A recent study by the Yale University Child Study Center shows that Black children — especially boys — no matter their family income, receive less attention, harsher punishment and lower marks in school than their White counterparts from kindergarten all the way through college. A subsequent article published in “The Washington Post” reported that Black children in the Washington, D.C. area are suspended or expelled two to five times more often than White children. It’s a national trend that needs to be addressed.
The demographics were surprising, experts said. While blacks were still more likely than whites to see serious conflicts between rich and poor, the share of whites who held that view increased by 22 percentage points, more than triple the increase among blacks. The share of blacks and Hispanics who held the view grew by single digits.
What is more, people at the upper middle of the income ladder were most likely to see conflict. Seventy-one percent of those who earned from $40,000 to $75,000 said there were strong conflicts between rich and poor, up from 47 percent in 2009. The lowest income bracket, less than $20,000, changed the least.
The grinding economic downturn may be contributing to the heightened perception of conflict between rich and poor, said Christopher Jencks, a professor of social policy at the John F. Kennedy School of Government at Harvard University.
“Rich and poor aren’t terribly distinct from secure and unemployed,” he said.
Sony Music has been ordered to pay $1.2 million (equivalent to about $656,000 in American dollars) in retroactive compensation back to 1997 for the release of the song “Veja os Cabelos Dela (Look at Her Hair)” by the Brazilian singer, comedian and politician Francisco Everardo Oliveira Silva whose stage name is Tiririca.
The lyrics not only liken a black woman’s hair to “a scouring pad for pots and pans,” but also calls her a “stinking beast.” Oy!
The lawsuit was brought forth by 10 non-governmental organizations that fight against racism. Humberto Adami, the defense attorney of the NGOs, argued that black women were offended, exposed to ridicule and felt violated due to the lyrical content of the song.
“This decision is a direct message to show how the issue of racial inequality should be treated. It is a moment to celebrate. The compensation won’t even go to the authors of the lawsuit. The money will go to the Diffused Rights Fund of the Ministry of Justice,”commented Adami.
Because immigration violations are technically a civil issue, immigrants in detention have no right to an attorney even though the consequences—deportation—can be much worse than for those facing criminal proceedings. Multiple reports in recent years have found that the bulk of immigrant detainees navigate the labyrinthine immigration system on their own, or are isolated in far-flung detention centers out of reach to legal aid services which are concentrated in urban areas.
Young people become uniquely vulnerable in these situations.
“A lot of children are scared and their age and developmental experience doesn’t allow them to understand what is expected of them or the legal remedies that they might otherwise be eligible for,” Garcia said. “Often minors do not know what they are agreeing to or how to present their cases.”
In many cases, there is no requirement that detainees see a judge, which only compounds the problem.
“These two massive deficiencies, that you have no lawyer to help advocate for you and no guarantee you can see a judge, mean that very low level ICE agents are in many cases the first and last arbiter of your citizenship claim,” said Ahilan Arulanantham, deputy legal director at the ACLU of Southern California. Too often, he said, immigration agents don’t believe or bother checking people’s stories, even when they might make valid claims of citizenship.
One or both of these checks would certainly have helped someone verify Turner’s actual identity before she got deported, Arulanantham said.
Viola: I felt like that scene represented something that you don’t see in cinema—the everyday fear that people had. Oftentimes, when you see the Civil Rights era onscreen, people are being whipped and killed, but it’s the everyday—you’re going home, you’re tired and on the bus, and all of a sudden something happens that could be life-threatening. Then, as soon as it’s over, you’re back to your life again. It’s the everyday fear you have to live with. It woke Minny and Aibileen up to the fact that they were risking their lives writing this book.
Tate Taylor: What I really, really loved about the Medgar Evers storyline and backdrop was that he was in their neighborhood. While they were doing this clandestine project, this Civil Rights leader who’s their neighbor gets murdered, and their characters are wondering, “What’s going to happen to us?”
Kathryn Stockett: It was very important for me—and for Tate—to not make this into a Civil Rights piece, but they were being infiltrated and hunted down for their color. So when that bus driver agrees to drive the white people to their destination but tells the black people to get the fuck off, he’s reminding people of the rules. I think it also makes the audience very protective of Aibileen when she’s running through the dark like that. It hurts watching it!