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A new study by a UC-Berkeley graduate student has surprised a number of experts in the criminology field.
Its main finding: Private prisons are packed with young people of color.
The concept of racial disparities behind bars is not exactly a new one. Study after report after working group has found a version of the same conclusion.
The Sentencing Project estimates 1 in 3 black men will spend time behind bars during their lifetime, compared with 1 in 6 Latino men and 1 in 17 white men.
Arrest rates for marijuana possession are four times as high for black Americans as for white.
Black men spend an average of 20 percent longer behind bars in federal prisons than their white peers for the same crimes. These reports and thousands of others have the cumulative effect of portraying a criminal justice system that disproportionately incarcerates black Americans and people of color in general.
This might be tagged as ASFW (“Almost Safe For Work”):For the first time, a massive data set of 10,000 porn stars has been extracted from the world’s largest database of adult films and performers. I’ve spent the last six months analyzing it to discover the truth about what the average performer looks like, what they do on film, and how their role has evolved over the last forty years.
50 years Ago: “THE NEGRO IN AMERICA”
…As Timely As Ever.
History would mark it: the summer of 1963 was a time of revolution, the season when 19 million U.S. Negroes demanded payment of the century-old promissory note called the Emancipation Proclamation.
Newsweek July 29, 1963
Daily Pic: “Blue Wave,” an ink-washed collage by Lorna Simpson from a series called “Ebony Heads”. Six pieces from the series are now in the exhibition called “The Bearden Project” at the Studio Museum in Harlem. The Studio Museum invited a number of artists to riff on the great African-American collagist Romare Bearden, in honor of his centennial. Some artists made work that was too close to Bearden, and seemed derivative, while others produced art that barely seemed connected to him. Simpson, however, used his signature technique without aping his look, and spoke to his signature issue of race with a 21st-century subtlety. I am particularly taken with the way Simpson translated vintage black haircuts into the retro medium of colored wash, as though the free expression implied in both somehow belongs to the past.
Our art & design critic, Blake Gopnik, examines a new exhibition at Harlem’s Studio Museum.