some places (those covered by Section 203 of the Voting Rights Act), trained bilingual poll workers must be available to provide assistance in the relevant language, and ballots, written forms, and information relating to the voting process must be available in the covered language.

All polling places for a federal election must have at least one voting system that makes voting accessible in a private and independent manner to voters with disabilities.

Voters with disabilities cannot be turned away from the polls because a poll worker thinks they do not have the capacity to vote.

What to do

If possible, bring a family member, friend, or other person of your choice to assist you at the polls. Don't bring your employer, or an agent of your employer or union.

Tell the poll workers that you have chosen this person to assist you with voting. You may be required to swear under oath that you have difficulty speaking, reading, writing, or understanding English and have asked this person to help, and the person helping you may be required to sign a form swearing that they did not tell you how to vote.

Request oral assistance from a bilingual poll worker if you have questions, and ask for voting materials, such as your ballot, in your language. (Note: Not all jurisdictions and counties require polls to provide bilingual voting materials or language assistance.)

Additional information

Someone is interfering with my right to vote

Examples of voter intimidation

Aggressively questioning voters about their citizenship, criminal record, or other qualifications to vote, in a manner intended to interfere with the voters' rights.

Falsely representing oneself as an elections official.

Spreading false information about voter requirements, such as an ability to speak English, or the need to present certain types of photo identification (in states with no such requirement).

Displaying false or misleading signs about voter fraud and related criminal penalties.

Other forms of harassment, particularly harassment targeting non-English speakers and voters of color.

Your rights

Federal law, and many states' laws, prohibit voter intimidation. Federal law makes it clear that it is a federal crime to "intimidate, threaten, [or] coerce ... any other person for the purpose of interfering with the right of [that] other person to vote or to vote as he may choose."

What to do if you experience voter intimidation

In many states, if your qualifications to vote are challenged, you can give a sworn statement to the poll worker that you satisfy the qualifications to vote in your state, and then proceed to cast a regular ballot.

You can report intimidation to the Election Protection Hotline by calling 1-866-OUR-VOTE or 1-888-VE-Y-VOTA (en Español).

You can also contact the U.S. Department of Justice Voting Rights Hotline: 800-253-3931; TTY line 877-267-8971

Reach out to local and state officials, including poll workers; your county clerk, elections commissioner, elections supervisor; or your state board of elections.

# data[].attributes.attachment_link.description
Learn more here about what voter intimidation looks like, your voting rights, and how to exercise them at the ballot box. All voters are entitled to a provisional ballot, even if they are not in the poll book. After Election Day, election officials must investigate whether you are qualified to vote and registered; if you are, they must count your provisional ballot.

# data[].attributes.headline
(Post #1) Ted Talk: How art can shape America's conversation about freedom.

# data[].attributes.subject
(Post #1) Ted Talk: How art can shape America's conversation about freedom.

# data[].attributes.body
The ted talk was basically about his journey of what he did throughout the years in his beliefs of freedom and the forms of protest.
To me the message about this ted talk really reflects on how people believe in democracy, when it comes to the people, everyone should have a voice and should be heard.  One quote that stood out to me was when he said "and that voice needed to be alibied", and it stood out to me because he knew that people's voices need to be heard .

# data[].attributes.attachment_link.title
Dread Scott: How art can shape America's conversation about freedom

# data[].attributes.attachment_link.description
In this quick talk, visual artist Dread Scott tells the story of one of his most transgressive art installations, which drew national attention for its controversial use of the American flag and led to a landmark First Amendment case in the US Supreme Court.