Monthly Archives: June 2014

CARTOON OF THE DAY: 2014 FIFA WORLD CUP

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Gary Varvel is the cartoonist for the Indianapolis Star. Please contact your local newspaper editor if you want to see Gary Varvel’s cartoons in your hometown paper.

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IN REMEMBRANCE: JUNE 29, 2014

MESHACH TAYLOR, ACTOR ON TV’S ‘DESIGNING WOMEN’

Meshach Taylor in Los Angeles in 1989. Credit Nick Ut/Associated Press
Meshach Taylor, the actor best known for playing the only male character on the popular television show “Designing Women,” died on Saturday at his home outside Los Angeles. He was 67.

The cause was colorectal cancer, his agent, Dede Binder, said.

Mr. Taylor played Anthony Bouvier, an ex-convict who became a partner at a design firm in Atlanta with four women on the CBS sitcom that ran from 1986 to 1993. He was nominated for an Emmy Award in 1989 for his role on the show.

In a career that spanned more than three decades, he appeared in films and onstage, including roles in the 1987 film “Mannequin” and on the television shows “Dave’s World” and “Buffalo Bill.” He recently appeared in two episodes of the television drama “Criminal Minds.”

In 1998, Mr. Taylor played Lumiere in “Beauty and the Beast” on Broadway. Earlier, he performed at the Goodman Theater in Chicago, where in 1985 he played Jim, the runaway slave, in “The Adventures of Huckleberry Finn.”

He is survived by his wife, Bianca Ferguson, four children and four grandchildren.

SOURCE

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BOBBY WOMACK, ROYALTY OF THE SOUL ERA

Bobby Womack performing in Amsterdam in 1976. Credit Gijsbert Hanekroot/Redferns

Bobby Womack, who spanned the American soul music era, touring as a gospel singer in the 1950s, playing guitar in Sam Cooke’s backup band in the early ’60s, writing hit songs recorded by Wilson Pickett and the Rolling Stones and composing music that broke onto the pop charts, has died, a spokeswoman for his record label said on Friday night. He was 70.

Sonya Kolowrat, Mr. Womack’s publicist at XL Recordings, said further details about the death were not immediately available.

Mr. Womack, nicknamed the Preacher for his authoritative, church-trained voice and the way he introduced songs with long discourses on life, never had the million-record success of contemporaries like Pickett, Marvin Gaye, Al Green and Otis Redding. His sandpaper vocal style made him more popular in England, where audiences revere what they consider authentic traditional American music, than in the United States.

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But the pop stars of his time considered Mr. Womack royalty. His admirers included Keith Richards, Rod Stewart and Stevie Wonder, all of whom acknowledged their debt with guest performances on albums he made in his later years.

Ronnie Wood of the Rolling Stones inducted Mr. Womack into the Rock and Roll Hall of Fame in 2009. Credit Aaron Josefczyk/Reuters

Mr. Womack’s 2012 album, “The Bravest Man in the Universe,” is an avant-garde collaboration with a new generation of musicians. It combines old and new material by Mr. Womack, which the British producer Richard Russell and the alternative rock songwriter Damon Albarn mixed with programmed beats, old gospel recordings, samplings of Cooke and other sounds, some played backward or sped up.

The album earned favorable reviews on both sides of the Atlantic. Rolling Stone ranked it No. 36 on its list of the 50 best albums of the year.

“I don’t understand a lot of the things they were doing,” Mr. Womack said of his collaborators in an interview with The Guardian. “I would never have dreamed of doing stuff like that, but I wanted to relate to the people today.”

Mr. Womack had his first major hit in 1964. He was under contract with Cooke’s SAR label when he wrote the song, “It’s All Over Now,” and recorded it with his group, the Valentinos, which consisted of him and four of his brothers. The song was slowly rising on the R&B charts when Cooke told him that a British band called the Rolling Stones had liked it so much that they planned to record it, too.

The song became the Stones’ first No. 1 single in Britain and their first international hit, while the Valentinos’ version sank.

“I was very upset about it,” Mr. Womack said in an interview. “It was like, ‘They stole my song.’ ”

Later, he said, as Cooke had predicted he would: “I stopped being upset when we got our first royalty check. That changed everything.”

Many of his songs were recorded by others, often with greater success than his own renditions. Janis Joplin included “Trust Me” on her album “Pearl,” the J. Geils Band recorded “Lookin’ for a Love,” which reached the Top 40 in 1972, and Pickett recorded “I’m a Midnight Mover” and 16 other Womack songs.

In 1971 Mr. Womack played guitar on, and helped produce, Sly Stone’s most ambitious album, “There’s a Riot Goin’ On,” now considered a soul classic.

Bobby Womack Credit Echoes/Redferns

Bobby Dwayne Womack was born on March 4, 1944, in Cleveland. His father, Friendly, was a steelworker and part-time Baptist minister. His mother, Naomi, played the organ for the church choir. Under their father’s direction, Bobby and his brothers Cecil, Curtis, Friendly Jr. and Harry formed a gospel group, the Womack Brothers, which began touring in 1953.

Sam Cooke, who spent the early ’50s as lead singer of a gospel quintet, the Soul Stirrers, first heard the brothers sing on a visit to Cleveland, when Mr. Womack was about 7. A decade later, Cooke invited the brothers to join him in Los Angeles, where he had his own record company and was a successful secular pop balladeer.

The Womacks were raised to believe that hell awaited gospel singers who sang pop music, Bobby told interviewers, and at first they resisted Cooke’s summons. They made several gospel records for SAR before changing their name to the Valentinos and recording their first secular songs, a decision that caused a lasting rift with their father, until shortly before his death in 1981.

By 17, Mr. Womack was the lead singer of the new group, the youngest guitarist in Cooke’s touring band, and an emerging hit songwriter. His song “Lookin’ for a Love,” a remake of a gospel composition, became a modest hit for the Valentinos on the R&B chart in 1961 (a decade before the J. Geils version). Royalties from “It’s All Over Now” alone reportedly made him financially secure for most of his life.

Then, when he was 20, Mr. Womack’s career hit a wall. The Dec. 11, 1964, shooting death of Cooke, during a dispute with a Los Angeles motel owner, left Mr. Womack without a mentor or a record label. By most accounts, his decision to marry Cooke’s widow, Barbara Campbell, just a few months after the shooting, made him something of a pariah in the music world.

Unable to land a new record contract, Mr. Womack left the Valentinos and settled into backup work for contemporaries like James Brown, Aretha Franklin, Joe Tex, Joplin and a young, little-known Jimi Hendrix. His solo career began to revive in the late 1960s and early ’70s. Two albums he recorded for United Artists in the 1970s are considered soul classics: “Communication” (1971), which yielded the hit “That’s the Way I Feel About ‘Cha,” and “Understanding” (1972), which included “Woman’s Gotta Have It.”

In 1981 he released two of his most critically acclaimed albums, “The Poet” and its sequel, “The Poet II,” which featured several duets with the soul singer Patti LaBelle. He joined the Rolling Stones to sing a duet with Mick Jagger on “Harlem Shuffle,” on the Stones’ 1986 album, “Dirty Work.”

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In 2009 Mr. Womack was inducted into the Rock and Roll Hall of Fame. His marriage to Ms. Campbell, as well as two subsequent marriages, ended in divorce. His survivors include a daughter, GinaRe.

Although hip-hop stars frequently sampled the soul music of his era, Mr. Womack refused most requests by others to use his recordings in their work, he told a British interviewer in 2004. Despite his well-publicized marital problems and struggles with drugs and alcohol, he said, he remained a gospel singer at heart.

“Me being from the old school, I would not say ‘bitch’ on a record,” he said. “I couldn’t face my mother if I did.”

Correction: June 28, 2014
An earlier version of this obituary referred incorrectly to Mr. Womack’s sons Truth and Vincent. Truth Womack died in 1978, and Vincent Womack died in 1986; they do not survive him. The earlier version also rendered incorrectly one word in the title of a Sly Stone album that Mr. Womack helped produce. The title is “There’s a Riot Goin’ On,” not “There’s a Riot Going On.”SOURCE

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JOHN HARNEY, MISSIONARY WHO SPREAD THE ‘GOSPEL OF TEA’

John Harney, founder of Harney & Sons, a specialty tea company, in an undated photograph. Credit Harney & Sons

John Harney, the founder of Harney & Sons, a specialty tea company that helped restore the American palate for high-quality teas, died on June 17 at his home in Salisbury, Conn. He was 83.

The cause was apparently a heart attack, his son Michael, vice president of the family-owned company, said.

Mr. Harney was part of an informal community of American entrepreneurs and food pioneers who barnstormed the country in the 1980s and ’90s to acquaint restaurant managers, their luncheon patrons and the public — one afternoon-tea demonstration at a time — with the dying art of tea appreciation.

He conducted demonstrations for the waiters and waitresses at the Waldorf-Astoria in New York and for the book club at the public library in Rye, N.Y., introducing the nuances of aroma, body, complexity and aftertaste in loose teas from China, Africa and India to people whose experience with tea had often been limited to what came in store-bought tea bags.

“John became a missionary of tea,” said Peter F. Goggi, president of the Tea Association of the USA, a trade group.

An inveterate and jovial campaigner — he was involved in community affairs and politics, and helped secure the Republican nomination for a neighbor, James L. Buckley, in his unsuccessful campaign for the United States Senate in Connecticut in 1980 — Mr. Harney described his tea-promoting efforts, in a 2001 CNN interview, as part entrepreneurial and part inspirational:

“All we wanted to do was get out there and convert — sort of like St. John with his gospel of tea. That’s what I consider myself.”

Though far from re-establishing tea as the No. 1 beverage in America (status it lost as a tragic side effect, by tea lovers’ accounts, of the 1773 tea-tax protest that ignited the Revolutionary War), efforts by Mr. Harney and his like are credited with quadrupling tea consumption in the United States in the last two decades.

Harney & Sons, which began with a selection of six varieties in 1983, expanded its catalog to over 300 blends, many of them now standard fare at luxury hotels, including the Waldorf-Astoria and Ritz-Carlton in New York and the Dorchester in London.

The Historic Royal Palaces, which operates sites in Britain like Kensington Palace and the Tower of London, stocks its gift shops with a proprietary line of teas blended by Harney & Sons.

John David Harney was born on Aug. 26, 1930, in Lakewood, Ohio, to William and Hildegard Harney. His father, an engineer who moved frequently to find work in airplane factories, left his children with relatives after their mother died in the early 1940s, when John was 12. As a teenager he lived with an aunt and uncle who ran a country inn in Vermont.

He served in the Marine Corps from 1948 to 1952, then graduated from Cornell University’s School of Hotel Administration. By 1960, he had moved to Salisbury to become part owner and innkeeper of the White Hart Inn, a two-century-old restaurant and hotel.

It was at the White Hart that Mr. Harney, a committed coffee drinker, was converted to the gospel of tea. His St. John was Stanley Mason, an Englishman who had settled in northwest Connecticut after 50 years in the London tea trade. In retirement, Mr. Mason had started a small company to blend and package premium teas, and he persuaded Mr. Harney to add some to his menu.

Mr. Harney’s guests liked the teas so much that he bought Mr. Mason’s company, hired Mr. Mason as his consultant and began a 10-year apprenticeship in the tea trade. In 1983, two years after Mr. Mason died, Mr. Harney sold his share in the inn and established Harney & Sons with family help and a handful of employees.

The company now reports about $30 million in annual sales and employs 150 people. It imports about a million pounds of tea each year, which it sells in the United States and abroad in a wide variety of styles and packages at prices ranging from $2 to $500 a pound. It moved its packaging operations to Millerton, N.Y., in 2000.

Besides his son Michael, Mr. Harney is survived by his wife, Elyse; three other sons, John Jr., Keith and Paul; a daughter, Elyse; a sister, Susan Rooney; a brother, Jerry; and 10 grandchildren.

Mr. Harney remained modest about his expertise. But he held to two absolute rules in making a good cup of tea, whether using a camomile from Egypt or a Darjeeling from India, a tangy black Lapsang souchong or a soft jasmine blossom pouchong.

First, to use “furiously boiling water,” he told The New York Times in 1983, defining furiously (with a thermometer he always carried in his pocket) as exactly 212 degrees Fahrenheit.

Second, to make sure it is properly steeped: “Five minutes,” he said. “No more, no less.”

SOURCE

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ELI WALLACH, MULTIFACETED ACTOR ON STAGE AND SCREEN

 

Eli Wallach Dies at 98 Credit Ed Ou/The New York Times

 

Eli Wallach, who was one of his generation’s most prominent and prolific character actors in film, onstage and on television for more than 60 years, died on Tuesday at his home in Manhattan. He was 98.

His death was confirmed by his daughter Katherine.

A self-styled journeyman actor, the versatile Mr. Wallach appeared in scores of roles, often with his wife, Anne Jackson. No matter the part, he always seemed at ease and in control, whether playing a Mexican bandit in the 1960 western “The Magnificent Seven,” a bumbling clerk in Ionesco’s allegorical play “Rhinoceros,” a henpecked French general in Jean Anouilh’s “Waltz of the Toreadors,” Clark Gable’s sidekick in “The Misfits” or a Mafia don in “The Godfather: Part III.”

Despite his many years of film work, some of it critically acclaimed, Mr. Wallach was never nominated for an Academy Award. But in November 2010, less than a month before his 95th birthday, the Academy of Motion Picture Arts and Sciences awarded him an honorary Oscar, saluting him as “the quintessential chameleon, effortlessly inhabiting a wide range of characters, while putting his inimitable stamp on every role.”

 

 

At Home With Eli Wallach

In 2010, A. O. Scott visited his uncle, who has acted in more than 90 movies, in his apartment on the Upper West Side of Manhattan.

Credit By Gabe Johnson on Publish Date February 28, 2011

Credit Ed Ou for The New York Times

 

His first love was the stage. Mr. Wallach and Ms. Jackson became one of the best-known acting couples in the American theater. But films, even less than stellar ones, helped pay the bills. “For actors, movies are a means to an end,” Mr. Wallach said in an interview with The New York Times in 1973. “I go and get on a horse in Spain for 10 weeks, and I have enough cushion to come back and do a play.”

Mr. Wallach, who as a boy was one of the few Jewish children in his mostly Italian-American neighborhood in Brooklyn, made both his stage and screen breakthroughs playing Italians. In 1951, six years after his Broadway debut in a play called “Skydrift,” he was cast opposite Maureen Stapleton in Tennessee Williams’s “The Rose Tattoo,” playing Alvaro Mangiacavallo, a truck driver who woos and wins Serafina Delle Rose, a Sicilian widow living on the Gulf Coast. Both Ms. Stapleton and Mr. Wallach won Tony Awards for their work in the play.

The first movie in which Mr. Wallach acted was also written by Williams: “Baby Doll” (1956), the playwright’s screen adaptation of his “27 Wagons Full of Cotton.” Mr. Wallach played Silva Vacarro, a Sicilian émigré and the owner of a cotton gin that he believes has been torched. Karl Malden and Carroll Baker also starred.

Mr. Wallach never stayed away from the theater for long. After “The Rose Tattoo” he appeared in another Williams play, “Camino Real” (1953), wandering a fantasy world as a young man named Kilroy. He also played opposite Julie Harris in Anouilh’s “Mademoiselle Colombe” (1954), about a young woman who chooses a life in the theater over life with her dour husband, and in 1958 he appeared with Joan Plowright in “The Chairs,” Eugène Ionesco’s farcical portrait of an elderly couple’s garrulous farewell to life.

In another Ionesco allegory, a 1961 production of “Rhinoceros,” Mr. Wallach gave a low-key performance as a nondescript clerk in a city where people are being transformed into rhinoceroses. The cast also included Ms. Jackson and Zero Mostel.

By the time “Rhinoceros” came along, Ms. Jackson and Mr. Wallach had been married for 13 years. They met in 1946 in an Equity Library Theater production of Williams’s “This Property Is Condemned” and were married two years later.

In addition to his wife and his daughter Katherine, he is survived by another daughter, Roberta Wallach; a son, Peter; a sister, Shirley Auerbach; and three grandchildren.

Eli Wallach was born in Red Hook, Brooklyn, on Dec. 7, 1915, the son of Abraham Wallach, who owned a candy store in the neighborhood, and the former Bertha Schorr. He graduated from Erasmus Hall High School in Brooklyn and attended the University of Texas at Austin (“because the tuition was $30 a year,” he once said), where he also learned to ride horses — a skill he would put to good use in westerns. After graduation he returned to New York and earned a master’s degree in education at City College, with the intention of becoming a teacher like his brother and two sisters.

Instead, he studied acting at the Neighborhood Playhouse until World War II put him in the Army. He served five years in the Medical Corps, rising to captain. After the war he became a founding member of the Actors Studio and studied method acting with Lee Strasberg. Ahead lay his Broadway debut in “Skydrift,” which had a one-week run in 1945, and his fateful meeting with an actress named Anne Jackson.

The Wallachs went on to become stalwarts of the American stage, evoking memories of Alfred Lunt and Lynn Fontanne, thanks to their work in comedies like “The Typists” and “The Tiger,” a 1963 double bill by Murray Schisgal, and a revival of Anouilh’s “Waltz of the Toreadors” (1973).

In a joint interview in The Hartford Courant in 2000, Mr. Wallach and Ms. Jackson said they had sought out opportunities to work together. “But we’re not the couple we play onstage,” Ms. Jackson said. “For us, it’s fun to separate the two.”

The couple appeared in a revival of “The Diary of Anne Frank” in 1978, in a production that also featured their daughters Roberta as Anne Frank and Katherine as her onstage sister. In 1984, they presided over a chaotic Moscow household in a Russian comedy, Viktor Rozov’s “Nest of the Wood Grouse,” directed by Joseph Papp at the Public Theater. Four years later, they returned to the Public as a flamboyant acting couple in a revival of Hy Kraft’s “Cafe Crown,” a portrait of the Yiddish theater scene in its heyday.

In 1993, they presented a theatrical reminiscence, “In Persons.” The next year, they played a biblical husband and wife in a revival of Clifford Odets’s “Flowering Peach” by the National Actors Theater, and in 2000 they were a pair of retired comedians in Anne Meara’s Off Broadway play “Down the Garden Paths.”

In between appearances with Ms. Jackson, Mr. Wallach played, among other roles, an aging gay barber in Charles Dyer’s “Staircase” (1968), a political dissident consigned to an asylum in Tom Stoppard’s “Every Good Boy Deserves Favour” (1979), an aged but mentally spry furniture dealer in a 1992 revival of Arthur Miller’s play “The Price” and a Jewish widower in Jeff Baron’s “Visiting Mr. Green” (1997).

Mr. Wallach’s many television credits included a 1971 production of Odets’s “Paradise Lost” on public television; “Skokie,” a 1981 CBS movie about a march planned by neo-Nazis in a Chicago suburb, in which he played a lawyer representing Holocaust survivors; a 1982 NBC dramatization of Norman Mailer’s “Executioner’s Song,” in which he appeared with Tommy Lee Jones; and frequent roles on “Studio One,” “Playhouse 90” and “General Electric Theater.”

And then there were films, dozens of them. In addition to his parts in “Baby Doll” and “The Magnificent Seven,” he played the mechanic pal of Clark Gable’s aging cowboy in “The Misfits” (1961), the story of a wild-horse roundup in Nevada, written by Miller and directed by John Huston, with a cast that also included Marilyn Monroe and Montgomery Clift.

Mr. Wallach was also a lawless jungle tyrant subdued by the title character (Peter O’Toole) in “Lord Jim” (1965); a rapacious Mexican pitted against Clint Eastwood and Lee Van Cleef in Sergio Leone’s so-called spaghetti western “The Good, the Bad and the Ugly” (1966); a psychiatrist assigned to evaluate the sanity of a call girl (Barbra Streisand) on trial for killing a client in “Nuts” (1987); and Don Altobello, a Mafia boss who succumbs to a poisoned dessert, in “The Godfather: Part III” (1990).

He continued his film work well into his 90s. He was a disillusioned screenwriter in “The Holiday” (2006). In “Tickling Leo” (2009), he played the guilt-ridden patriarch of a Jewish family still haunted by the Holocaust. In Roman Polanski’s “The Ghost Writer” (2010), Mr. Wallach played a mysterious old man living on fog-shrouded Martha’s Vineyard. And in “Wall Street: Money Never Sleeps” (2010), which marked the return of Michael Douglas as the greed-stoked investor Gordon Gekko, Mr. Wallach hovered at the edge of the action like Poe’s sinister raven.

More often than not, his film roles required him to play mustachioed characters who were lawless, evil or just plain nasty, which puzzled and challenged him. “Actually I lead a dual life,” he once said. “In the theater, I’m the little man, or the irritated man, the misunderstood man,” whereas in films “I do seem to keep getting cast as the bad guys.” His villain roles, he said, tended to be “more complex” than some of his stage roles.

Even so, the theater remained his home base, and he said that he could never imagine leaving it. “What else am I going to do?” he asked in an interview with The Times in 1997. “I love to act.”

Correction: June 26, 2014
An obituary in some editions on Wednesday about the actor Eli Wallach misstated the year of a television production of Clifford Odets’s “Paradise Lost” in which he appeared. It was 1971, not 1974.

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SKYWATCH: NASA’S ASTEROID UPDATE, SPOT SATURN’S TWO-FACED MOON, AND MORE

LATEST NEWS

NASA Amassing Targets for Asteroid Mission

Despite skepticism from scientists and politicians alike, NASA is proceeding with its asteroid redirect mission and has found six candidates for exploration so far.

Sea Changes on Saturnian Moon

Fleeting radar features in a sea in Titan’s northern hemisphere are a tantalizing possibility of seasonal changes.

Shadow of a Supervoid

Scientists might have discovered the source of the mysterious Cold Spot in the Cosmic Microwave Background: an enormous supervoid.

Titan Sheds Light on Alien Atmospheres

Saturn’s largest moon, Titan, played a cameo as an exoplanet, allowing astronomers to better understand how a thick layer of haze or clouds might affect their observations of more distant alien worlds.

Rosetta’s Comet Sleeps Again

The comet being chased by the long-traveling spacecraft only woke briefly before starting another nap.

OBSERVING HIGHLIGHTS

This Week’s Sky at a Glance: June 27 – July 5

Show your friends Mars, Spica, and the Moon as you’re waiting for the fireworks on July 4th! And for the ambitious, look for Ceres and Vesta approaching each other in the night sky.

Iapetus Comes Over to the Bright Side

Saturn’s strange, two-faced moon will be positioned well west of Saturn — and shining its brightest — during the next two weeks.

Tour July’s Sky: Moon Hugs Mars and Saturn

On this month’s guided tour of the night sky, you’ll be torn between staying up late in the evening (to see Mars and Saturn) and getting up super early (Venus and Mercury).

COMMUNITY NEWS

Govert Schilling Wins AAS’s Schramm Award

Sky & Telescope’s contributing editor Govert Schilling has been selected as the winner of the 2014 David N. Schramm Award.

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FROM THE ARCHIVES: EMPLOYMENT CRISIS WORSENS FOR BLACK WOMEN DURING THE RECOVERY

The employment situation for Black American women has not improved. Black women still earn less than White men, Black men, White women, and Asian-American men and women. Black women, even those with college degrees, still earn less and are promoted less than men.

The following article addresses the dire circumstances Black women face in the job market and how things are definitely not looking up for them.

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Employment Crisis Worsens for Black Women during the Recovery

 

While total job growth has been weak since the recession officially ended in June 2009, women actually lost jobs and their unemployment rate increased during the first two years of the recovery (June 2009 to June 2011), while men gained jobs and their unemployment rate declined.[1]

The first two years of the recovery have been especially grim for black women, who have suffered disproportionate job losses and larger increases in unemployment than other groups.  These trends are especially troubling because black women are a majority (53.4 percent) of the black workforce, head a majority (52.8 percent) of black families with children,[2] and were more economically vulnerable even before the recession started.

While the recession hit black men particularly hard, during the first two years of the recovery black men gained back jobs, while black women continued to lose jobs.  Indeed, since the start of the recession in December 2007 through June 2011, black women lost more jobs than did black menUnemployment rose more sharply for black women than black men during the recovery, although it remained higher for black men than black women.

Black women lost over twice as many jobs as black men gained during the first two years of the recovery.

  • Between June 2009 and June 2011, black women lost 258,000 jobs while black men gained 127,000 jobs.

Black women have lost more jobs than black men since the beginning of the recession.

  • During the recession – from December 2007 to June 2009 – black men suffered the majority of job losses among black workers.  However, because black women continued to lose jobs after the recession officially ended, while black men regained jobs, black women lost more jobs (491,000) than black men (477,000) between December 2007 and June 2011.

Black women lost jobs disproportionately compared to women overall during the recovery.

  • Black women represented 1 in 8 (12.5 percent) of all women workers in June 2009.  But between June 2009 and June 2011, black women accounted for more than 4 in every 10 jobs (42.2 percent) lost by women overall.

Black women lost more jobs during the recovery than they did during the recession.

  • Black women lost more jobs during the recovery (258,000) than they did during the recession (233,000); women overall lost slightly more than half as many jobs during the recovery (612,000) as they did during the recession (1,199,000).

Black women’s unemployment rate rose more than other groups’ in the recovery.

  • Black women’s unemployment rate rose 2.1 percentage points between June 2009 and June 2011, compared to an increase of 0.7 percentage points among black men.  Unemployment also rose during the recovery by 0.3 percentage points among women overall and among white women by 0.2 percentage points. Some groups experienced a decrease in unemployment during the recovery, including men overall by 0.8 percentage points, and among white men, Hispanic men, Asian men, Hispanic women, and Asian women.

Change in Unemployment Rates during the Recovery

June 2009 June 2011 Percentage Point Change
in the Recovery
All women 7.7% 8.0% 0.3
All men 9.9% 9.1% -0.8
Black women 11.7% 13.8% 2.1
Black men 16.3% 17% 0.7
White women 6.9% 7.1% 0.2
White men 9.2% 8.1% -1.1
Asian women 7.6% 7.0% -0.6
Asian men 7.4% 6.3% -1.1
Hispanic women 11.5% 11.4% -0.1
Hispanic men 10.7% 9.8% -0.9

Source: Current Population Survey

Conclusion

Unemployment remains painfully high overall and for some vulnerable groups, including women generally and black women in particular, the employment picture has gotten worse in the two years since the recession ended.  Policy makers must address the jobs crisis facing women and men.

Technical note:NWLC’s earlier report, “Second Anniversary of the Recovery Shows No Job Growth for Women,” which tracked job changes for women and men from June 2009 to June 2011, shows different totals for job losses than does this analysis.  The analyses differ because examinations of job loss or growth by race require the use of a different data source.  The “Second Anniversary” report uses data from the Current Employment Statistics (CES), a survey of employers.  CES, the primary survey used to track job change in the United States, provides information regarding the gender of job holders.  However, data regarding job change among different racial groups and data regarding unemployment are not available from CES.  This analysis of black women’s unemployment and job loss in the recovery instead uses data from the Current Population Survey (CPS), a household survey.  Job figures reported in CPS differ from those reported by CES because CPS includes individuals who work in jobs not surveyed by the CES such as the self-employed, farm workers, unpaid family workers and domestic workers.

The source of the data for this analysis is NWLC calculations from U.S. Dep’t of Labor, Bureau of Labor Statistics, Labor Force Statistics from the Current Population Survey, Tables A-1, A-2 and A-3 available at http://www.bls.gov/cps/cpsatabs.htm and CPS database, available at http://data.bls.gov/pdq/querytool.jsp?survey=ln (last visited Aug. 3, 2011).  All figures are for individuals 20 years and older.  Data for Hispanics and Asians are not seasonally adjusted.


[1] National Women’s Law Center, “Second Anniversary of the Recovery Shows no Job Growth for Women” (July 2011), available at http://www.nwlc.org/resource/second-anniversary-recovery-shows-no-job-gr…

[2] NWLC calculations from U.S. Census Bureau, Current Population Survey, 2010 Annual Social and Economic Supplement, Table POV-07: Families With Related Children Under 18 by Number of Working Family Members and Family Structure: 2009, available at http://www.census.gov/hhes/www/cpstables/032010/pov/toc.htm (last visited Aug. 3, 2011).

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HATEWATCH: PETE SANTILLI RALLIES FOR BORDER SHUTDOWN, CALLS OBAMA AN ‘UNCONSTITUTIONAL TREASONOUS BASTARD’

Pete Santilli Rallies for Border Shutdown, Calls Obama an ‘Unconstitutional Treasonous Bastard’

By Sarah Miller on June 26, 2014 – 1:29 pm

Pete Santilli, an extremist antigovernment talk show host and 9/11 truther, is working with a group of bikers to shut down the U.S.-Mexico border crossing near San Diego on “Cinco de Julio.”

Santilli, who lives in San Diego and hosts a program on the Guerilla Media Network, is best known for a violent rant last year in which he called for President Obama and the Bush family to be killed and for Hillary Clinton to be shot in the vagina and “suffer painfully, right in front of me.” His remarks drew scrutiny from the Secret Service.

shut-down-the-border-protest

In April, Santilli rallied his listeners to gather at Cliven Bundy’s ranch and, if necessary, fight to the death with federal agents who were trying to round up cattle that were illegally grazing on public lands. And last October, he rallied his listeners to attend a protest by truckers that threatened to shut down the D.C. beltway. The protest ultimately fizzled.

Santilli’s latest obsession is the Central America refugee crisis and the imprisonment of U.S. Marine Sgt. Andrew Tahmooressi in Mexico (who crossed the border, accidentally he says, with three firearms). In response, he is organizing a protest with a group of bikers, dubbed “Cinco de Julio,” that he hopes will create a “traffic jam of epic proportions” and shut down the Tijuana border crossing:

Americans are fed up with this lawless and criminal administration and are organizing a shutdown of the U.S. Mexico border on July 5th, 2014.  The objective is to demand the release of Tahmooressi, as well as shut down the flood of immigrants seeking asylum in the U.S.A. at the encouragement of the now impeachable President Barack Obama.

Last week on his radio show, Santilli whipped himself into a frenzy and denounced President Obama as an “unconstitutional, treasonous bastard.” He called for the president to be impeached immediately and for the border to be kept closed until Tahmooressi is repatriated and refugees are turned away at the border:

 

pete santilli

Although last year’s beltway protest was an abject failure, Santilli shows no intention of backing down from “Cinco de Julio.” Instead, he’s ordering his listeners to “get in your freaking car and drive to the border.”

“Every individual right now needs to stop watching the decimation of our Constitution, the destruction of our country by that freaking NDAA [sic] basketball-dribbling, freaking Muslim Brotherhood bastard,” he said, referring to Obama.

Interestingly, Santilli also aimed his fire at Maricopa County Sheriff Joe Arpaio, a hero of the anti-immigration movement, whom he called an “inept, incompetent bastard.” He was angry about remarks that Arpaio had made about refugees at the border.

Arpaio called them “illegal Hispanics,” but Santilli believes that this conceals a much more sinister reality: asylum-seeking Muslims coming across the border to possibly do us harm. “There are Arabs coming over the border,” Santilli said. “I personally saw them.”

Santilli closed with a call to frenzied call to action: “You get a Constitution in your left breast pocket, and you say that, ‘We run this freaking place!’ And you get ready to get in your car and get to the freaking border, so that you can save your country!”

Despite his abundant enthusiasm, Santilli’s track record suggests that “Cinco de Julio” will be another dud.

SOURCE

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Just what is it you are trying to save, Mr. Santilli?

Oh, I get it. To save and keep your freedumb.

This nation needs saving from humans such as yourself.

As for your perverted so-called love of the U.S. Constitution, I would rather place my bets with the federal government, even with the whacked-up job it has done running this nation.

Time has shown that people like you are the biggest destroyers of law in this nation.

“Santilli shows no intention of backing down from “Cinco de Julio.” Instead, he’s ordering his listeners to “get in your freaking car and drive to the border.”

“Cinco de Julio”.

Folks getting into their cars and driving miles to the southern border of the USA.

Folks driving 500 miles, 900 miles, 2,000 miles—-after July the 4TH—to camp out on the U.S.-Mexico border to shut down traffic into, and out of the U.S.

Yeah, good luck with that happening.

Be prepared to be standing at the border all by your lonesome self.

Barbecued brisket, watermelon, and red soda have a way of putting a damper on people raring to make fools of themselves just because you scream for them to.

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INTERNATIONAL DAY IN SUPPORT OF VICTIMS OF TORTURE: JUNE 26, 2014

 

INTERNATIONAL DAY IN SUPPORT OF VICTIMS OF TORTURE

Quick Facts

The United Nations’ (UN) International Day in Support of Victims of Torture is annually observed on June 26 to remind people that human torture is not only unacceptable – it is also a crime.

Local names

Name Language
International Day in Support of Victims of Torture English
Día Internacional en Apoyo de las Víctimas de la Tortura Spanish
היום הבינלאומי לתמיכה בקורבנות עינויים Hebrew
يوم الأمم المتحدة الدولي لمساندة ضحايا التعذيب Arabic
고문 피해자의 지원에 유엔 국제 날 Korean
Internationaler Tag zur Unterstützung der Folteropfer German

International Day in Support of Victims of Torture 2014

Thursday, June 26, 2014

International Day in Support of Victims of Torture 2015

Friday, June 26, 2015

The United Nations’ (UN) International Day in Support of Victims of Torture is annually observed on June 26 to remind people that human torture is not only unacceptable – it is also a crime.

UN International Day in Support of Victims of Torture

The UN’s International Day in Support of Victims of Torture serves as a reminder to people that human torture is a crime.

©iStockphoto.com/ Ryan Klos

What do people do?

Rehabilitation centers and human rights organizations around the world celebrate the UN’s International Day in Support of Victims of Torture on June 26 each year. The day serves as a reminder to people that torture is a crime. This event gives everyone a chance to unite and voice their opinions against human torture.

Organizations, including the International Rehabilitation Council for Torture Victims and Amnesty International, have played an active role in organizing events around the world to promote the day. Activities may include: photo exhibitions; the distribution of posters and other material to boost people’s awareness of issues related to human torture; and television advertisements.

Public life

The International Day in Support of Victims of Torture is not a public holiday and public life is not affected.

Background

On June 26, 1987, the Convention against Torture came into force. It was an important step in the process of globalizing human rights and acknowledging that torture and inhuman or degrading treatment or punishment should be universally illegal. In 1997 the United Nations General Assembly decided to mark this historic date and designated June 26 each year as the International Day in Support of Victims of Torture.

The first International Day in Support of Victims of Torture was held on June 26, 1998. It was a day when the United Nations appealed to all governments and members of civil society to take action to defeat torture and torturers everywhere. That same year marked the 50th anniversary of the Universal Declaration of Human Rights, which proclaims that “no one shall be subjected to torture or to cruel, inhuman or degrading treatment or punishment”.

Symbols

The United Nations’ logo is often associated with marketing and promotional material for this event. It features a projection of a world map (less Antarctica) centered on the North Pole, enclosed by olive branches. The olive branches are a symbol for peace, and the world map represents all the people of the world. The logo appears in colors such as black on a white or light yellow background.

International Day in Support of Victims of Torture Observances

 

Weekday Date Year Name Holiday type Where it is observed
Fri Jun 26 1998 International Day in Support of Victims of Torture United Nations observance
Sat Jun 26 1999 International Day in Support of Victims of Torture United Nations observance
Mon Jun 26 2000 International Day in Support of Victims of Torture United Nations observance
Tue Jun 26 2001 International Day in Support of Victims of Torture United Nations observance
Wed Jun 26 2002 International Day in Support of Victims of Torture United Nations observance
Thu Jun 26 2003 International Day in Support of Victims of Torture United Nations observance
Sat Jun 26 2004 International Day in Support of Victims of Torture United Nations observance
Sun Jun 26 2005 International Day in Support of Victims of Torture United Nations observance
Mon Jun 26 2006 International Day in Support of Victims of Torture United Nations observance
Tue Jun 26 2007 International Day in Support of Victims of Torture United Nations observance
Thu Jun 26 2008 International Day in Support of Victims of Torture United Nations observance
Fri Jun 26 2009 International Day in Support of Victims of Torture United Nations observance
Sat Jun 26 2010 International Day in Support of Victims of Torture United Nations observance
Sun Jun 26 2011 International Day in Support of Victims of Torture United Nations observance
Tue Jun 26 2012 International Day in Support of Victims of Torture United Nations observance
Wed Jun 26 2013 International Day in Support of Victims of Torture United Nations observance
Thu Jun 26 2014 International Day in Support of Victims of Torture United Nations observance
Fri Jun 26 2015 International Day in Support of Victims of Torture United Nations observance
Sun Jun 26 2016 International Day in Support of Victims of Torture United Nations observance
Mon Jun 26 2017 International Day in Support of Victims of Torture United Nations observance
Tue Jun 26 2018 International Day in Support of Victims of Torture United Nations observance
Wed Jun 26 2019 International Day in Support of Victims of Torture United Nations observance
Fri Jun 26 2020 International Day in Support of Victims of Torture United Nations observance

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COLORLINES: WHY YOUNG, BLACK MEN CAN’T WORK

 

“I can see the door. I can see the door of opportunity. … But right now, it’s like, I’m just standing here.” That’s how 21-year-old Dorian Moody describes his efforts to break into the high-wage, skilled labor market that still makes the difference between poverty and economic security for so many families today.

In “Why Young, Black Men Can’t Work,” Colorlines Editor-at-Large Kai Wright explains the unique challenges black high school graduates face today as they enter the worst job market since the Great Depression. Dorian’s story illustrates compelling new research that settles the question of whether race, gender or class shape opportunity in the United States. The answer is all of the above.

Kai’s article anchors this month’s installment of “Life Cycles of Inequity: A Series on Black Men.” Each month, we’re focusing on a life stage or event in which the evidence shows unique inequities limit the opportunities of black men. Last month, we focused on implicit bias in classrooms and the school-to-prison pipeline. This month, we focus on early adulthood and the effort to enter the workforce.

As part of the series, filmmaker André Robert Lee is asking black men to speak for themselves about their experiences with inequity. This month he travels to Philadelphia, where out-of-work men struggle with the balance between their own agency and the larger systems that limit their opportunity. Listen to what they have to say. Meanwhile, Aura Bogado spends a day in Newark with men who are training for skilled labor jobs–a labor market that sociologists have found to be segregated starkly, keeping the best paying jobs for white men. Aura’s beautiful photo essay reveals the pride and ambition so many are quick to claim is lacking among would-be black workers.

We hope you’ll read, watch and share all of this content with your networks. And please join us on Twitter on Monday, June 30 at 2 p.m. to discuss your own experiences–and solutions.

Talk to you soon!

Akiba Solomon
Editorial Director, Colorlines

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