Rally for Afro-Latino representation.

The Dominican Republic and Haiti share an island in the Caribbean, and there are many racial, ethnic, and cultural similarities between the two nations. Though most Dominicans in the DR identify as mixed-race, the overwhelming majority of Dominicans, like Haitians, are Black by American racial standards (Black Excellence). About half of the population of the gentrifying neighborhood of Washington Heights, Manhattan, where In the Heights is set, is Dominican (U.S. Census Bureau). Washington Heights comprises one of the largest immigrant communities from the Dominican Republic within the U.S. (Furman Center). Unfortunately, In the Heights wildly misrepresents the Dominicans living in this culturally significant neighborhood, continuing a trend where Afro-Latinos are ignored on screen.

Happy Wednesday and welcome back! The film adaptation of the musical "In The Heights," was released earlier this month and received swift criticism for its lack of representation for darker-skinned Afro-Latino actors. Today Michelle joins us to share more about the movie and the history of colorism in media.

Thank you for your support! This daily, free, independent newsletter is made possible by your support. If you can, consider making a donation to support our team. You can start a monthly subscription on Patreon or our website, or give one-time using our website, PayPal, or Venmo (@nicoleacardoza).

– Nicole

TAKE ACTION

Watch “Negro: A Docu-Series about Latino Identity” by Dash Harris on YouTube.
Learn from Afro-Latino-centered media, like Revista étnica or “Afro-Latino Travels with Kim Haas.”
Consider: How has the media shaped your perception of various communities? What other shows/movies have you watched that fail to represent the full spectrum of the Latinx community?

GET EDUCATED

By Michelle Swinea (she/her)

When Lin-Manuel Miranda’s film In the Heights was released last week, it drew justifiable criticism for erasing the largely Dominican Afro-Latino population of the real-life neighborhood in which it takes place (NPR).

There is a long history of anti-Blackness and colorism within Latinx cultures. Status coming from proximity to whiteness via lighter skin promotes the harmful ideology of a caste system of power and desirability that is present in almost every ethnic culture around the world. This speaks to the global ramifications of white supremacy and colonialism. The beauty of Afro-Latinos in every hue and skin tone should be seen throughout In the Heights.

Felice León, a producer for The Root who’s an Afro-Cuban New Yorker, confronted the director of In the Heights about casting only light-skinned actors for the principal roles (The Root). Though Washington Heights, in actuality features many dark-skinned and Afro-Latino people with roots in the Dominican Republic, Cuba, and Puerto Rico, the only Afro-Latinos in the film are background dancers. “I was just like, wow, dancers - right. So background dancers, so they do not have lines. They are relegated to the background. They are, you know, sort of like a decoration. They are entertainment in that way, but they do not have a substantive storyline. And that very much felt like, you know, where - how we've seen Black and darker Latinx people, you know, as maids in telenovelas, as we've seen. And in this film also, there were, you know, Black women in the hair salon,” she said (NPR).

Darker-skinned people have been excluded from leading roles by production companies around the globe (Time). This homogeneous depiction of people has global ramifications, such as promoting harmful skin bleaching products sold to women and denying the basic humanity of darker-skinned people. Children learn empathy for others and a greater sense of self-identity by seeing diversity portrayed in shows and films from characters with dignified roles. As globalization increases with social media and the internet, the audiences have the power to shape media to be both inclusive and entertaining. At the same time, filmmakers hold a responsibility to accurately reflect the people they are portraying within their films, in this case, the Dominican population within Washington Heights, NY.

Audiences are tired of seeing their art whitewashed, their collective voices signaling the need for accountability and change. One of the most powerful tools that we have at our disposal is social media. Marginalized communities can speak out and make their voices heard when projects such as “In The Heights” do not accurately portray the racial makeup of the neighborhood that it claims to represent.

Lin-Manuel Miranda acknowledged his error in the erasure of Afro-Latinos from leading roles within his film, saying, “I promise to do better in my future projects, and I’m dedicated to the learning and evolving we all have to do to make sure we are honoring our diverse and vibrant community” (Twitter).

But as León later told NPR, “I am, at this point, really tired of having to wait and having to sort of be in line. And I'm saying this, again, from the perspective of a Black woman of Cuban descent. Yes, he must do better - period. At this point, you know, this is a $55 million project."

The ownership of harm and commitment to growth as an artist is an important step in making cultural shifts. I look forward to seeing future films from filmmakers of color that are holistic and authentic in their cultural representation, and I am grateful to the audiences for providing critical feedback that challenges notions of anti-Blackness and erasure in 2021.

Michelle Swinea is a creative writer and academic. Currently, she is writing her first novel in honor of her grandparents. You can find her on Twitter at @walkbyfaithlife.

Key Takeaways

“In The Heights” failed to accurately represent the constituents living in the Washington Heights neighborhood due to the film’s erasure of Afro-Latinos.
Historically, Afro-Latinos and other darker-skinned people have been discriminated against and excluded from films because of anti-Blackness and colonialism throughout the world.
Social media provides a platform for marginalized communities to come together and demand representation.

RELATED ISSUES

8/31/2021 | Condemn colorism.

3/10/2021 | Believe Black women.

1/4/2021 | Tackle anti-Blackness in South Asian communities.

PLEDGE YOUR SUPPORT

Thank you for all your financial contributions! If you haven't already, consider making a monthly donation to this work. These funds will help me operationalize this work for greatest impact.

Subscribe on Patreon | Give one-time on PayPal | Venmo @nicoleacardoza

Nicole Cardoza 4/27/21 Nicole Cardoza 4/27/21

Learn how film and television portray policing.

Law and Order. CSI. Hawaii-Five-Oh. American Sniper. TV shows and movies about law enforcement and the police permeate the screens of Americans across the country. Media portrayals about police officers, detectives, judges, crime fighters, and more firmly implemented into the cultural lexicon. Just because they are on TV does not mean that these shows exclusively exist for entertainment. Many shows actively depict criminal justice without showcasing the many ways it harms the lives of communities of color. These shows often work to bolster law enforcement in the eyes of white supremacy while simultaneously reducing compassion for the disproportionately Black victims of its system.

Happy Tuesday and welcome back to the Anti-Racism Daily! Throughout the past few months, we've analyzed how TV and media influence our perception of current events. Today, Tiffany explores how stories of policing and criminal justice shape our thoughts on safety and crime.

Our Earth Week series, "This is our home," is almost over. Subscribe to learn from youth environmental justice leaders addressing the biggest climate threats of our time. thisisourho.me.

This newsletter is a free resource and that's made possible by our paying subscribers. Consider giving $7/month on our website or Patreon. Or you can give one-time on our website or PayPal. You can also support us by joining our curated digital community. Thank you to all those that support!

Nicole

TAKE ACTION

Join or donate to Color of Change, a racial justice organization that piloted the landmark research study, Normalizing Injustice, which shows how crime TV shows distort the reality of police systems and race and police brutality.
Watch films such as Fruitvale Station (2013) that portray the realities of police brutality.
The next time you’re watching a show that involves law enforcement, consider: how does the narrative unfolding support or detract from abolition work? What is being reinforced through this narrative? What is being dismantled?

GET EDUCATED

By Tiffany Onyejiaka (she/her)

Hollywood often creates law enforcement and military programming with the direct help of these industries. During the beginning of modern cinema in the 1900s, movies often depicted cops as incompetent fools (Vox). This mirrored general American dissatisfaction with police officers in the early 20th century. Decades of police reform followed earlier policing scandals, and in their wake emerged shows such as 1951’s Dragnet that started the hero cop narrative in pop culture (Vox). A close relationship between the police industry, military industry, and Hollywood has survived long term. The United States Department of Defense has collaborated on Hollywood Military movies for over 100 years (US Dept. of Defense). Shows such as CBS’ Blue Bloods and Netflix’s Mindhunter hire police officers to consult the scripts for their shows (The Hollywood Reporter). These institutions play a direct role in crafting the image of these industrial complexes. This leaves little room for objective depictions of the reality of policing or the military, misrepresenting how police officers mistreat Black people or how the military affects people from the Middle East.

Law enforcement TV shows tend to dramatize the nature of crimes discussed on the shows, often centering on gruesome rape and murder crimes. This does not reflect the reality of crimes in the U.S. The majority of arrests in the U.S. occur for non-violent crimes. Violent crimes have rapidly decreased over the years. According to FBI-reported crime data, the violent crime rate dropped by 40% between 1993 and 2019 (Pew Research). Conversely, since 1993, the rate of American perceiving crime to increase has increased to 78% in 2019 (Pew Research). This perception helps drive Americans to ask for harsher and more stringent policing, even though crime has been steadily decreasing over the past few decades.

Criminal justice programming also depicts most criminals as violent criminals. This distorts the reality that many people are in prison for non-violent and petty crimes. In 2020, 1 in 5 individuals were incarcerated for a drug-related offense. That amounts to about 450,000 people in jail for non-violent drug offenses (Prison Policy Initiative). This could potentially lead to less support for dismantling policing policies and incarceration facilities. Suppose a person thinks every person is in jail because of a violent offense instead of incarcerated for things like smoking marijuana. In that case, they may have less sympathy for human rights violations. This helps obscure the reality that many people get treated brutally by police for minor consequences.

Another insidious aspect of policing shows involves the high representation of Black and Brown actors and actresses as criminals and law enforcement. Representation matters. People of color often tune into shows of people who look like us. Many Black characters on television are depicted as violent criminals. Shows like Orange is The New Black has astonishing diversity but are set in the confines of a jail setting.

When people watch negative portrayals of Black and Brown people in the context of police and military television, they could potentially internalize the racist messaging. A public health study by Rutgers School of Public Health found that negative media portrayals about the criminality of Black men are correlated with higher rates of policing and police brutality (The Philadelphia Tribune). The negative image of Black and Brown folks across TV screens in America can also affect the way Black and Brown viewers, particularly children, view themselves. Despite the diversity of criminals selected, the showrunners are not. Across crime series, 81% of showrunners are white men, 81% of writers are white, and 9% are Black (Color of Change).

We need to have honest conversations about how mainstream media acts as propaganda for policing and military institutions. We also need to promote media that show realistic and nuances presentations of police officers in the States. Cop shows such as Chicago P.D. recently aired episodes dealing with cops dealing with police reform efforts (The Wrap). Denzel Washington recently starred in The Little Things (2021), which offered a look at how police officers and detectives can make serious, sometimes life-threatening errors in the name of solving crime.

For abolition to occur, Americans need to have an honest, objective, and critical view of the state of American policing. If millions of Americans continuously tune into television shows that position cops as heroes who can do no wrong, then this can not happen. Fighting for a fairer justice system will require us to have a serious conversation about the messages from our favorite law enforcement shows.

Key Takeaways

Police institutions and military industries directly work with Hollywood to create TV and movies.
These shows create untrue narratives about the heroics and infallibility of police, which can, in turn, drive police brutality.
Looking critically at media depictions of the police and the media is critical to reform the police and military-industrial complex.

PLEDGE YOUR SUPPORT

Nicole Cardoza 4/16/21 Nicole Cardoza 4/16/21

Unpack superheroes and the American Dream.

Last week, actor Ray Fisher shared the racism and inappropriate conduct he experienced while working onset for several superhero movies (The Hollywood Reporter). One of his allegations references discrimination that he heard happened on the set Krypton, a Syfy series that focuses on Seg-El, Superman’s grandfather. Actor Regé-Jean Page, the star of Netflix phenomenon Bridgerton, had auditioned for the role. But the producer rescinded, stating that Superman could not have a Black grandfather.

Happy Friday, yall. I spent too much time on this email, mainly because it felt more manageable than processing the slew of police brutality news from this week. When I saw the news referenced below, it reminded me how society gravitates to escapism in times of social and economic turmoil. And even these fantasy worlds are often limited to the scope of the white gaze. There’s something particularly damning about robbing people – kids – of color of their right to be heroes when their livelihood is constantly at risk.

Are you under the age of 18? We want to hear from you. Take a moment to complete our anonymous survey on climate change.

This newsletter is a free resource and that's made possible by our paying subscribers. Consider giving $7/month on our website or Patreon. Or you can give one-time on our website or PayPal. You can also support us by joining our curated digital community. Thank you to all those that support!

Nicole

TAKE ACTION

Support Chicago:

Read about the shooting of Adam Toledo via Block Club Chicago (no video in story)
Donate to organizations supporting on-the-ground: Chicago Freedom School, GoodKidsMadCity-Englewood
Sign the petition to demand defunding the Chicago Police Department
Review why we don't share videos of violence by the police.

Superheroes:

Consider: how does your notion of superheroes shape your perception of truth and justice? Who is narrating those stories? What virtues do they center?

GET EDUCATED

By Nicole Cardoza (she/her)

This particular bit of the story circulated widely on social media, perhaps because of the new fandom Page has accumulated since Bridgerton. It only emphasized a long-standing frustration with the superhero canon, that its characters are overwhelmingly white, male, and heterosexual. Characters of color, like The Avengers’ Nick Fury, Man of Steel’s Perry White, and Captain America: Winter Soldier’s Sam Wilson, are all secondary characters, never the lead (Harvard Political Review). And many of the few non-white superheroes have been played by white actors, only exacerbating the erasure (Quartz).

But the controversy was also accelerated by the absurdity of it. People were quick to note that both Superman and his grandfather aren’t actually white men, but a fictional alien species where race and genetics don’t have to work within the lens of human evolution. There’s no reason why Superman or his grandfather, or any Kryptonian, have to be depicted as Caucasian.

However, in today’s day and age, Superman doesn’t just look like a white man. He represents whiteness – and the carefully constructed ideals and values that come with it. Superman was an essential symbol of the American dream, and as he grew as a cultural icon, helped to protect it.

Ironically, Superman wasn’t initially built in this image. The character was created by two Jewish teens from Cleveland, writer Jerry Siegel and artist Joe Shuster. Both children of Jewish immigrants, the duo created a superhero that wasn’t afraid of his differences and unafraid to stand against injustice. Superman particularly stood against antisemitism, even confronting Hitler on the atrocities inflicted on the Jewish people of Europe (Ohio History).

“

Superman! Champion of the oppressed. The physical marvel who had sworn to devote his existence to helping those in need.

Jerry Siegel, Action Comics issue #1 (Ohio History)

Superman became an influential figure during World War II. Comics during that time didn’t place him directly on the battlefield, but he was still fighting against supervillains that bore a significant resemblance to Nazis. The creators worked closely with the U.S. government to handle these topics and ensured they were aligned with their goals and objectives in the war. These comics became essential forms of wartime propaganda; one in four magazines shipped to troops overseas was a comic. Superman wasn’t alone. Captain America, Batman, and Robin all appeared in solidarity with the U.S. war efforts (liveaboutdotcom).

But Superman’s narrative didn’t back down from home-grown threats, either. In the summer of 1946, the radio serial Adventures of Superman played a 16-part series called “Clan of the Fiery Cross,” which depicted Superman taking down a racist, bigoted group of terrorists based on the real-life Ku Klux Klan. The series used real intel collected by activist Stetson Kennedy, who had infiltrated the KKK. He provided real Klan rituals and secret code words to the show producers, who exposed them live on-air through the narrative. The show significantly damaged the group’s reputation and led to a steep decline in membership (Inverse). “Superman Smashes the Klan,” by Chinese American cartoonist Gene Luen Yang, revisits this narrative from a modern-day perspective (DC Comics).

But in the 1950s, Superman’s focus went from fighting against external threats to fighting for America. This was accelerated by the paranoia of the Cold War era and the rise of anti-war sentiment after the end of World War II. It was also prompted by his introduction to a new channel, television, in 1952, which meant that he needed a more family-friendly appeal. His mainstream identity evolved to become more accessible, friendly, and gentle (he stopped killing his villains, and sometimes they even knocked themselves out, so he didn’t have to be violent). His tagline changed to “...a never-ending battle for truth, justice, and the American way!” (McGill Tribune).

Instead of focusing on systemic issues like he had before, Superman was now focused on protecting his city from one isolated “bad guy” at a time. Many of these were caricatures of villains to minimize causing fear in young viewers. Some perpetuated stereotypes of communities of color (Gizmodo). But the prominent narratives looked at isolated acts of threat instead of systemic or coordinated attacks.

It also doubled-down on the main narrative of Superman, reinforcing the story of the American dream: A young, orphaned boy from a small town who makes it to the big city and achieves greatness. An “immigrant” from another planet who was able to assimilate to a foreign society and take on the responsibility of protecting it. And, above all, a “man” who loves his wife, his family, and his community. In essence, the embodiment of the American dream: that anyone, regardless of where they were born or what class they were born into, can attain their own version of success in society. Superheroes included. There’s nothing inherently wrong with the American dream, of course. But we know that the U.S. doesn’t allow that dream to become a reality for everyone (The Atlantic) and leverages that dream to perpetuate racism and systemic oppression (Time).

Perhaps that’s partially why interest in the hero waned in the late 80s. By then, Superman had a long-standing cartoon series Super Friends for years and was depicted in three feature-length movies by Christopher Reeves as a romantic, thoughtful leader (Rolling Stone). Meanwhile, a new narrative of superheroes was emerging, led by Alan Moore's Watchmen and Frank Miller's The Dark Knight Returns. These stories, in contrast, were dark and gritty, both set in alternative realities that were far grimmer than the bright, idealized world Superman protected. The heroes these stories centered were far more complex and flawed than Superman’s simplistic narrative. In 1992, DC Comics decided to kill off Superman, which felt equal parts narrative and publicity stunt (Polygon). He was, of course, resurrected shortly after.

Since the early 2000s, few Superman stories have reached critical acclaim. The show Smallville, which hones in on Superman’s upbringing, was a commercial success. But major motion pictures depicting Superman have faltered, especially in comparison to blockbuster superhero films like The Avengers, Black Panther, and The Falcon and the Winter Soldier – stories reshaping the definition of what superheroes look like in today’s age. I really enjoyed this interview on the role of Black superheroes in today’s time.

What does it mean to fight for “truth, justice, and the American way” in today’s time? What role, if any, does Superman play in the future we’re envisioning? Is it possible for Superman to rise to this challenge, and is what he represents the future we need? I don’t have the answers to these questions. However, I am excited to see that author Ta-Nehisi Coates, whose work analyzes the fallacies of the American Dream, is writing a reboot of Superman for 2023.

But we also need to answer the questions and make these decisions for ourselves. We don’t need to be super to be the heroes our community deserves. And we can choose what kinds of heroes we emulate in our lives, protect in our communities, and allow us to shape our identities. After all, unlike the comics, no one is coming to save us.

PLEDGE YOUR SUPPORT

Nicole Cardoza 3/22/21 Nicole Cardoza 3/22/21

Support local journalism.

Local journalism needs your support now more than ever. Resources for local publications have been dwindling for years, spurred nearly a decade ago when readers shifted from print to digital publications. Moving news consumption from online to offline enabled national outlets to attract more readers, siphoning readership – and advertising revenue – from local publications. Beyond that, local advertising revenue has moved towards tech behemoths like Facebook and Google, who offer more cost-effective, segmented opportunities to reach an audience (Washington Post). Over 2,000 local newspapers have shuttered since 2004. By the close of 2019, over 65 million Americans live in counties with only one local newspaper—or none at all (Brookings).

Happy Monday and welcome back to the Anti-Racism Daily! We've been reporting on the rise of anti-Asian violence this year. Despite the work of local reporting, many of those stories failed to gain national news, which may have shielded many from the pain the Asian community has been experiencing until the tragedy last week.

It was a good reminder to reflect on the role of local and independent journalism to keeping us informed. If you're reading this, you've already taken a chance on an independent publication committed to sharing stories often overlooked and unheard, so THANK YOU! But even we won't report on every injustice in every community. Today's call-to-action is to add more local reporting to your reading list. It won't just keep you resourced to support your neighbors, it'll invest in the space for life-saving information in the future.

This newsletter is a free resource made possible by our paying subscribers. We'd love you to consider making a monthly recurring donation on our website or Patreon. You can also give one-time on PayPal or Venmo (@nicoleacardoza). Thank you for all your support!

Nicole

TAKE ACTION

Find a local newspaper and, at minimum, subscribe for updates. Here’s a directory of nonprofit local news organizations created by INN.
If you have the funds, make a recurring subscription to your local news outlet. See if they’re listed on NewsMatch, an initiative that matches donations to local news outlets.
Check your local newspaper and identify issues related to white supremacy and systemic oppression that you may read about in the national news. Notice how broader trends affect your community each day.
See how you can support local journalism programs in your community, including (and not limited to) contributing to scholarships, mentoring, and sharing their work on your social media accounts.

GET EDUCATED

By Nicole Cardoza (she/her)

Like many, these issues have been exacerbated by COVID-19, when local journalism is most needed. A joint survey conducted by the Tow Center for Digital Journalism and the International Center for Journalists showed that 21% of respondents reported that their salaries had been cut, 6% experienced furloughs, and 6% were laid off. The US Bureau of Labor Statistics reported that journalism jobs are projected to decline by 11% over the next ten years (Columbia Journalism Review).

This is an issue because local publications can be life-saving resources for your community. No national media organization can mobilize as effectively as a local team can. Here in Texas, the Texas Tribune was an invaluable source of information during the winter freeze and blackout in February. The organization shared lists of warming stations and places to find food, organizations to support, and even set up a text platform to offer regular alerts. L.A. TACO, which reports on all things Los Angeles, launched a daily text platform for unhoused residents & advocates with copies of sanitation schedules, updates on COVID, and other resources (L.A. TACO). Even if you don’t personally think you’ll benefit, consider those that rely on fast, free, and accurate reporting to navigate issues related to transportation, safety, and housing.

In addition, many of the injustices the U.S. has rallied around this past year were sparked by local reporting that raised awareness and mobilized thousands of people to take notice. The Brunswick News had published seven stories on the murder of Ahmaud Arbery before the story was picked up by the New York Times, gaining national recognition. Similarly, Kentucky’s Courier-Journal was the only outlet – aside from national Black-led platforms The Root and Blavity – to publish reporting on the death of Breonna Taylor until May, two months after her death. Their deaths deserved accountability and justice well before they came nationally-recognized stories. We must pay attention to advocating for justice in our communities instead of waiting for national headlines.

Thankfully, this past year has brought a broader realization that more independent, homegrown, local journalism is essential for accurate reporting. Part of this was fueled by the rise of misinformation and disinformation that took off on social media platforms and perpetuated by conservative political leaders quick to cry “fake news.” It may also be accelerated by the racial reckoning that’s swept nearly all national media outlets. From Bon Appetit to the New York Times, the Inquirer, and Refinery29, many had top executives step down since June 2020 (Washington Post). Local journalism is facing the same calls for accountability, which we can only hope strengthens its capacity to accurately reflect the diversity of your community and its needs.

It’s also accelerated an uptick of independent journalism, which is another worthy place to invest. Many writers and editors, particularly those from marginalized backgrounds, left (or were fired) traditional media to start their own. This past year introduced a surge of micro publications hosted on websites, social media, or newsletters to the industry (including the Anti-Racism Daily, thank you for being here!). This freedom allows writers to write more candidly about current events and bring their own perspectives into the storytelling. I recommend searching for newsletters, blogs, or podcasts based on your city to find independent writers to support.

Similarly, growing non-profit, independent publications are diving into critical issues around racial equity. According to a Knight Foundation study, nonprofit news organizations tend to be more diverse than traditional outlets (although still less than the general public). This is likely to provide broader perspectives and insights in its reporting (Knight Foundation). Even if they’re not local, they may be an excellent place to learn about specific issues facing your community. Prism is a reporting platform that focuses on topics related to the BIPOC community. The Forge reports on organizing work across the U.S. The Fuller Project focuses on global reporting of injustice to women. ProPublica’s Local Reporting Network pays covers the cost of reporters at news organizations across the country so they can spend a year working on an accountability journalism project of importance to their communities. And More Perfect Union is following stories on labor rights for the working class.

With so much unfolding this year, it might feel like the best bet to read national news. But the urgent issues that make national headlines have action items that start in your backyard. Become a more active member of your local and independent news and help build a more equitable community.

KEY TAKEAWAYS

Local journalism is essential for understanding how larger systemic issues directly impact your community
Disinformation, the economic impact of COVID-19, and declining advertising revenue have all contributed to negatively impacting local journalism
There's new and emerging independent writers and publications that are focused on issues especially relevant to marginalized communities.

RELATED ISSUES

2/10/2021 | Celebrate zines.

1/21/2021 | Invest in new media.

11/19/2021 | Decolonize your reading habits.

10/26/2021 | Support diversity in animated films.

PLEDGE YOUR SUPPORT

Nicole Cardoza 3/17/21 Nicole Cardoza 3/17/21

End standardized testing.

Education is a fundamental human right. But when racial and socioeconomic fences sequester millions of Black and Brown students from the resources and privileges that are required to succeed, who protects their rights?

For decades, the racial stratification within the United States’ educational system has been a powerful tool to uphold intergenerational privilege and white supremacy. Standardized testing is used across the nation as a proxy for intellectual merit, even though results always correlated with race and socioeconomic background rather than academic achievement (Teachers College Press).

Happy Wednesday and welcome back to the Anti-Racism Daily! Over the past few weeks, teachers have been advocating for canceling standardized testing this spring after a tumultuous year. These conversations only emphasized the inequities of the process. Kholiswa joins us today to educate more on the history of standardized testing.

This newsletter is a free resource made possible by our paying subscribers. We'd love you to consider making a monthly recurring donation on our website. You can also give one-time on PayPal or Venmo (@nicoleacardoza). Thank you for all your support!

Nicole

TAKE ACTION

Donate to FairTest, the National Center for Fair and Open testing to help support efforts to eliminate the racial, class, gender, and cultural barriers to equal opportunity posed by standardized tests, and prevent their damage to the quality of education.
Contact your local state legislators and representatives and urge them to act on banning standardized testing. Demand an equal distribution of resources in schools.
Follow the latest news about Spring 2021 standardized testing at #CancelTheTests.

GET EDUCATED

By Kholiswa Mendes Pepani (she/her)

“Since the beginning of standardized testing, students of color, particularly those from low-income families, have suffered the most from high-stakes testing in U.S. public schools,” writes senior editor and writer John Rosales in his article, “The Racist Beginnings of Standardized Testing (National Education Association).”

Race and wealth play significant factors in standardized testing for a number of critical reasons. Schools are funded by property taxes which, in turn, determines the economic and racial makeup of a neighborhood—two factors that have been further stratified by segregation and white flight. Students from affluent, white neighborhoods get access to better funded schools that put them on the path to success. In contrast, Black and Brown students from lower income schools are forced to struggle within a system that does not provide them with the resources needed to compete (Other Words). This system of separate and unequal education is a direct product of enduring racism and discrimination toward people of color.

At the beginning of the twentieth century, the damaging social theory, known as eugenics, made its way to the U.S. This dogmatic pseudoscience, which was regarded as scientific inquiry, became a popular prescription for ranking and ordering human worth (Pencils Down). During that time, psychologist Carl Brigham, a supporter of these racist notions wrote that African-Americans were on the low end of the racial, ethnic, and/or cultural spectrum. These deeply oppressive views made their way into the educational system as Brigham contributed to developing aptitude tests for the United States Army during World War I, as well as helping create the Scholastic Aptitude Test (SAT) (National Education Association). Decades of research found that assessments like the SAT and IQ tests are not an accurate measurement of a student's success in college or life. Instead, they present a clear bias toward Black and Brown students from early childhood.

“According to FairTest research, On average, students of color score lower on college admissions tests, thus many capable youth are denied entrance or access to so-called “merit” scholarships, contributing to the huge racial gap in college enrollments and completion,” Rosales writes (National Education Association).

Students of color who come from low income backgrounds are disproportionately placed or misplaced in special education that are frequently based on test results. They recieve a “dumbed down” curriculum that ensures that they will fall further behind from their peers. In contrast, white students from middle and upper class backgrounds are generally placed in gifted, talented, and advanced programs that challenge them to read, explore, investigate, think and progress rapidly. In effect, the use of high-stakes testing perpetuates racial inequality through deliberate marginalization (FairTest). The dangerously flawed standardized tests are not only discriminatory but they are easily corruptible. Affluent students already benefiting are able to cheat and pay their way out of the oppressive system and into the nation's best institutions thus, securing a path toward an immensely privileged life (NBC News).

In recent years, a push to finally bring an end to this legacy of racism in education began. On May 26, 2020, the University of California’s Board of Regents voted to discontinue using SAT and ACT scores (Teachers College Press). UC Berkeley’s Chancellor, Carol T. Christ, and UC Provost Michael Brown stated at a conference in November 2019, that research had convinced them that performance on the SAT and ACT was so strongly influenced by family income, parents’ education, and race and using them for high-stakes admissions decisions was simply wrong (Teachers College Press).

Earlier this month, democratic U.S. representative from New York’s sixteenth district, Jamaal Bowmen called out standardized testing as being “a pillar of systemic racism.” This comes as President Biden’s administration refused to grant waivers for standardized testing in the wake of the global pandemic ( target="_blank"New York Post). On March 9, Rep. Ilhan Omar joined Rep. Bowmen in an effort to provide students with waivers for the test this academic year, writing to newly appointed Secretary of Education Cardona, and urging for suspension of testing. Rep Ilhan Omar wrote that they should be prioritizing the students’ academic and emotional well-being, not arbitrary standardized testing goals (Twitter). The Biden administration has yet to respond.

Years of racial stratification in higher education comes at a serious cost to Black and Brown students. Without the fountain of resources that are needed to succeed, students of color and low-income families face tremendous challenges in gaining entry to top colleges. These separate higher education pathways are critical because having access to quality resources—those typically available at top universities—are vital to securing path-dependent occupational destinations. More often than not, those occupational destinations determine how easy or difficult it will be to escape cycles of generational racism and poverty (Separate & Unequal).

While the school system cannot single handedly dismantle generations of inequality and white supremacy, it plays a key role in creating an equal and equitable environment that guarantees all students an opportunity to thrive. We must ask ourselves, if standardized testing does not accurately measure intelligence or determine college success then, what are they really for and why do we keep them around? Standardized testing at its core is a pillar of white supremacy and it’s time for it to fall.

KEY TAKEAWAYS

Standardized testing represents a legacy of racial inequality toward Black and Brown students and perpetuates intergenerational privilege and white supremacy.
In recent years, the call to dismantle standardized testing has gained more traction and is currently being pushed for suspension by Democrat representatives due to the global pandemic and its deep-rooted racism.
Schools must adopt better curriculum and assessment practices that more accurately demonstrate a student’s academic abilities.

2/9/2021 | Decolonize sustainable + ethical fashion.

12/17/2020 | Respect Hawaii’s sacred land.

PLEDGE YOUR SUPPORT

Nicole Cardoza 3/16/21 Nicole Cardoza 3/16/21

Diversify executive leadership.

Fashion exists in a vortex of trends. Certain colors make their way into vogue as quickly as they make their way out. What’s considered chic can easily turn in a faux pas in a matter of a few months. And while fashion continues to work on a more sustainable system to combat waste, there’s one topic currently in vogue that must not be seen as a trend: diversity in fashion’s workplaces.

Happy Tuesday and welcome back to the Anti-Racism Daily! I've really been enjoying Isiah's critical analysis of the fashion industry, especially as fashion shows and award shows take over my social media feeds. But today's article resonates with me because the issues outlined here are reflected in many other industries. As you read, consider: how can you carry the same energy into the industry you work in, or are passionate about?

This newsletter is a free resource made possible by our paying subscribers. Consider giving $7/month on Patreon. Or you can give one-time on our website, PayPal, or Venmo (@nicoleacardoza). You can also support us by joining our curated digital community. Thank you to all those that have contributed!

Nicole

TAKE ACTION

Do more than hire Black and Brown Talent. Promote and hire Black and Brown talent for executive positions, also.
For predominantly white workplaces: instead of relying on friends for the unpaid labor of informing you about the importance of a diverse workplace, hire professional diversity consultants like 2BG Consulting.
Don’t just work on diversifying workplaces, but ensure that workplaces cultivate an environment where Black and Brown employees feel safe and thrive.
Encourage your favorite brands and retailers to join the 15 Percent Pledge – an initiative that asks retailers to reserve 15 percent of their shelving space for Black-owned businesses.

GET EDUCATED

By Isiah Magsino (he/him)

In the wake of the Black Lives Matter protests in the response to George Floyd’s murder, fashion brands all over the world suddenly felt the need to address racism in the fashion industry (Dazed). From futile black squares captioned “I understand, that I’ll never understand” to posting pictures of Black and Brown models on their social media pages that were undiscovered until this time, brands were desperate to save themselves by coming off as an advocate for racial equality.

But, unlike in the past, employees from the institutions called out the reality of the systemic racism, microaggressions, and lack of diversity in their own offices (Vogue Business). High-fashion Australian brand, Zimmerman, was one of the brands called out after their internal grooming regulations were brought to the limelight. These regulations specifically targeted Black and Brown natural hairstyles and prohibited high buns, top knot, plaits, and braids (Vogue Business). And the high-fashion market isn’t the only place where public messages didn’t match with internal practices. The sustainable, millennial-focused brand, Everlane, was called out by former employees for their “anti-Black” behavior. The accusations include the large pay gap between queer women of color and white men and refusing to use Black models in their campaigns because they were “too edgy” according to the executives (Fashionista).

And explicitly toxic workplaces aren’t exempt from this diversity malpractice, either. In 2018, fashion’s runways were becoming more diverse than ever with almost 50 percent of Black and Brown models in New York and 36-percent through all fashion locations (New York, London, Milan, Paris). And while this was an improvement from the reported 30-percent in 2017, the Black and Brown editors, buyers, and other decision-makers were scarce (New York Times). Just recently, the New York Times came out with a follow-up report as many brands publicly promised to improve diversity within the workplace in 2020. The article cites that, in 2021, there is only one Black chief executive officer out of the 64 brands they contacted for the new survey (New York Times). There are also only four Black creative directors and designers out of 69 from the same batch of surveyed brands. For fashion magazines, only two of the nine domestic and international editions of Vogue, Harper’s Bazaar, and Elle were led by Black editors.

An industry where nepotism and classism are rampant is also an incubator for systemic racism. Without familial ties or financial support, launching a company is especially difficult for Black and Brown designers (Fast). In 2019, the predominantly white Council of Fashion Designers crowned Mary Kate and Ashley as the winner for the Accessories Designer of the year and a hefty $400,000 USD grand prize. This would be their second year in a row. The other four nominees for the category were all Black designers-- Virgil Abloh for Louis Vuitton, Kerby Jean-Raymond of Pyer Moss, Telfar Clemens of Telfar, and Heron Preston (Nylon). The unpaid internship, a common practice in the industry, only offers the opportunity to those with financial support oftentimes limiting Black and Brown talent (Fashionista).

How can an industry parade its interest in diversity, while still prohibiting Black and Brown talent from the decision-making process? If morals and ethics aren’t enough for brands to create workplace environments where Black and Brown’s talent is heard and nurtured, they must consider the power of social media. Without Black and Brown leadership, brands have the potential to come across major backlash as seen when H&M sold a “Coolest Monkey in the Jungle” sweatshirt (Washington Post.) Consumers are hyper-aware of these malpractices and have more than enough resources to support brands that are more than willing to cultivate diverse talent. Ultimately, it’s said that fashion has always been reflective of the times. Now, the times are looking both on the inside and the out.

KEY TAKEAWAYS

Many fashion brands are quick to publicly denounce racism, but will still participate in systemic racism within their own offices whether that be through microaggressions or pay gaps.
The New York Times recently reported that in 2021, there is only one Black chief executive officer out of the 64 brands that were contacted and only four Black creative directors out of 69 designers from the same survey group.
Unpaid internships in the fashion industry prohibit Black and Brown talent from entering.
Without diversity in decision-making processes, brands run the risk of future backlash with socially-aware consumers who are quick to respond on social media.

2/9/2021 | Decolonize sustainable + ethical fashion.

12/17/2020 | Respect Hawaii’s sacred land.

PLEDGE YOUR SUPPORT

Nicole Cardoza 3/15/21 Nicole Cardoza 3/15/21

Address racism in reality TV.

There’s been twenty-five seasons of ABC’s The Bachelor, yet this is the very first year a Black man is cast as the bachelor. While Matt James has made history being the first Black bachelor, it has not come without racism from both the contestants on the show as well as the viewers. For the handful of Black and non-white contestants that do make it through casting, it is rare to see them past the first portion of the show, let alone make it to the night of the finale.

Happy Monday! Tonight is the finale of The Bachelor, a conclusion to a season that faced its own racial reckoning along with the rest of the world. Today, Diarra reflects on the controversy from this season and the role reality TV plays in shaping our, erm, reality.

This newsletter is a free resource made possible by our paying subscribers. Consider giving $7/month on Patreon. Or you can give one-time on our website, PayPal, or Venmo (@nicoleacardoza). You can also support us by joining our curated digital community. Thank you to all those that have contributed!

ps – someone asked if we were paid to write about the Harry and Meghan interview with Oprah. No! We don't do any reporting here that's sponsored by brands. If we're writing about a show, movie, brand, politician, etc. it's because we think it offers thoughtful inquiry into racism and systemic oppression.

TAKE ACTION

Join the campaign for anti-racism in The Bachelor franchise. Sign the petition to combat racism in both the ABC and Warner Bros. networks.
Do not support or watch The Bachelor, The Bachelorette, or shows like it that uphold racist speech and insist on painting BIPOC communities in a negative light.
While watching reality shows, consider: what does this narrative to do perpetuate harmful racial stereotypes? How does this show contribute towards a more equitable future?

GET EDUCATED

By Diarra English (she/her)

Things heated up during James’ season when photos of contestant Rachael Kirkconnell at a plantation-themed college party resurfaced partially through the season’s airing. Although Kirkconnell took to her instagram to apologize for her ignorance and James issued a statement more focused on the follow-up conversation had between Rachel Lindsay, the first Black bachelorette in 2017, and Chris Harrison, there still leaves much to be said about Rachael Kirkconnell even being cast on the show in the first place (NBC News).

Kirkconnell is not the first contestant on the popular TV show to be in hot water over racist and insensitive comments. During Rachel Lindsay’s historic season on The Bachelorette, racist tweets from one of the male contestants surfaced during the airing (Variety). After the show finished airing, Lindsay expressed disappointment in the discrepancy between her coverage versus other bachelorettes. Where the white bachelorette's time on the show focused entirely on their happily ever after, Lindsay’s epic season focused on a breakup that seemed to outshine what was supposed to be her moments of happiness (The Washington Post). Why did all of the white bachelorettes get their fairytale portrayal while the first Black bachelorette was painted as being unwanted and unhappy?

Black men and women have long been erased from television, but in the case of reality television, they are used as pawns to advance systemic racism and stereotypes. This is most clearly exemplified in The Real Housewives franchise. There is a clear difference between the way The Real Housewives of Atlanta are spoken about and portrayed versus The Real Housewives of Orange County. Where Black women are "ghetto", "loud", and "uncouth", white women are characterized as being "passionate", "expressive", and "well-mannered".

The Bachelor series’ true problem is the casting. Year after year they have the opportunity to not only choose BIPOC leads, but they also have the chance to reflect the demographic makeup of the United States. Instead, producers and casting choose to allow people with racist pasts to live in the same house with Black contestants, all the while, disproportionately stacking the house with white men and women and offering little to no conflict resolution when problems arise. Big Brother is similarly under fire for having a closed mouth when it comes to racist comments being made in the house and the lack of Black, Brown, and non-white contestants represented in the show.

For young Black boys and girls, it can be especially damaging to watch shows like The Bachelor and The Bachelorette and see the people who look like you get sent home in the first few weeks, year after year. Although there are reality dating shows that consist of predominantly BIPOC casts, those contestants were not given a fair hand in terms of portrayal either. Shows like Flavor of Love, I Love New York, and For the Love of Ray J all are negatively focused on the stereotypical loud Black woman trope and exacerbates the idea that Black women are not “lady-like”. The same ideals from slavery and the Jim Crow era of being less desirable and unattractive ring true and even louder on shows such as The Bachelor and The Bachelorette.

Creators of these shows must do better to not only accurately represent the beautiful mosaic of diverse people in the United States, but to thoroughly screen white contestants for racial biases before casting them. Black participants deserve to feel the same lust and fandom white cast members feel, from not only fellow contestants but also fans of the show. The Bachelor franchise has a huge opportunity—especially following after this current season with Matt James—to dig deep and correct their racial wrongs. Let’s all see that they do.

KEY TAKEAWAYS

After twenty-five seasons of ABC’s The Bachelor, this is the very first year a Black man is cast as the bachelor.
For the handful of Black, Brown, and non-whites that do make it through casting, it is rare to see them past the first portion of the show, let alone make it to the show’s finale.
The Bachelor’s racist casting goes beyond the trauma it causes the contestants who experience it, but it also damages those impressionable viewers such as Black boys and girls watching from home.
Shows consisting of a predominately Black and Brown cast are always portrayed in a negative light.
Contestants should be screened for any racial biases, especially against Black and Brown people.
Going forward, The Bachelor has an opportunity to dive deep and correct their racial wrongs. Lets act in opposition to these wrongs and see that they do.

RELATED ISSUES

11/19/2020 | Decolonize your reading habits.

9/15/2020 | End Hollywood whitewashing.

10/26/2020 | Support diversity in animated films.

PLEDGE YOUR SUPPORT

Nicole Cardoza 2/10/21 Nicole Cardoza 2/10/21

Celebrate zines.

In a previous newsletter, I wrote about the pros and cons of using new media as a way to imagine and organize around collective change and liberation. Despite the fast and global reach of these digital tools, there is also something to be said about distributing knowledge through a more low-tech option: the zine.

Happy Wednesday, and welcome back! Today we're looking at the original newsletters as part of Ida's ongoing series of investing in new media. If you subscribed to 28 Days of Black History, you may have read the history of the Negro History Bulletin, which served a similar purpose decades ago.

Thank you all for your support. This newsletter is made possible by our subscribers. Consider subscribing for $7/month on Patreon. Or you can give one-time on our website or PayPal. You can also support us by joining our curated digital community.

Nicole

Ps – be sure to sign up for 28 Days of Black History.

TAKE ACTION

Support the work of BIPOC zinesters by donating to community projects like POC Zine Project and Brown & Proud Press.
Check out the zines featured in the electronic archives of the Barnard Zine Library and the Sherwood Forest Zine Library. Read through some that speak to you. If the zine’s author(s) have an online presence, write to them to thank them for their work.
Make your own zine about something that you are passionate about and share it with your community.
Check out your local bookstore’s zine collection & buy a zine to support the bookstore and the zine’s author(s)! (Women & Children First in Chicago, IL and Trident Booksellers & Cafe in Boston, MA are only two of many indie bookstores that sell amazing, self-published zines!)

GET EDUCATED

By Ida Yalzadeh (she/her)

Zines (pronounced “zeen,” like “magazine”) are low-budget, independently produced publications, often made up of sheets of paper xeroxed, folded, and stapled together. Their content can encompass anything from fiction and poetry to art, photography, personal narratives, interviews, how-to guides, manifestos, and so much more. These publications have a small distribution run due to their DIY nature, usually not going outside of the authors’ own networks. Most importantly, zines have a tradition of operating outside of mainstream publication channels, and by doing so, creating tight-knit communities among its readers (Barnard College).

This practice of zine-making began with science fiction magazine readers who created their own self-published fanzines from mimeographs (The Creative Independent). In the 1970s, the tradition of the DIY spirit picked up; zines were used in the punk scene to promote underground bands(The Public). In the 1980s and 1990s, zines would again be central to the Queercore and Riot Grrrl movements. These “zinesters”—producers and/or readers of zines—wrote about their personal experiences with gender formation and sexual identity, and distributed their work to other fellow zinesters who also were thinking about the same questions (From Codex to Hypertext).

In addition to these uses, zines have a long history in political movements and activism, both within and outside of the United States. Zines’ low barriers to entry—publishing and distributing a publication only requires office supplies and a copy machine—contributed to their popularity. Zines allowed people without much power or capital to distribute information about U.S. systems of imperial oppression and domestic racial discrimination, as well as how these marginalized communities were resisting such systems.

Particularly in the mid-twentieth century United States, during the Civil Rights and Third Worldist movements, communities fighting for social change would use zines to distribute information about their anti-imperial and cross-coalitional work (Third World Studies). La Raza, a bilingual publication that ran from the late 1960s to the late 1970s, emerged out of Los Angeles’ Chicano movement and was critical to the wider recognition of the Chicano struggle for social justice at the time (Autry Museum of the American West). During the same period, from 1969 to 1974, Asian American students at UCLA wrote and produced the monthly zine, Gidra, which became known to many as the “voice of the Asian American movement” (Densho).

Bearing in mind these broader purposes of social justice and political change, many of today’s zine collectives honor the traditions of previous zine movements in their own publications and collection practices. Fifty years after its initial publication, Asian American and Mixed Asian students from UCLA and USC came together to restart the work of Gidra’s first iteration and translate its purpose to the twenty-first century (Gidra Media). POC Zine Project is only one example of a number of online venues that have been working toward collecting, archiving, and distributing zines for other like-minded individuals to find. Collectives such as the Queer Zine Archive Project and Printed Matter, Inc. are also doing the work of amplifying publications that speak to marginalized perspectives. Moreover, these digital spaces have created communities for zinesters to gather and read work with similar political and intellectual projects to their own.

While zines may not have the same potential of going viral as a social media or blog post, their ability to form tightly networked collectives and communities are historically embedded within their primary purpose. The zines’ low barriers to entry, moreover, allows for information to be produced and distributed without the need for mainstream approval. By forging strong community networks and giving greater informational access to marginalized folks, zines continue to be an option for slow-form communication among advocates and activists for political and social change.

KEY TAKEAWAYS

Zines have a tradition of operating outside of mainstream publication channels, and in doing so, forge closely networked communities with those who find connection with its contents.
During the Civil Rights and Third Worldist movements of the mid-twentieth century, zines’ low barriers to entry contributed to their popularity for distributing information about U.S. systems of imperial oppression and domestic racial discrimination, as well as how these marginalized communities were resisting such systems.
Many of today’s zine collectives honor the traditions of previous zine movements in their own publications and collection practices.

RELATED ISSUES

1/21/2021 | Invest in new media.

6/15/2020 | Diversify your media consumption.

8/3/2020 | Stay awake.

PLEDGE YOUR SUPPORT

Nicole Cardoza 1/21/21 Nicole Cardoza 1/21/21

Invest in new media.

Earlier this month, Twitter removed Donald Trump from their platform, citing his incitement of violence at the Capitol as against their “Glorifications of Violence” policy (Twitter). The social media platform has been abused by many, as it has provided megaphones for individuals who support policies that discriminate and enact violence upon already marginalized folks. On the other hand, it has also allowed for organizations fighting for real change to amplify their message and to a larger audience more quickly and globally than ever before.

Happy Thursday! Yesterday I felt a collective exhale from many across the nation. It's easy to pretend that a new administration will change everything. But in fact, it's all of us that need to change, and recognize that the systemic injustices we face are far beyond the presidency.

One way to do that is by reckoning with how we process information. We need to invest in emerging platforms and people to have diverse and nuanced perspective. Make broaden your media consumption part of your new year's resolutions. Ida has created a series on "democratizing knowledge" to introduce us to emerging and necessary platforms for education and growth. Here's our first. I love that, through these recommendations, can build relationships with leaders and organizers we may never meet in traditional outlets.

And creators like me get to be connected to people like YOU! Remember to send along a question for Saturday's Study Hall, and join us on our d igital community. As always, this work is possible because of you. Consider subscribing for $7/month on Patreon, or give one-time on our website, PayPal or Venmo (@nicoleacardoza).

Nicole

TAKE ACTION

Move beyond just retweeting or sharing media that provides critical information and resources. Rather, also take the time to read and reflect on how you can support suggested action items that can be sustained over the long term.
Subscribe to Zeynep Tufekci’s newsletter Insight or read her book Twitter and Tear Gas: The Power and Fragility of Networked Protest in order to understand the possibilities and limitations of new media in large-scale activism.
Read #identity: Hashtagging Race, Gender, Sexuality and Nation to learn about the ways that different new media scholars are conceptualizing digital spaces of resistance and advocacy, as well as discrimination and surveillance.
Diversify what you read each day! Search for publications by writers you admire, spend time researching your favorite topics on social media to find diverse perspectives, and encourage your friends, family and colleagues to do the same.

GET EDUCATED

By Ida Yalzadeh (she/her)

There is, however, a caveat to this last point. Twitter has been criticized for its limitations in creating long term social change. Sociologist Zeynep Tufekci argues that its ephemeral nature doesn’t naturally lend itself to the slow and sustained work of movement building (TED). Critical to these tasks of resistance and liberation is “new media,” which encompasses digital forms of distribution that have allowed for a fast and global reach, such as social media platforms. While the role of social media is central to this conversation and the way in which we distribute information, I’d instead like to turn to some other mediums of new media that can serve as potential tools for thinking and organizing collectively.

This is the first of a multi-part series on “democratizing knowledge,” or making knowledge accessible to a wider public. So much of the way that we consume information now allows us to think and gather more expansively than before. Throughout the series, I want to highlight some of the ways that we can use different mediums of information transfer to organize movements of resistance and realize our goal of collective liberation.

Google Docs is one such digital medium that has been used to distribute reading, resources and support to social movements (The Cut). After the 2016 election, Google Docs began to be used more widely in order to aggregate resources for collective action. In the last year, usage surged, despite questions about the platform’s privacy (MIT Technology Review). The June protests in the wake of George Floyd’s murder sparked the creation of Google Docs supporting Black Lives Matter. Everything from letter templates, to bail fund lists, to resource databases were distributed across the internet to support Black folks and their allies. We must also be mindful of the platform’s drawbacks: there are critiques of Google Docs as having the potential to also be seen and forgotten, and just as important, the company’s recent firing of Timnit Gebru implies a larger issue at Google regarding their ethical threshold in the face of capitalism (Wired). That being said, the platform’s ability to easily encourage collaboration and distribute knowledge should not be discounted.

Newsletters are another means of decentralized knowledge distribution that allows for a wide and accessible spread of information. Newsletters are usually operated by one person (or a small number of people) who send information directly to subscribers’ inboxes via platforms like Substack, Tiny Letter and Mailchimp. Much of the discourse around newsletters has focused on the big-name journalists who have quit working for reputable news outlets and started their own newsletters (The New York Times). However, it is also important to emphasize newsletters’ potential for BIPOC writers and activists. Platforms like Substack have given these folks a low barrier to entry in order to to write and widely distribute information about mental health, beauty, culture, queerness, surveillance and belonging.

Much like the weblogs that have long been a mainstay of internet culture, newsletters can be understood as a form of digital resistance (New Media & Society). Anti-Racism Daily—the newsletter you are reading right now—is one such space. First begun by Nicole Cardoza as a side project to propose actionable items to support Black lives, the daily email has managed to find its way into thousands of inboxes. Newsletters like these amplify the voices of writers who might be overlooked by traditional publishing, writers who are advocating for structural change and liberation.

Google Docs and newsletters are only two forms of new media. We live in an age where information is more global and accessible than ever before. Using new media platforms allows collectives to gather, plan and collaborate in a way that lowers the barrier to entry. This is especially important for marginalized groups, who have long been a minority in most American newsrooms (Columbia Journalism Review, Nieman Lab).

We must also see these new media platforms as tools in the fight for collective liberation. While the information that can be distributed across these channels are critical to collective knowledge and organizing, we also need to do the work to act in a collective, meaningful way that can be sustained over the long-term.

KEY TAKEAWAYS

Critical to the current tasks of resistance and liberation is “new media,” which encompasses digital forms of distribution that have allowed for a fast and global reach, such as social media platforms.
Using new media platforms like Google Docs and newsletters allows collectives to gather, plan and collaborate in a way that lowers the barrier to entry.
Such platforms are especially important for marginalized groups, who have long been a minority in most American newsrooms (Columbia Journalism Review, Nieman Lab).
But these platforms are simply tools. We also need to do the work to act in a collective, meaningful way that can be sustained over the long-term.

PLEDGE YOUR SUPPORT

Nicole Cardoza 11/19/20 Nicole Cardoza 11/19/20

Decolonize your reading habits.

Until recently, I worked for a public library. Part of my department’s job was recommending books to patrons who wanted suggestions of what to read next. Unfortunately, our staff often only recommended books by writers of color if the patron asked for it specifically— if they asked for books about racism or for Black History Month or about “the immigrant experience.”

It's Thursday! Welcome back to the ARD. As we enter the holiday season and plan to spend more time indoors, book sales spike. If you're looking to gift yourself or a loved one with a new book, make it a new tale from a diverse writer. Today, Jami explains the significance of broadening your reading habits and pitfalls of the publishing industry.

This is the Anti-Racism Daily, a daily newsletter with tangible ways to dismantle racism and white supremacy. Support our work by making a one-time contribution on our website or PayPal, or giving monthly onPatreon. You can also Venmo (@nicoleacardoza). To subscribe, go to antiracismdaily.com.

Nicole

TAKE ACTION

Browse through your bookshelves or think about the books you’ve read this year.
Reflect: How many books are by people of color? By Black writers? Are all those books only focused on trauma or pain? Are all the books you read for fun or pleasure all by white writers?
Ensure that your anti-racism reading translates off the page. After you read a book, ask yourself: what actions or steps are you taking in response?
Divest from Amazon. Buy from Black-owned bookstores.

GET EDUCATED

By Jami Nakamura Lin (she/her)

But people didn’t ask those questions very often. They asked for thrillers. For books like Harry Potter or Game of Thrones. For a book with a good love story. And in those cases, our staff would often suggest white author after white author.

My experience at the library is mirrored in our reading habits across the nation. In the wake of George Floyd, people talked a lot about how anti-racist reading was on the rise, and pointed to the number of Black authors on the bestsellers’ lists (NYTimes). But with one or two notable exceptions, those authors were writing nonfiction explicitly about racism. Meanwhile, the lists were full of white writers writing about everything (Publisher’s Weekly).

Unfortunately, we have a tendency to read Black authors or authors of color only when they write about very specific topics—and it’s a problem deeply entrenched in publishing. “In the industry, stories about police brutality, the struggle, poverty, etc. have been dubbed “issue” books, and it’s a not-so-secret secret that if your book doesn’t fall into this category, it won’t get any real push or marketing,” says L.L. McKinney, author of the fantasy series The Nightmare-Verse (Tor.com). The industry, she explains, focuses predominantly on Black pain.

The results of such pigeonholing are far-reaching. Often, these are the only books about Black people assigned in school— an example of how curriculum can unintentionally result in racial trauma (Teaching Tolerance). Meanwhile, McKinney argues that “there’s the exploitative aspect of non-Black readers taking in this story and somehow feeling they’ve accomplished something. They’ve managed activism by bearing witness to the events of the book, but then don’t follow up with seeking change in the real world. Reading then becomes performative” (Tor.com).

This happens against the backdrop of a publishing industry with a huge diversity problem across the board. Editors are 85% white, sales representatives are 81% white, agents are 80% white, book reviewers are 80% white (Lee & Low). (Interns, however, are only 51% white, a statistic that comforts me not at all.) The viral Twitter campaign #publishingpaidme (started by McKinney and YA author Tochi Onyebuchi) exposed the enormous pay discrepancies between Black writers and non-Black writers (Buzzfeed News). Black writers like N.K. Jemisin, whose amazing Broken Earth trilogy won basically every fantasy and sci-fi award, was paid an $25,000 advance for her book; Roxane Gay got a $15,000 advance for Bad Feminist (NPR). Meanwhile, white authors with less experience in the same genre were pulling in six-figure advances.

So it’s not that reading books about “issues” is problematic. It’s problematic when those are the only books by Black authors (or authors of color) you read. It’s problematic when you turn to writers of color when you want to be educated, but white writers the rest of the time. Instead, we should also be reaching for authors of color when we want a lighthearted, fluffy book. When we want to read something to decompress from our months of election anxiety. When we want to travel to a different world. We shouldn’t have our “race/racism bookshelf”, crammed with writers of color, and have every other shelf filled with white writers.

It can be hard to know where to start—especially when major publications and newspapers don’t make much space for these kinds of books. Luckily, the Internet is chock-full of so many reviewers and book bloggers of color who have collected so many resources for all sorts of genres. Lists like 8 Great Books Celebrating Black Joy by Enobong Essien, 5 Indigenous Speculative Fiction Authors You Should Be Reading by Rebecca Roanhorse, and The Asian Detective Novel: From Racist Caricature to Authentic Representation by Pooja Makhijani show that there’s no excuse for ignorance. (For parents [and other people who love reading YA or kidlit] check out the organization We Need Diverse Books and their wonderful Instagram.)

And when you choose to buy, purchase from Black-owned, Indigenous-owned, or other POC-owned bookstores, many of which have been hit hard by COVID. Most importantly: don’t buy from Amazon. I know, I know—I too have been seduced by their low, low prices, especially when compared to an indie bookstore. But I’m trying to remember that the $5 or $6 dollars I save buying at Amazon is possible because of their exploitative, unethical practices (which we covered in a previous newsletter). The company can offer cheaper books because “they are cutting other costs: taxes, publisher payments, author payments, and safe-labor practices” (Social Justice Books). (For more on Amazon pricing and problems, check out The Nation.)

We need to imagine a different future. Books can point us there—but only if what we’re reading also helps us imagine and understand a world full of the fullness of Black lives, of the joy in Indigenous community, in the mundane and the silly and the vastness of experience of people of color. It’s important to educate ourselves about the painful reality of racism, but we can’t stop at trauma. Instead, we need to incorporate books by writers of color into all of our reading, and ensure that what we read translates into our actions.

KEY TAKEAWAYS

he publishing industry promotes books about Black pain and trauma more than books by Black writers in other topics or in other genres, like fantasy and romance (Tor.com).
It’s important for us to read books by Black writers and writers of color not only when we want to read about racism or want to be educated, but also for leisure—mysteries, romance, thrillers, literary fiction, etc.
The publishing industry is predominantly white. Editors are 85% white, sales representatives are 81% white, agents are 80% white, and book reviewers are 80% white (Lee & Low).

PLEDGE YOUR SUPPORT

Nicole Cardoza 10/26/20 Nicole Cardoza 10/26/20

Support diversity in animated films.

Over the past couple of years, major studios have rushed to create renditions of popular stories from generations past, a way to incite millennials with renditions of their favorites and, hopefully, bring their children along for the ride. As they do, efforts to add more diversity have been applauded and criticized alike. Representation in all movies and particularly animated movies – isn’t just a marketing ploy; it’s critical to rewriting a history of whiteness in animated films and contributing to a conscious conversation about where society can grow.

Happy Monday, and welcome back to the Anti-Racism Daily. Each day, we send one email to spark action – and dismantle racism and systemic oppression in the U.S. To support our work, you can donate one-time or monthly on our website, Patreon, Paypal or Venmo @nicoleacardoza.

I’m a child of the 90s, so I was raised in the time of Disney princesses and happily ever afters. Since then, I've become an avid fan of animated storytelling. Much of my perspective on race has come from analyzing its history and how it responds to current events, so I'm excited to share that with you in today's newsletter. To unpack this issue, we touch on whitewashing, blackface, and colorism. If those are unfamiliar terms for you, I recommend referencing the associated articles as you go.

And before I get a million hate mail messages, I’m not asking you to cancel your Disney+ account or give up your favorite film from your youth! Like other other newsletters, it’s an opportunity to think critically, reflect, learn and choose what type of future you wish to invest in.

Nicole

TAKE ACTION

Reflect on your favorite animated movie/show. How does it support narratives for equity and inclusion? How does it work against narratives for equity and inclusion?
If you’re a parent: consider diversifying the TV shows and movies that your child watches at home. Search for a new, diverse story to introduce them to.

GET EDUCATED

By Nicole Cardoza (she/her)

Much of the scrutiny around representation is targeted at Disney, who arguably set the standard for feature-length animated films in the U.S. And also because their legacy is rife with racial stereotypes. Historically the principal characters of Disney movies are overwhelmingly white. If people of color are featured, it’s poorly. In the Aristocats, a cat in yellowface plays the piano with chopsticks. In Peter Pan, Native Americans are referred to by the racist slur "redskins" (NYTimes). And in Dumbo, released during the peak of Jim Crow in America, a group of black crows reinforce African American stereotypes of the time (Washington Post). Now, if stream one of these films on Disney+, a disclaimer pops up at the beginning, acknowledging that "these stereotypes were wrong then and are wrong now.” They also link to a website, “Stories Matter,” where users can learn more (BBC).

You’ll notice that many of the characters shared above aren’t even human. And that’s a trend that’s persisted, even as animated films mature. Characters that could be people of color are animals (like Pocahontas and Lion King). If they are human, they tend to spend significant amounts of time as animals. On the surface, this means that we don’t get that melanin screen time many marginalized communities look forward to.

But, as Andrew Tejada notes in his article “Representation Without Transformation: Can Hollywood Stop Changing Cartoon Characters of Color?” it goes beyond what kids see. It often changes the entire story. Instead of being themselves, they spend most of the movie trying to win back their right to be human (tor.com). This means that they don’t spend time navigating their own unique stories, ones that could acknowledge the specific challenges they face and perhaps resonate with viewers. And in a world that historically sees people of color as less-than-human, it feels especially dismissive.

The story of Princess Tiana, the first Black Disney princess from The Frog Princess, is often used as an example of this. Although the story was consciously re-created to depict Southern history and a Black lead, Tiana spent most of the movie as a frog trying to kiss a prince to become human again, which quickly overshadowed her story of trying to start her own business as a young Black woman.

Otherwise, when more diverse characters have been included in animation – whether by race or by size, gender, or sexual orientation – they're usually portrayed as the villains. Their contrast from what’s considered “good” in dominant culture are used as justification to ostracize and, often, inflict violence upon them.

This contrast is primarily created through skin color, relying on our history of colorism to distinguish the character’s role in the narrative. A classic example is the Mongolians and Shan-Yu, their leader, in Mulan. The rest of the humans have light, flesh-toned skin colors, but theirs is much darker – more grey than anything, with yellow eyes. They almost look subhuman, which is intentional. It makes a clear statement of who is considered good v. evil. Meanwhile, colorism is still abundant, particularly in countries throughout Asia (read more on colorism in our previous newsletter). Other examples of colorism in animated series include Scar, Ursula, and Mor’du (from Brave), and this trend extends to live-action films, too.

Beyond skin color, villains are often given other characteristics that are used against marginalized groups. Nearly every villain in Disney films is queercoded, or, given a “series of characteristics that are traditionally associated with queerness, such as more effeminate presentations by male characters or more masculine ones from female characters” (Syfy). Think of Scar v. Simba, Hades v. Hercules, Jafar v. Aladdin, or Ursula (based on a drag queen) v. Ariel. By doing so, the films subconsciously align queerness with evil, and, because they’re often trying to thwart “true love,” threaten heteronormativity and our right to live “happily ever after” (Little White Lies). Villains are also depicted as larger-bodied (like Ursula and John Ratcliffe) or with a physical or intellectual disability (CNN).

None of these depictions themselves are harmful themselves – representation can be neutral or positive – but it’s how it’s wielded that causes the stereotypes to persist. When we always see people from marginalized communities as the villain, we also assume that those from dominant culture are the heroes, which leads us to overlook the harm they can and have, inflicted for centuries. It can also teach kids harmful notions about themselves: “I have darker skin, so I must be a bad person. Maybe that’s why I do bad things, or people don’t seem to like me very much. I deserve to be treated this way”. Or, “people that act this way are bad. It’s my job to treat them poorly. That’s what the good guys do”.

Efforts to diversify these old stories have been criticized by people who are afraid they will “change the story” too much (Washington Post). But do they? To me, these stories don’t accurately depict just marginalized culture, but any particular culture. When it comes to The Little Mermaid, the plot itself doesn’t represent much of any of the mythology mermaids inhabit in countries worldwide. It even strays far from the Hans Christian Anderson tale (Wired). I can understand if someone who strays far from the narrative was cast in a story like The Secret of Kells, set in 9th century Ireland. But for a mermaid? Let’s also remember that white actors are cast for roles designated for people of color all the time.

And of course, diversity has to move beyond what we see. White actors also voice most of the animated characters of color we see in movies and TV shows. This is a more blatant form of whitewashing that’s perhaps easier to get away with because, unlike live-action films, viewers rarely know who the actor is behind the character. (The lead crow in Dumbo is literally named “Jim Crow” and voiced by a white man). Over the past few months, several white voiceover actors have stepped away from roles where they depict people of color (Vox).

Remember that representation internally tends to impact representation externally. And it’s the directors, writers, producers, and animators of color that are pushing the industry forward. Not only are they carving their own path, but ensuring everything from accurate illustrations, dialogue, and backgrounds are creating the right container for our stories to be heard. But they should not carry the burden of re-creating an entire industry or be held responsible for its legacy.

Nevertheless, we’ve come a long way. I was reminded to watch this when I saw a series of trailers for animated stories that seem to depict beautiful, diverse stories eschewing the Disney princess motif with culturally diverse concepts and settings. And I hope we continue to advocate for all narratives to be told – and inspire us with awe and wonder.

KEY TAKEAWAYS

Historically, animated films perpetuated harmful racial stereotypes
More recently, films tend to use colorism and other stereotypes to make villains feel counter-cultural, which enforces dominant culture and how it oppresses
Recently, Disney+ added a disclaimer to its films depicting harmful stereotypes that are now available to stream

RELATED ISSUES

9/15/2020 | End Hollywood whitewashing.

7/17/2020 | Analyze representation in media.

8/6/2020 | Don't do digital blackface.

PLEDGE YOUR SUPPORT

Nicole Cardoza 9/15/20 Nicole Cardoza 9/15/20

End Hollywood whitewashing.

Happy Tuesday!

With the recent release of Mulan and Concrete Cowboy, and the Oscars' new standards on diversity, I thought it might be a good time to discuss the role of whitewashing in Hollywood – and how it has perpetuated harmful stereotypes about people of color.

As many of us continue to stay home, WEAR A MASK, and scour Netflix for something new, it's a good time to invest in watching more diverse stories, celebrating the works of filmmakers of color, and analyzing how our worldview is shaped by what we watch. Jami does a great job of analyzing the many ways whitewashing persists, even in today's times.

If you're enjoying these newsletters, consider making a contribution. To support our work, you can give one-time on our website, PayPal or Venmo (@nicoleacardoza), or subscribe for $5/mo on our Patreon.

– Nicole

Oh and one more thing – last night the Aurora council voted unanimously to ban the use of ketamine by law enforcement until the investigation is complete 🎉

TAKE ACTION

Pick one of your favorite movies or TV shows. Do a deep dive into the cast, directors, writers, and producers and reflect on the following:

Are they predominantly white?
Are there any people of color with decision-making ability?
How did actors and staff of color feel during production? (Twitter is often an excellent place to find behind-the-scenes information.)

Ask yourself why you relate to the storylines or characters.

Do the characters look like you?
Do their experiences mirror yours?
Are you resistant to TV shows with main characters that aren’t like you?

Speak out against whitewashing when you see it. Public backlash is one of producers’ strongest motivators.

Reject the idea of whiteness as the default.

GET EDUCATED

By Jami Nakamura Lin (she/her)

In the Hollywood and media context, whitewashing usually refers to the practice of casting white actors as characters of color, though it can also refer more generally to “preferring white actors, directors, cinematographers, and so on, over equally qualified people of color, as in the Oscar nominations,” (Merriam-Webster). (Here, for ease of use, we’ll use the word actors to refer to people of all genders who perform).

Often whitewashing occurs when the film is based on the life of a real person or adapted from a book. In some cases, a white actor’s appearance is altered to fit the role, as when Jim Sturgess’s eyes were digitally altered to appear almond-shaped for his Asian character in Cloud Atlas (Hyperallergenic). While this technical ability is new, it is merely the latest step in a long history of white actors donning garish makeup and outlandish costumes to depict racist caricatures and stereotypes (Paste).

As our past newsletter on digital blackface explains, “Minstrel shows gained popularity in the 1830s in New York, where white performers with blackened faces (most used burnt cork or shoe polish) would don tattered clothing and imitate enslaved Black people. These performances characterized Black people as lazy, ignorant, superstitious, and hypersexual.” Later this tradition expanded into brownface and yellowface, with white actors performing as other races and ethnicities explicitly to dehumanize them. Many contemporary movies and TV shows still depict people of color as flat and stereotypical, as shown in a Native professor’s examination of Jane Krakowski’s Native character in Unbreakable Kimmy Schmidt (CutchaRislingBaldy.com).

Whitewashing also happens when characters that were people of color in the original material are changed to be white characters in the film, as in the movie 21 (IndieWire). While this bypasses the problem of blackface, yellowface, or brownface, it leads to the same result: rendering actual people of color invisible. Such casting often results from the belief that white actors are more capable than actors of color (Teen Vogue), or that it’s simply too difficult to find actors of color to fit the roles.

In every whitewashing controversy, defenders often ignore the context in which whitewashing occurs. They often fire back responses like, “Is someone of British descent not allowed to play someone with French descent?” But this is deliberately obtuse in a media landscape when the flipside doesn’t apply: people of color are not considered for white roles and are underrepresented in general.

A study of the 100 top-grossing movies from 2013 showed the racial breakdown of cast members by race: “74.1% were White, 14.1% Black, 4.9% Hispanic, 4.4% Asian, 1.1% Middle Eastern, <1% American Indian or Alaskan Native, and 1.2% were from "other" races/ethnicities. No meaningful change has been observed in the frequency of any racial/ethnic group on screen in 600 popular films between 2007 and 2013” (University of Southern California). More broadly, whitewashing takes place alongside structural oppression. In those minstrel shows, white actors assumed Black roles while Black people were still enslaved; later, white actors assumed Asian roles while Asian people were still not allowed to enter America (Teen Vogue).

These choices happen—whitewashed casts, stereotypical characters—often because the people making the decisions behind-the-scenes are also predominantly white. Despite people of color constituting almost 40% of the population, in 2016-17, they represented only 12.6% of movie directors, 7.8% of movie writers, and 9.4% of TV show creators, according to the Hollywood Diversity Report (University of California-Los Angeles). While detractors are quick to point out tentpole examples like Black Panther, these statistics prove that such movies are the exception, not the rule.

A goal, of course, is more representation for people of color in Hollywood across all roles. But representation is not enough. As Hari Ziyad explains, “ ‘Representation matters’ cannot be the beginning and the end of the conversation. Representation matters, but only when the white gaze doesn’t” (Afropunk). Hollywood is about veneers, and a diverse cast can provide cover for endemic behind-the-scenes problems. Even directors and producers of color can only do so much when we have an entire media system that privileges white stories and white identity, when Hollywood is inherently “imbued with white supremacy and a patriarchal structure designed to proffer advantages unequally,” as Elaine Low and Angelique Jackson outline (Variety).

Most of us can’t control who gets cast in the latest blockbuster, but we can denounce the beliefs that lead to whitewashing. If we reject the idea that whiteness is the default (APA PsycNet), we also reject the idea that white actors can invisibly inhabit any role. We can support directors of color, Black filmmakers, indie studios, and other people pushing for change in media. We can question what stories feel relatable to us and why. “So long as whitewashing continues to occur, we need to be conscious of whose stories are being marginalized and whose stories are not being told in mainstream media,” sociologist and author Nancy Wang Yuen told Teen Vogue.

Whitewashing exposes which identities Hollywood sees as being worthy of the big screen, what kind of audience it desires, and whose experiences it sees as universal and whose experiences it sees as niche. As moviegoers (during non-pandemic times!), we can make a difference with our wallets, our views, and our support.

Key Takeaways

In a Hollywood context, whitewashing is the practice of casting white actors in roles that were initially designed to be people of color, while overlooking actors of color (who are underrepresented in movies and TV).
America has a long history of white actors portraying people of color in dehumanizing, caricature-driven ways (as in blackface, brownface, and yellowface).
Despite people of color constituting almost 40% of the population, they represent only 12.6% of movie directors, 7.8% of movie writers, and 9.4% of TV show creators (University of California-Los Angeles).
While representation is a step forward, it is not enough in a Hollywood that structurally privileges white identities and white stories.

7/10/2020 | Understand the role of cancel culture.

7/9/2020 | Acknowledge the harm of microaggressions.

6/15/2020 | Diversify your media consumption.

PLEDGE YOUR SUPPORT

Nicole Cardoza 6/15/20 Nicole Cardoza 6/15/20

Diversify your media consumption.

Get daily actions in your inbox. Subscribe Now ›

It's Monday and today's news cycle has a lot of news about, well, the news. Today we're addressing how representation in the media can shape our implicit bias when it comes to race, and the importance of reading media from a wide range of journalists to fully understand and respond to the current events.

I guess we're a news platform now, too (although 11 days old). Why aren't there more publications covering anti-racism on a daily basis? Thank you to everyone that has contributed one-time or monthly to keep this going! You can make a contribution via PayPal, Patreon or Venmo (@nicoleacardoza).

– Nicole (@nicoleacardoza on IG)

Share | Tweet | Forward

TAKE ACTION

1. Add one of the recommended news sources below to your reading list.

2. Replace a lifestyle magazine subscription to one with a more diverse lens. Here are my favorites >

3. Reflect on your go-to news source:
How many articles do I read by people of color? By women?
Who is on the executive leadership team of this news organization?
What stories, if any, have come up in the past two weeks about representation and equity in their workplace?

GET EDUCATED

How journalism influences our perception of race

The media industry is reckoning with representation and equity in how they do their work. From Refinery29 to Bon Appétit, The New York Times and ABC News, major media institutions are being questioned about whether their workplace culture and staff diversity can fairly and accurately report on the most pressing issues in today's time. It’s a fair question: how can media companies can hold space for deep cultural conversations externally if they’ve got a toxic culture internally?

I’ve had my own experience with the media after Yoga Journal, a popular wellness magazine and digital platform, initially signed me to be on the cover of their magazine, but then, without consent, asked their community to vote on this photo as to whether I should be on the cover, citing that they needed to make sure my issue would sell. It’s been a year and they still haven’t fulfilled their promises to mitigate harm in the future.

But despite the headlines, lack of representation in news is hardly news. And as of 2018, 83% of all journalists were white, according to the Columbia Journalism Review. Between the protests and the disproportionate impact of COVID-19, Black reporters are overwhelmed with reporting on their own communities while navigating difficult work spaces. You can read their perspective in this Glamour article.

When it comes to dismantling systemic oppression, representation and equity in media reporting is essential. Historically, the media has done more to uphold racial bias against people of color than dismantle it. Racial bias is a form of implicit bias, or the unconscious attitudes or stereotypes that distort our understanding, actions and decisions. Our racial biases are largely influenced by the media and how it chooses to center and elevate people and conversations.

“Not understanding the country’s racial history can unwittingly convince even the best journalists to write about minority groups in ways that can lead to harmful racial stereotypes—or exclude them from coverage all together.
That’s why implicit bias researchers are more concerned with providing journalists with tools to help them recognize their biases than expecting training to automatically lead to changed behavior.”

Issac J. Bailey in How Implicit Bias Works in Journalism in Neiman Reports

Take this study from the Sentencing Project, that looked at the relationship between racial bias and media in crime reporting. Racial distortions are pervasive in crime news. In Los Angeles, 37% of the suspects portrayed on television news stories about crime were Black, but made up of only 21% of those arrested in the city. 42% of televised reports were about a Black person victimizing a white person, but those types of crimes were only 10% of all total cases. Read the full report >

If you prefer, you can listen to a podcast with Nazgol Ghandnoosh, a research analyst for the Sentencing Project, discussing this report on WNYC. Listen >

“Progressive media tends to pat themselves on the back quite a bit because they are comparing themselves to non-progressive media. We could see in the last few weeks how we still have a lot of work to do as a media industry to ensure that stories are told accurately and with respect.”

Morgan DeBaun, founder of Blavity, in an interview with Forbes

And this, of course, isn’t limited to the Black experience. Researchers at the University of Alabama found that terror attacks committed by Muslims received 357 percent more coverage than attacks committed by others. And gender bias has defined how women are treated in the media too, especially as political candidates.

It’s easy for our implicit biases to go unchecked in offices with little diversity, inadequate training on equity, diversity and implicit bias, and an inclusive and welcoming culture…which continues the system as it grows. Like all anti-racism work, it needs to start from the inside out – dismantling the core beliefs, values and habits inside ourselves and the organizations we’re a part of to do this work as fairly as we can.

Diverse media resources (a VERY non-exhaustive list):
Blavity
The 19th
them
Zora
Univision
NYTimes Race Related
NPR Code Switch
Women's Media Center SheSource
(which highlights diverse female voices to go to as experts for specific subjects)
List of black-owned local publications
Media Bias Fact Check, that analyses implicit bias in news
13 Women Of Color In Journalism You Should Know

ARCHIVES

TAKE ACTION

GET EDUCATED

Key Takeaways

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

Key Takeaways

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

KEY TAKEAWAYS

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

Key Takeaways

RELATED ISSUES

PLEDGE YOUR SUPPORT

TAKE ACTION

GET EDUCATED

“Not understanding the country’s racial history can unwittingly convince even the best journalists to write about minority groups in ways that can lead to harmful racial stereotypes—or exclude them from coverage all together.

That’s why implicit bias researchers are more concerned with providing journalists with tools to help them recognize their biases than expecting training to automatically lead to changed behavior.”Issac J. Bailey in How Implicit Bias Works in Journalism in Neiman Reports

ACCOUNT

ABOUT

That’s why implicit bias researchers are more concerned with providing journalists with tools to help them recognize their biases than expecting training to automatically lead to changed behavior.”

Issac J. Bailey in How Implicit Bias Works in Journalism in Neiman Reports