Latest news with #AfricanAmericans
NBC News
16 hours ago
- Politics
- NBC News
Trump memo asks recipients of federal funds to ban DEI programs
WASHINGTON — The U.S. Justice Department issued a memo on Wednesday that asked recipients of federal funds to ban diversity, equity and inclusion programs, which President Donald Trump has aimed to dismantle since taking office in January. Trump has passed executive orders aimed at restricting DEI but Wednesday's memo laid out specific examples of actions that it said federal fund recipients should restrict — such as some training sessions and policies aimed at protected groups. It also said federal funds should not be used to support third parties that engage in DEI. Recipients of federal funds range from schools, colleges and universities to nonprofit organizations and private firms that are government contractors. The memo was released publicly by the Justice Department. In an example to support one of its recommendations, the memo said that 'a scholarship program must not target 'underserved geographic areas' or 'first-generation students' if the criteria are chosen to increase participation by specific racial or sex-based groups.' It added: 'Instead, use universally applicable criteria, such as academic merit or financial hardship, applied without regard to protected characteristics or demographic goals.' In another recommendation, it said a program targeting low-income students 'must be applied uniformly without targeting areas or populations to achieve racial or sex-based outcomes.' Federal law already bars discrimination on grounds of race, gender and Trump administration has eliminated DEI-related programs in the government and fired many people who worked in those initiatives. It has faced some legal pushback. Several private firms have rolled back such initiatives in recent months. DEI programs have been part of workplace diversity efforts to ensure fairer representation for groups seen as historically marginalized, such as African Americans and other ethnic minorities in the United States, LGBTQ+ community members, women, and people with disabilities. Civil rights advocates say DEI helps address the continued effects of historical and generational inequity and aims to remove systemic barriers for groups affected by a legacy of racism, sexism and xenophobia. Trump and his allies say DEI unfairly discriminates against other Americans, including white people and men, and weakens the importance of merit in job hiring or promotion. DEI practices include training on how to combat discrimination, addressing pay inequity along gender or racial lines and broadening recruitment and access for underrepresented ethnic groups. The Trump administration has threatened to cut federal funds given to institutions over a range of issues like pro-Palestinian protests against U.S. ally Israel's war in Gaza, climate initiatives, transgender policies and DEI programs.
Chicago Tribune
20 hours ago
- Politics
- Chicago Tribune
Willie Wilson: Violent crime may be down, but do residents feel safe in all neighborhoods?
Mayor Brandon Johnson and his administration are touting reductions in homicides and other violent crime in Chicago as proof that his safety plan is working. However, in some neighborhoods, residents do not believe that crime is down. Two-thirds of Chicago residents are concerned about public safety in the area where they live, a 2024 Harris Poll found. The data in distressed neighborhoods is bucking the midyear national trend of reductions in violent crime across the country. Austin, the neighborhood Johnson calls home, leads the city with 29 homicides so far this year. In 2024, Austin finished the year with 47 homicides. In too many neighborhoods, people feel unsafe. The following neighborhoods lead the city in homicides and shooting victims: Austin, Englewood, Garfield Park, South Shore, North Lawndale and Auburn Gresham. These neighborhoods are predominantely African American. I am appalled that more than 75% of the victims of gun violence are young Black men and boys. African Americans account for 28% of the city's population. The Black community does not feel a 30% drop in homicides and nonfatal shootings — because their neighborhoods remain places with high violence. Aretha Franklin, the singer, had it right: You have to give the people 'something they can feel.' The city of Chicago data notes that 18% of the fatal and nonfatal victims of gun violence are Latino and 2.4% are white. Thirty-nine percent of the Chicago population is white. Why is there so much violence in Black communities and very little in predominately white areas? In white communities, there is economic stability. A dollar circulates six hours in an African American community, compared with 17 days in a white community, 19 days in a Jewish community and 28 days in an Asian community. Building wealth in the Black community will lead to economic stability and likely lower crime rates. The mayor's policies supporting red light and speed cameras, parking tickets and high taxes could be causing economic hardship and anger. Economic instability coupled with high poverty, unemployment and poor-performing schools are a recipe for disaster. How can Johnson celebrate reductions in violence when his community is in crisis? Over 50% of the people being shot in Chicago are young, from children to adults who up to 29 years old. Our young people represent the future. Some of the teen gatherings downtown have led to violence and property damage. I believe the City Council rightly passed an ordinance to address this issue. Unfortunately, the mayor vetoed the legislation. Johnson should get out of the way and allow Chicago police Superintendent Larry Snelling to do his job. The superintendent is respected by his peers and the community. I believe if he were allowed to do his job without political interference, more cases would be solved and communities made safer. I understand what it is like to be a victim of violent crime. I lost my 20-year-old son, Omar, to gun violence. It is a pain that stays with surviving family members. That pain is made worse when the perpetrators are not brought to justice. While crime numbers are trending down, if people are victimized and no one is held accountable, that amplifies gun violence in high-crime areas and sends a signal to criminals that community safety is not a priority. Block Club Chicago and The Trace recently reported that the city's homicide clearance rate is still declining, even with fewer homicides to solve. In 2024, police made arrests in 16% of fatal shootings within a year of the incident, down from 23% in 2022. Eighty percent of Chicago's fatal shooting victims were Black, and their cases had a significantly lower clearance rate. Thus, families do not have closure, and no one has been held accountable for shooting their loved one. The following are suggestions to curb violence in African American neighborhoods: Residents living on the South and West sides should not be living in fear. They deserve full-service grocery stores, banks and manufacturing facilities with well-paying jobs. The highest concentration of people returning from prisons across Illinois reside on the West and South sides. Elected leaders must provide investments in job training, vocational education and other wraparound services for individuals returning from prisons. The data is not always the best predictor of safe neighborhoods. The people living in those communities know when they are safe — they can feel it. I write this commentary to make those comfortable celebrating violence reduction statistics uncomfortable.
Boston Globe
20 hours ago
- General
- Boston Globe
Fishing around for fun things to do? Use the South Coast commuter rail to explore New Bedford.
From the commuter rail station, you'll have to walk 15 minutes to reach Fisherman's Wharf. You'll pass the fish processing plants and cold storage facilities that support the nation's highest-grossing commercial fishing port. True to its name, Fisherman's Wharf is lined by vessels that range up to 100 feet long and tower above the mere human beings along the dock. The vast majority are rigged as scallop dredgers or groundfish boats, although offshore lobster boats, clammers, and deep-sea crabbers also call New Bedford home. Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up According to the most recent Advertisement Plaques along the waterfront illuminate New Bedford's maritime history. David Lyon Advertisement That mentality was already part of New Bedford's cultural DNA. From 1830 to 1860, most American whaling ships sailed from New Bedford. Commercial fishing took hold when the whaling industry waned around 1900. Simply put, New Bedford had the infrastructure — why let all those piers go to waste? But the whaling industry has not been forgotten. The cobblestone streets, granite US Custom House, 'double″ bank building, and old candleworks recall that mid-19th-century heyday. Even the visitor center of the New Bedford Whaling National Historical Park occupies a handsome Greek Revival red sandstone structure. It was built in 1853 as a bank during the height of New Bedford's whaling fortunes. Stop in to pick up a map and get a swift overview of how whaling transformed New Bedford. Whale skeletons seem to float in the two-story atrium of the New Bedford Whaling Museum. David Lyon A block away, the This half-scale model of the whaling bark Lagoda is a prime exhibit in the New Bedford Whaling Museum. David Lyon On the museum's main level, a half-size model of the whaling bark Lagoda gives an idea of the complexity of a typical whaling vessel. An adjacent gallery holds the skeleton of a 48-foot sperm whale, the chief prey of New Bedford whalers. This 30-year-old male was found stranded on Nantucket in 2002. The toothed leviathan dwarfs the six-man whaleboat installed on a back wall in the same room. It is amazing that any whalers survived. Advertisement The New Bedford Whaling National Historical Park Visitor Center occupies a former bank building from the city's whaling heyday. David Lyon That sense of imminent mortality weighed on many a whaler. Central to the The Seamen's Bethel, established in 1832, offered solace and comfort to whalers and other sailors. David Lyon Herman Melville visited the Advertisement The Nathan and Polly Johnson House was a key location in New Bedford's anti-slavery struggle. David Lyon The Abolition movement burned bright in New Bedford, which had the highest percentage of African Americans in the Northeast. Among Rotch's neighbors in what is now called the County Street Historic District were Nathan and Polly Johnson, who owned a block on 7th Street. As free African American businesspeople, the Johnsons were leading anti-slavery activists. They also opened their home to harbor men and women fleeing bondage. On Sept. 17, 1838, they took in a fugitive who would assume the name Frederick Douglass along with his wife, Anna. The Johnson house at 21 7th St. is now owned by the The fried scallop plate at Moby Dick Brewing Co. comes with cole slaw and fried potato wedges. David Lyon From the park, it's only a 10-minute walk back to New Bedford's central historic district. Before leaving town, be sure to sample some New Bedford scallops. At If you go … One-way weekday fare on the MBTA commuter rail is $12.25 for adults, $6 for seniors and students. The MBTA offers a $10 Commuter Rail Weekend Pass for unlimited travel. On weekdays, 15 trains per day leave South Station for New Bedford (536 Acushnet Ave.) Advertisement New Bedford Fishing Heritage Center 38 Bethel St. 508-993-8894, Thurs.-Mon. 10 a.m.-4 p.m. Adults $8, seniors and students $5, under age 12 free New Bedford Whaling National Historical Park Visitor Center 33 William St. 508-996-4095, Wed.-Sun. 9 a.m.-5 p.m. Check for schedule of tours. Free New Bedford Whaling Museum 18 Johnny Cake Hill 508-997-0046, Open daily 9 a.m.-5 p.m. Adults $23, seniors $21, youth $13 Seamen's Bethel 15 Johnny Cake Hill 508-992-3295, Open Tues.-Sun. 10 a.m.-4 p.m. Donation requested Rotch-Jones-Duff House & Garden Museum 396 County St. 508-997-1401, Wed.-Sat. 10 a.m.-4 p.m., also Sun. noon-4 p.m. (closed Sun. after Oct. 13). Adults $8, seniors and students $6, ages 7-17 $3, under age 7 free Moby Dick Brewing Co. 16 South Water St. 774-202-6961, Mon.-Thu. 11:30 a.m.-9 p.m., Fri.-Sat. 11:30 a.m.-10 p.m., Sun. noon-8 p.m. sandwiches and entrees $13-$45 The Whale's Tail Clam Bar Advertisement 52 Fisherman's Wharf, Pier 3 774-425-8980, Open daily 11:30 a.m.-8 p.m. sandwiches and baskets $12-$28 Patricia Harris and David Lyon can be reached at . Patricia Harris can be reached at
First Post
a day ago
- Politics
- First Post
Reverse Migration: Why African Americans Are Leaving the US Firstpost Africa
Reverse Migration: Why African Americans Are Leaving the US | Firstpost Africa | N18G The American Dream is losing its shine for many African Americans. Frustrated by racism, politics, and broken promises, a growing number are choosing to leave the U.S. and return to their ancestral roots in Africa. From Kenya to Ghana, they're finding purpose, peace, and belonging. This reverse migration is about identity, opportunity, and rewriting the narrative. Could this be the start of a powerful shift? Watch their journeys and what this return means for the future. See More
Miami Herald
a day ago
- Entertainment
- Miami Herald
‘Joined at the Roots' is an exhibit to change the Haitian and Black American narrative
Haitians and Black Americans have lived side by side in South Florida for decades. While the relationship between the two communities has not always been smooth, they have managed to coexist, 'building families, businesses, churches, and communities that defied the odds,' according to Bart Mervil, CEO of My Urban Contemporary Experience (MUCE) and organizer of the 'Joined at the Roots' exhibit, currently on view at the Little Haiti Cultural Complex through Saturday, Aug. 30. The exhibition aims to shift public perception by exploring shared stories that connect Haitians and African Americans, emphasizing the historical and ongoing ties between the communities. It showcases the works of a diverse group of artists working across painting, sculpture, and photography. 'Joined at the Roots was born out of a need to honor the quiet, powerful history of solidarity between Haitians and African Americans,' says Mervil, describing a legacy often eclipsed by stories of division. He notes that while both communities have made significant contributions, their impact is rarely part of mainstream conversations. 'From local politics to high school championships to shared porches and block parties, we have had real moments of collaboration, unity, and brotherhood,' adds Mervil. 'This hybrid culture did not just survive poverty. It gave rise to entrepreneurs, educators, artists, and a thriving Black middle class. This exhibition is a love letter to that shared struggle and success.' According to Mervil, every artwork featured in the exhibition contains an element of the shared narrative of the two black communities in Miami. Mervil explains that the exhibition highlights significant historical examples of collaboration between Haitians and African Americans in South Florida. 'The first wave of Haitian immigrants were welcomed by Black churches; residents in Overtown opened their homes, shared meals, and offered resources,' says Mervil. A central quote prominently displayed within the exhibition reads, 'We're either going to come together or we're going to perish together.' Mervil describes this message as pivotal. 'That quote hits deep because it's not just a warning, it's a truth. We chose it because it speaks to the heartbeat of the exhibition: We go together,' according to Mervil.. He continues, 'There is no separation in this family. Haitian, Bahamian, African, Jamaican, African American, we are all branches from the same root. When we see ourselves as one body, one vision, imagine the power of our collective economics, our collective voice, our collective vote. We don't rise until we rise together.' The idea for the exhibit began with a series of conversations with artists and community leaders about the underrepresented stories of cooperation between Haitian and African American residents in Miami. Among the artists contributing to the exhibit is Fabienne Polycarpe, a first-generation Haitian American and cultural wellness curator. She contributed a series rooted in her upbringing around her mother's beauty salon. Polycarpe's art explores hair as a profound cultural symbol, reflecting both Haitian traditions and Black American influences. 'Hair has always been more than just hair; it's been ritual, identity, memory, and survival,' says Polycarpe. As a child, she remembers how her Haitian mother instilled the importance of hairstyles that reflected discipline and respectability. 'I wore ribbons and 'boule gogo' [braid balls]; my hair parted into clean plaits,' she says. 'But deep down, I admired the colorful beads Black American girls wore.' Over time, Polycarpe began to recognize how her artistic voice was influenced by both cultures. 'And as I got older,' she adds, 'I realized my artistic voice was formed by that dual gaze, the Haitian lens of structure and reverence, and the Black American lens of freedom, creativity, and expression.' Ultimately, she concludes, her art exists in the space where these two cultures meet, carrying the language of both traditions. Another featured artist, Nate Dee, who grew up in Miami, presents a portrait of Uncle Al (Albert Leroy Moss), an African American DJ and community leader whose legacy helped bridge cultural gaps. Dee, a Haitian American muralist, recalls coming of age during a period when being Haitian carried social stigma. DJ Uncle Al's visible support for the Haitian community left a lasting impression on him. 'I went to high school down here in the 1990s, and it was really rough to be Haitian, especially in the late '80s and early '90s,' Dee says. 'So, to see a person like DJ Uncle Al, who wasn't Haitian, showing love was big for me.' Reflecting on those years, Dee adds, 'As a teen I listened to his music and even grew up thinking he was a Haitian American DJ, only to find out later that he was in fact African American. This was in part because he was very active in Little Haiti.' DJ Uncle Al, recalls Dee, founded the Peace in the Hood festival to bring together people from various neighborhoods and cultural backgrounds. His goal was to celebrate community and demonstrate that peaceful coexistence and mutual respect were possible and necessary. 'He wanted to show that we have more in common than what differentiates us, that we are all truly the same. Just different branches from the same tree.' Artist Tawana Dixon contributed two pieces to the exhibition. One pays tribute to Arthur Teele, an African American political figure whose work helped lay the foundation for the Little Haiti Cultural Complex. The other captures the vibrant Haitian presence at the West Indian American Day Parade in Brooklyn. 'I ultimately chose to center the portrait around Teele because I wanted to explore the relationship between communities,' says Dixon, who was raised in New York and now resides in Miami. 'In doing so, I hoped to honor the bond between Haitian and African American communities in a way that wasn't too literal or expected.' Reflecting on her second piece, Dixon says her New York upbringing made it essential to include Brooklyn's Little Haiti in the show. 'While Miami's Little Haiti came first and is home to established institutions like the Cultural Complex, Brooklyn has the largest Haitian population in the U.S. and a community that has fought hard for recognition,' she says. She adds, 'Haitians in New York were once seen as underdogs in the Caribbean community, but through resilience and pride, they've earned deep respect. Their presence, especially during the West Indian Day Parade, is powerful.' Ruth Louissaint, an educator and Haitian artist, contributed a shrine centered around Dana A. Dorsey, Miami's first Black millionaire. Her installation incorporates flags, religious symbols, and historical elements that reflect the intersection of culture and spirituality. 'To me, the shrine embodies all three themes of the exhibition: identity, resistance, and unity,' says Louissaint. Other artists in the exhibition also explore the emotional depth of blended identities. Joe Wesley's photography captures moments of intimacy, pride, and joy between community members. Oscar Martinez sculpts a tribute to Dana A. Dorsey. Rico Melvin's paintings evoke ancestral memory, while his textile art speaks in the quiet, powerful language of heritage passed down. The works of Edwaffle, Nica Sweet, and Anthony Lumpkin add layers of generational reflection, migration, and domestic life. For Mervil, the exhibit reflects MUCE's broader mission to preserve heritage while diversifying the artistic landscape in South Florida. 'MUCE has always believed in bringing culture to the people, not keeping it hidden behind museum walls,' he says. 'This exhibit lives right where it belongs: in the neighborhood, in the community, and in a space built for cultural expression.' Beyond its artistic value, the exhibit aims to foster real-life conversations among community members and visitors alike. Polycarpe says the community's response has been emotional and affirming. 'What I cherish most is when someone stands in front of my work, pauses, and says, 'That's my story,'' she explains. Dee hopes younger generations inspired by his tribute to Uncle Al will learn about the DJ's contributions. 'I hope they explore his legacy and all of the positive impact he had on the Miami cultural scene,' he says. Louissaint echoes the sentiment, emphasizing the role of art in countering the divisiveness currently shaping American discourse. 'We are currently in a strange time in the U.S. where much of the rhetoric is divisive. I think events like this are important and an act of resistance against this growing trend throughout the country.' 'Joined at the Roots' also acknowledges the evolving nature of cultural identity in cities like Miami, where gentrification and displacement threaten to erase long-standing community narratives. Artists like Polycarpe see their participation as a form of preservation, a way to anchor the stories of a vanishing neighborhood in memory and meaning. 'There's a deep sense of loss, but also a sense of responsibility to share my stories of witnessing and experiencing the forever that are no longer 'forevers' but a love letter to Little Haiti,' Polycarpe says. 'Being part of this exhibition is an honor. It feels like I am giving something back to the place that raised me.' WHAT: 'Joined at the the Roots' WHEN: 9 a.m. to 9 p.m., Monday through Friday; Saturday and Sunday schedule may vary based on programming and events. Through Saturday, Aug 30. WHERE: Little Haiti Cultural Complex, 212 NE 59th Terr., Miami COST: Free INFORMATION: 305-960-2969 or or is a nonprofit media source for the arts featuring fresh and original stories by writers dedicated to theater, dance, visual arts, film, music, and more. Don't miss a story at
