We will end for this week the talk on how Trump will MOVE FORWARD the same CLINTON/BUSH/OBAMA ONE WORLD AGENDA and how that will look in our US Federal agencies with a look at some of the lesser agencies called QUASI-GOVERNMENTAL----as our Baltimore City quasi-governmental agencies like Baltimore Development Corporation and University of Maryland Medical System-----will be seen as DUPLICATING functions inside other major agencies. Some are very important to the 99% of people---only they are needed now by that global 1% and their 2%.
'TRAINED INDEED, TO CONSIDER AND LIVE FOR MYSELF'
Lucretius V 961
This is what a free citizen has for a goal. No education policy in Baltimore with this goal for the 99% of citizens because they are installing RACE TO THE TOP AND COMMONER CORE.
Let's look at a few of the agencies below. The most glaring because of Trump action is NATIONAL PUBLIC MEDIA AND THE ARTS. We have spoken often about the total capture of these by global Wall Street especially after 2010 so we lost those as public agencies these few decades. This is why we have NO PUBLIC INTEREST JOURNALISM OR INFORMATION coming from what is funded to be the voice of communities. Today let's look at MUSEUM AGENCIES.
We have shouted here in Baltimore that our PUBLIC MUSEUMS=====the Walters Museum and Baltimore Museum of Art has been tied to MUNICIPAL BOND DEBT as are our public schools at the time of massive bond market collapse. BMA has always been held by a small group of select 'non-profit' committee members but it is that designation PUBLIC that has both museums open to all and offering cultural and arts programming geared to 99% of citizens. The Walters Museum is world class and a valuable gift to Baltimore citizens---the bond debt combined with Trump's timing of DEFUNDING THE NATIONAL ARTS ENDOWMENT sets the stage for our museums and all subsidies for community arts to disappear. What is the mantra for WRAP-AROUND SERVICES? After school corporate non-profit arts programs. Why did they not install art teachers in public schools? Because global Wall Street was only posing progressive in keeping liberal arts and humanities in schools for the 99%----global corporate campus schools will only train for a job unless you are that exceptionally creative person.
Please keep in mind----it was always the goal of Clinton/Obama global Wall Street neo-liberals that these arts and culture programming would disappear---IT IS NOT JUST TRUMP.
Quasi-official agencies
Quasi-official agencies
Arts & cultural agencies
ARTS & CULTURE
01/19/2017 01:53 pm ET | Updated Jan 19, 2017
Trump Reportedly Plans To End National Arts Funding
His administration may shutter the National Endowment for the Arts and the National Endowment for the Humanities. That’s not good.
By Claire Fallon
Well, having art and culture sure was cool while it lasted!
President-elect Donald Trump plans to dramatically slash funding for the humanities when he takes office, according to a new report from The Hill. In meetings with White House staff, Trump transition officials have reportedly indicated that the administration will shutter the National Endowment for the Arts and the National Endowment for the Humanities, as well as privatize the Corporation for Public Broadcasting.
The Hill report notes that the floated budget cuts “hew closely to a blueprint published last year by the conservative Heritage Foundation.” It’s previously been reported that the think tank has been enormously influential in shaping Trump’s nascent administration.
In the “Blueprint for Balance: A Federal Budget for 2017,” the Foundation devotes one page each to the eliminations of the NEA and the NEH, which is more than enough to paint a chilling picture for supporters of public arts funding.
In its argument for closing the NEH, the Heritage blueprint proclaims, “government should not use its coercive power of taxation to compel taxpayers to support cultural organizations and activities.” On a similar note, it states of the NEA, “Taxpayer assistance of the arts is neither necessary nor prudent [...] Taxpayers should not be forced to pay for plays, paintings, pageants, and scholarly journals, regardless of the works’ attraction or merit.”
Reached via email, both the NEA and the NEH declined to comment specifically on the report. “We’re not speculating on what policies the president-elect (or the Congress) may or may not choose to pursue,” Victoria Hutter, assistant director of public affairs at the NEA, told HuffPost.
“We are not going to speculate on the policies or priorities of the new Administration,” NEH spokeswoman Theola DeBose reiterated.
The act forming the NEA and the NEH was signed into law by President Lyndon B. Johnson in 1965, in response to a movement to restore due attention and emphasis to the arts in an age driven by scientific innovation and exploration ― an imbalance that hasn’t gone away, as universities today focus on STEM and slash humanities funding.
Though the Heritage Foundation blueprint argues that the endowments can and should be replaced by philanthropy, the NEA and NEH serve a unique purpose. Relying solely on individual arts giving and spending can leave humanities institutions and creatives at the whims of the super-wealthy ― think Trump’s foundation purchasing a portrait of the man himself for thousands of dollars, or, more typically, a moneyed New Yorker donating millions to her favorite opera house ― but the NEA and NEH take on initiatives in partnership with state and local organizations to shore up arts and humanities access in underserved communities. Government grants are offered to cultural institutions and individuals who submit outstanding proposals that hold up to objective vetting and review. The NEH has supported the creation of 16 Pulitzer Prize-winning books and Ken Burns’ iconic documentary “The Civil War.” The NEA also helped get the Sundance Film Festival off the ground.
In a statement responding to the report, literary human rights organization PEN America denounced the alleged proposed cuts as a sign of a “new Dark Ages,” arguing: “The announcement that this is even under consideration casts a sinister cloud over our vibrant national culture.”
Of course, shutting down the NEA and NEH isn’t as simple as a presidential decree issued on Jan. 21. As writer Celeste Pewter pointed out in an extensive Twitter thread, any proposed cuts to various government agencies would depend on Congressional budgets and appropriation:
Much as floods of phone calls from constituents resulted in GOP lawmakers backing down from a secretive push to gut the Office of Congressional Ethics earlier this month, voters opposed to the drastic cuts reported by The Hill can make supporting those budgetary changes deeply uncomfortable for their representatives. For those worried about a possible impending “Dark Ages” of the humanities, repeatedly calling congressional representatives to vocally oppose shuttering the NEA and NEH is a clear and practical next step: It could help save them.
Given Trump’s previously documented lack of interest in books and art that aren’t about himself ― as well as the Heritage Foundation’s power in his transition ― this latest report shouldn’t come as too much of a shock. But the drastic nature of the proposed cuts is nonetheless unsettling, and on the eve of the inauguration, offers a grim vision of what art and culture could face in Trump’s America if the people don’t fight hard to protect them.
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In the DARK AGES before the Reformation and Age of Enlightenment only the global 1% and their 2% had access to high culture and the actors and musicians fought for PATRONS. The Actor's and Music Guild's today still have that association that is why a MERYL STREEP endorsed ARISTOCRACY and HILLARY to replace Democracy.
'The act forming the NEA and the NEH was signed into law by President Lyndon B. Johnson in 1965, in response to a movement to restore due attention and emphasis to the arts in an age driven by scientific innovation and exploration ― an imbalance that hasn’t gone away, as universities today focus on STEM and slash humanities funding'.
Global Wall Street pols Clinton/Bush/Obama have been marching back to STEM only in schools as above we see NEA and NEH was largely funded as part of MLK'S WAR ON POVERTY. Obama dismantled all of MLK's War on Poverty with Race to the Top and the Affordable Care Act. This is why all cultural programming Obama funded had funds coming to CORPORATE ARTS AND MUSIC NON-PROFITS and not public schools.
IT WAS TEMPORARY TO POSE LEFT SOCIAL PROGRESSIVE.
'By the time Bill Clinton took the oath of office in 1993 the Democrats had accepted the hard fact that most of the Great Society goals had not been, nor could they ever be, accomplished, and they did not push for new social legislation'.
It was Bill Clinton in the 1990s who started to DEFUND PUBLIC SCHOOLS following REAGAN NEO-LIBERALISM and sent the funding to start the foundation for CHARTER SCHOOLS under the guise of the same mantra of offering better schools for low-income. Parents in the 1990s KNOW this is when our local public schools started losing their staff from arts, music, theater MOVING FORWARD TO SIMPLY STEM-----BUSH SUPER-SIZED THIS. Since Clinton was far-right wing global Wall Street and not left social Democrat this is when all POSING AND LYING about policies helping the working class and poor started. Here in Baltimore at that same time BALTIMORE READS was the policy as a then MAYOR SCHMOKE handed Baltimore's Public Schools to the state and that started the closing of all public schools in city center. This is when parents started to have bake sales to fund these kinds of activities.
BYE BYE ANY KIND OF ARTS AND MUSIC IN SCHOOLS IN THE 1990S UNDER CLINTON.
As Schools Trim Budgets, The Arts Lose Their Place
By SUSAN CHIRA
Published: February 3, 1993
Arts education, long dismissed as a frill, is disappearing from the lives of many students -- particularly poor urban students. Even though artists and educators argue that children without art are as ignorant as children without math, their pleas have gone unheard as schools have struggled with budget cuts.
Now, in a new campaign to preserve the arts in schools, supporters are taking a different tack. They argue that art classes teach the very qualities that educators believe can reinvigorate American schools: analytical thinking, teamwork, motivation and self-discipline.
A Vanishing Subject
"Arts education in the public schools is very much at risk of being eliminated if we are not more vigilant," said Carol Sterling, director of arts education for the American Council on the Arts. "We must demonstrate that when children do arts, they are doing critical thinking and problem-solving and learning about civilization. Unless we categorize this in terms people understand, arts will always be considered a frill."
There is little reliable up-to-date information on how many schools actually teach art, music, dance or drama. In states like Minnesota, Oklahoma and South Carolina, arts education is thriving. But in many cities and towns, tight budgets mean that arts are the first to go. In California, fiscal problems have wiped out art classes in many schools, particularly in Los Angeles.
In New York City, a mecca for artists, two-thirds of public elementary schools have no art or music teachers. Many highly regarded programs are suffering, including the selective-admissions high schools for which New York was once renowned. Not only have teachers and classes been eliminated, but even supplies and instruments for after-school activities like band or theater productions are gone.
By contrast, Japan and Germany require schoolchildren to study the arts every year, and their schools devote more classroom time to arts than American ones.
Yet America's changing economy and its increasing ethnic diversity make arts education more important than ever before, experts argue.
The Case for Arts What the Arts Can Teach
Few educators dispute the arts' importance, but they argue that hard times demand hard choices. "Yes, I want more art, but my priorities are what?" said James S. Vlasto, a spokesman for the New York City school system, which has seen tight budgets cut arts classes severely. "Do I preserve class sizes from kindergarten through sixth grade at less than 40? We need more art, we certainly do, but we need more bilingual teachers."
Yet arts are vital, supporters argue, because they can help develop the very skills employers say they want, offer lucrative job opportunities and teach sensitivity to other cultures. Arts education, its supporters say, helps children develop their own artistic talents, encourages some to stay in school, builds future audiences and teaches them about past civilizations. Moreover, new theories about how children learn and think suggest that the arts can inspire children often dismissed as failures.
"When there is no art in school, there is usually no alternative to learning by the written and spoken word," said Carol Fineberg, an arts education consultant who has examined how children developed analytical abilities through studying art. "Kids who have a capacity to communicate visually have no avenue for expression. They feel themselves with each year increasingly a failure."
Running so fast he lost his breath, a boy rushed into Ms. Acevedo's art room and handed her a bag. "Blue bottle caps!" shouted the teacher, who seemed as excited as the boy. "Awesome!"
The bottle caps will become objects of art. They might become the eyes on an African mask, or the buttons on an American Indian dance costume.
"If you're painting, roll up your sleeves," Ms. Acevedo called to children clustered in groups of eight around three big round tables. "Let's go!"
The fourth graders knew just what to do. They scurried in all directions. Some children pulled their Japanese paintings off a clothesline strung across the room. Others took out knives to work on origamic architecture, a three-dimensional Japanese paper design.
At the end of the hour, Ms. Acevedo told her students not to worry if their projects were incomplete. "You can come in at break or after school," she said, and there was not a word of protest among the students about the suggestion of giving up free time to do unfinished schoolwork.
The Past and Present Mrs. Molloy's Piano Or Nothing at All
Formal arts education in the United States began in the late 19th century, with the rationale that future workers needed to be able to design competitive industrial goods. Many artists, in particular minority artists like the conductor Michael Morgan, had their first contact with art in public school.
That is not to say that arts education was uniformly good.
"I don't know when the Golden Age was," Dr. Fineberg said. "In the 1950's, when I went to elementary school and Mrs. Molloy played the piano, we had what laughingly passed for music education."
In fact, 75 percent of Americans in a 1989 National Endowment for the Arts report said they had never had any art appreciation classes, and 43 percent had never had art lessons.
Yet if arts education has always been spotty, experts say things are worse now.
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Our US public schools and communities have always been funded for the arts and culture---FDR expanded who attended public schools----LBJ expanded this even more. Depending where in the nation you lived because this funding in some states did not make it to classrooms or communities----This was LEFT SOCIAL DEMOCRACY----CAPITALISM and it was funded by TAXATION OF CORPORATIONS.
The difference between CORPORATIONS AS PATRONS and citizens having community arts and culture funding which they control is the difference between the MEDICIS patronizing artisan workshops for splendid works with workshop artisans barely FED----AND a US Federal system that takes some taxes paid by a 99% of people sending it to cities to dispense to communities and public schools with those citizens creating their own cultural vehicles. Now, those PESKY OLD WORLD MERCHANTS OF VENICE --THE GLOBAL 1% they didn't think much about arts and music at all---they are all business or in today's terms STEM.
MERCHANTS OF VENICE ARE STEM PEOPLE.
This is why CLINTON/BUSH/OBAMA have been erasing all cultural avenues from public schools and communities for the 99%. Clinton moved to corporatize our public media moving from local public media programming to national media that became increasingly global Wall Street Clinton neo-liberalism/ Bush neo-conservatism. Of course all this was sold as helping the working class and poor.
Teaching with Visual Culture
According to A New Deal for the Arts, an exhibit from the National Archives, during the depths of the Great Depression of the 1930s and into the early years of World War II, the Federal government supported the arts in unprecedented ways. For 11 years, between 1933 and 1943, federal tax dollars employed artists, musicians, actors, writers, photographers, and dancers. Never before or since has our government so extensively sponsored the arts. These archival materials explore categories of art—visual artists, writers, filmmakers, for example—and discuss examples and their creators.
ARTS AND CULTURE FLOWED TO 99% OF CITIZENS LAST CENTURY AND EVEN OVER THE HISTORY OF AMERICA AS WESTERN SETTLERS WOULD HAVE OPERA ----CLASSICAL PERFORMANCES---AND FOLK ART BLACK, WHITE, AND BROWN CITIZENS.
It is the MOVING FORWARD to extreme wealth creating the old world division between barely fed artisans and performances for KINGS AND QUEENS. Trump will MOVE FORWARD construction of artisan workshops tied to global corporate campus schools and allow global hedge funds to fund HIGH ART AND MUSIC.
Mar 31 2009
What makes the New Deal and Franklin Roosevelt's presidency particularly exciting to teach in history classrooms today?
In part, apparent parallels between current events and history. The downward spiral of the Dow Jones, continued news about job layoffs, failures of financial institutions, economic stimulus plans, and executive and legislative initiatives evoke the specter of the 1930s.
The internet is full of classroom resources for teaching about the New Deal—arguably, perhaps more than for any other era. We've highlighted a few below that serve as gateways to this internet wealth and a few that address specific subjects and content.
The Overview
During his first 100 days in office, President Roosevelt set an unprecedented legislative pace, sending 15 requests to Congress for action—all of which Congress passed. How FDR Made the Presidency Matter (The New York Times, January 16, 2009) summarizes Roosevelt's record-breaking legislative achievements. (This article is an entry in The Times 100 Days Blog that offers a historical perspective of the first 100 days in office of five 20th century presidents: Franklin Roosevelt, John Kennedy, Lyndon Johnson, Richard Nixon and Ronald Reagan. Blog entries compare their experiences with those of President Obama.)
Don't miss this! The March edition of History Now, a quarterly journal from the Gilder Lehrman Institute of American History, focuses on multi-faceted approaches to learning about and to teaching the Great Depression. In this issue: The Great Depression: An Overview, historian David Kennedy roots the causes of the economic crisis in World War I and discusses the state of the nation during the 1920s, and the New Deal and its effects. Other content areas include lesson plans for elementary through high school including women, the Dust Bowl, migrant farmworkers, popular culture; an exhibit from New York's Lower East Side Tenement Museum; and a variety of additional resources from historians, archivists, and educators.
Annenberg Media's series, America's History in the Making, the film, Film 18, By the People, For the People looks at how a new relationship between individuals and the government arose in the face of plummeting agricultural exports, the stock market crash, and environmental disaster all led to an unprecedented economic depression. Sign up for Video on Demand, a free service of Annenberg Media, in order to access series films.
Teaching with Visual Culture
According to A New Deal for the Arts, an exhibit from the National Archives, during the depths of the Great Depression of the 1930s and into the early years of World War II, the Federal government supported the arts in unprecedented ways. For 11 years, between 1933 and 1943, federal tax dollars employed artists, musicians, actors, writers, photographers, and dancers. Never before or since has our government so extensively sponsored the arts. These archival materials explore categories of art—visual artists, writers, filmmakers, for example—and discuss examples and their creators.
Picturing U.S. History: an interactive resource for teaching with visual evidence, is a digital project from City University of New York and funded by the National Endowment for the Humanities. Developed on the premise that visual materials are vital to understanding the American past, Lessons in Looking, a guide to Web resources, forums, essays, reviews, and classroom activities, helps teachers incorporate this visual evidence into their classrooms. In March 2009, George Mason University professor, Barbara Melosh focuses on teaching the Great Depression through photographs, political cartoons, comics, graphics, prints, and posters. A series of thoughtful essays and comments describes, annotates, and contextualizes selected visual works from the 1930s.
Websites
Best History Websites: US History Great Depression may be the gateway motherlode. This briefly annotated list is divided into three sections: Great Depression in the News; General Information; and Lesson Plans, Teacher Guides, Activities and More. Among the helpful resources: Teaching K-12 Economics and Taking Stock in the Past for the Future: Examining the Causes and Effects of the 1929 Stock Market Crash Through News Coverage in The New York Times, a 1999 lesson plan from New York Times Learning Pages.
New Deal Network is an educational guide to the Great Depression of the 1930, sponsored by the Franklin and Eleanor Roosevelt Institute and the Institute for Learning Technologies at Teachers College/Columbia University and funded in part through a grant from the National Endowment for the Humanities. Document Library. The site is both a gateway and a resource center to just about any imaginable resource on The Great Depression, and includes Lesson Plans, K-12. (NHEC's Lesson Plan Reviews evaluates the approach of one of the Network's lesson plans for elementary school, Children's Letter's to Mrs. Roosevelt).
At Edsitement, the lesson plan, Worth a Thousand Words: Depression-Era Photographs, gives guidelines for working with the image library of the New Deal Network.
America in the 1930s, a project, developed by the American Studies Program at the University of Virginia, allows visitors to view the 1930s through films, radio programs, literature, journalism, museums, exhibitions, architecture, art, and other forms of cultural expression. The site itself is best for students in high school and above; however, it contains excellent resources, such as audio of 1930s radio programs, that teachers can use with students of any age. Materials are most easily accessed through the organized Site Index.
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We will say this----most of public art both national and city in museums are there FOR STORAGE. As US went to GREAT DEPRESSION with all economic structures and business wealth gone to the few global 1% Robber Barons there were no avenues for protecting and maintaining valuable art history so the rich sent their collections to PUBLIC GALLERIES.
As with the Walters and Baltimore Museum of Art the families of those wealthy PATRONS OF THE ARTS having donated to our national galleries and city museums now have enough money to have personal art collections in their HOMES/OFFICES.
Already we are seeing master art pieces being sold overseas but as well we are seeing them sold to private 'collectors' from our public galleries. We are told this is to send revenue to our STARVED CITY AND NATIONAL TREASURIES. So, they are draining our government coffers of revenue and then finding the need to sell valuable arts and book collections. This happened all through CLINTON/BUSH/OBAMA---it will now SOAR under Trump including Baltimore's public collections.
This is especially true of our SMITHSONIAN INSTITUTE---NATIONAL THEATER----remember we talked about how Washington DC parking for commuter buses was getting harder and harder if you were not a global commuter corporation? Those public school buses lining national square for our Smithsonian and national art galleries?
THEY DON'T HAVE THAT IN THIRD WORLD FAR-RIGHT AUTHORITARIAN SOCIETIES.
Having Florida's Miami nearing bankruptcy is just as crazy as LA===and Baltimore -----there is tons of economic action in Miami et al. As with Baltimore it is all black market and global Wall Street tied development frauds diverting all city assets and revenues to global 1% leaving that city telling its citizens----
Our great Peabody and MICA art galleries and book collections were handed to global corporation JOHNS HOPKINS-----wait until this coming economic crash under Trump and our public library system PRATT will too be privatized/closed. That is a lot of valuable art and music privatized for NO REASON.
WE DON'T KNOW IF WE CAN AFFORD TO KEEP OUR PUBLIC MUSEUMS FUNDED!
We know how----get rid of the US CITY AS FOREIGN ECONOMIC ZONE DESIGNATION as in Baltimore and move from being a BANANA REPUBLIC to returning to being a democratic republic under US Rule of Law and US Constitution.
North Miami Fights to Keep Its Art Museum
By PATRICIA COHENMAY 18, 2014
Babacar M’Bow was appointed by the city manager to be the Museum of Contemporary Art’s director. Credit Angel Valentin for The New York Times
NORTH MIAMI, Fla. — Anyone looking to meet the director of the tiny but highly regarded Museum of Contemporary Art here has two choices. Head into the museum, where its interim director, Alex Gartenfeld, has an office. Or go next door to City Hall, where the city manager’s appointee to the same position, Babacar M’Bow, is essentially working in exile.
The dueling directors are just part of the chaos emanating from a bitter showdown that has erupted between MoCA, as the museum is known, and the city that founded it.
The museum’s board, which has not approved Mr. M’Bow’s appointment, wants to leave this working-class city and merge with the Bass Museum of Art in Miami Beach, its wealthier and more glamorous neighbor. It says that North Miami has neglected the museum building and failed to support a needed expansion.
City officials, in turn, accuse the board of secretly plotting to make off with North Miami’s cultural patrimony. “The collection belongs to the city, and they are trying to steal it,” Mayor Lucie Tondreau said.
The departure may not resonate on the scale of, say, the Dodgers leaving Brooklyn, but the threatened loss of the city’s only art museum to a flashier oceanside neighbor is producing a sizable dose of rancor here.
Museum officials say the city has changed the passwords on email accounts. City employees say the museum cut off access to its bank statements. The dispute has landed in court.
Yet the legal wrangling may overshadow the more profound issues that confront this and other cities across the country that are engaged in complicated public-private partnerships.
Who owns a museum? The city that founded it? The community it serves? The donors who helped finance it or the board members entrusted to run it?
The Detroit Institute of Arts, for example, is operated by a nonprofit organization, but its collection, now threatened with the municipal bankruptcy there, is owned by the city. In Vancouver, Wash., the National Park Service, a nonprofit trust and the city battled recently over control of the Pearson Air Museum.
The debate is particularly fraught in South Florida, because of the sometimes tense relationship between North Miami, which has one of the largest concentrations of Haitians in the United States, and Miami Beach, a haven for vacationing billionaires and college students on spring break.
Greater Miami, teeming with galleries, private museums and fairs like Art Basel, has become a global art center. That success, however, has challenged the Museum of Contemporary Art to maintain its international reputation and relevance in the face of “newer, larger and more glamorous institutions, events and exhibitions in the South Florida area,” the board confessed in its lawsuit.
While the Bass Museum is fronted by a blocklong promenade that leads directly to the beach and faces sumptuous hotels, the Museum of Contemporary Art is situated in North Miami’s downtown, near the DaVita Dialysis Center and the Bible Emporium, which sells Creole, French and Spanish translations.
The Museum of Contemporary Art’s building was constructed in 1996 with federal, state and county funds, with an eye to developing cultural institutions in downtown North Miami. The city established the museum as a nonprofit corporation, in part so that gifts would be tax deductible, and created a board of trustees to operate the museum on its behalf.
“They work for us,” Ms. Tondreau said of the museum’s board. She noted that the museum’s mission statement says it is “dedicated to making contemporary art accessible to diverse audiences — especially underserved populations.”
That means “serving this community,” she said, drumming her finger on a pie chart showing that nearly 60 percent of North Miami’s 60,000 residents are black, compared with 4.4 percent of Miami Beach’s 90,000 inhabitants. The city currently provides about a quarter of the museum’s $4 million annual budget.
The 27 trustees, primarily philanthropists and collectors who live outside the city, generate most of the revenue through donations, fund-raising and grants.
“A museum doesn’t check ZIP codes at the door,” Mr. Gartenfeld said. “It works to achieve the greatest good.” And now the city of North Miami, he said, has “limited our ability to provide for that greater good.”
The museum has won several awards and grants for its after-school, weekend and summer programming, which serve more than 10,000 children and adults each year. In December, more than 4,000 showed up for the Art Basel kickoff bash that the museum co-hosts.
At the same time, the museum has accumulated, through donations and acquisitions, an impressive 600-plus piece collection that includes art by John Baldessari, Tracey Emin, Louise Bourgeois and Robert Rauschenberg.
Yet the small gallery space — about 12,000 square feet — means there is room for no more than one or two exhibitions at a time, even without displaying any of the permanent collection. An ambitious expansion was planned, but in 2012 voters rejected a $15 million municipal bond proposal to finance the project.
Ray Ellen Yarkin, president of the board, said that the museum made no secret of its desire to leave after the bond proposal failed.
Museum officials say they told North Miami’s city manager, Stephen Johnson, of their interest in merging with the Bass Museum last August.
But Mr. Johnson, who is now the police chief for the city of Miami Gardens, and Ms. Tondreau, who took office a year ago, say they did not hear of a possible merger until December, when news organizations began asking about it. Museum officials, they said, initially played down the reports as rumors.
Alan Waufle, the museum’s assistant director, said Mr. Gartenfeld also told staff members not to worry about such whispers.
Mr. Waufle, who is paid directly by the city, not the museum, under the complex operating agreement, described the museum as “an interesting place to work” right now.
“There is less of a collegial feeling,” he said.
Ms. Tondreau said that museum officials only confirmed the merger in February, when the negotiations were nearly finalized, adding, “I was very shocked.”
The dispute quickly escalated.
Although a 10-year management agreement with the city was signed in 2008, the board declared North Miami had breached it by, among other things, failing to fix the roof, pay Mr. Gartenfeld’s salary and provide sufficient security (despite its location, next to Police Department headquarters). The museum filed suit last month to terminate the contract. It noted that the agreement states that the “Board shall own, protect and manage the permanent MoCA collection of art.”
The city countered that the board is simply managing the collection on the public’s behalf. Then the City Council passed an ordinance taking back from the board the power to appoint and remove museum trustees.
The uproar has split prominent collectors here. Rosa de la Cruz, who has donated several works to the museum, is outraged by the proposed merger. “That museum was built to enhance the city,” she said. “The collection belongs to the people.”
Another donor, Martin Z. Margulies, blamed city officials. “They’ve taken 18 years of hard work and generous supporters and thrown them down the drain,” he said.
This month a Miami-Dade County judge ordered the city and the museum to start a mediation process that could include alternatives to a merger with the Bass. In the meantime, though, museum’s future is in limbo.
Summer programs have been transferred off-site, and there are months coming up without any scheduled exhibitions.
“In this war,” Mr. M’Bow said, “nobody is going to win.”
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We all know our Federal HUD and Health and Human Services surrounding DISABLED are being looted by global Wall Street and/or defunded-----well here is that QUASI-GOVERNMENTAL agency that will be said to DUPLICATE what the above is not doing. These are all LBJ War on Poverty agencies that became corrupted during CLINTON/BUSH/OBAMA ----all of the grants have been sent to global Wall Street Baltimore Development or to corporate non-profits that then make sure they DO NOT DEVELOP COMMUNITIES surrounding city center. If we look at how it was involved in the foreclosure program we can guess these agencies during Clinton/Bush/Obama were used to pedal SUBPRIME MORTGAGE LOAN FRAUD.
Again, how much these agencies helped the working class and poor depended on region ----there were plenty of people helped====here we see our AMERICANS WITH DISABILITY ACT agencies that under Clinton with his EXECUTIVE ORDER FEDERALISM ACT-----saw that US Constitutional Amendment IGNORED. These agencies have largely been used to funnel PAY-TO-PLAY locally as unemployment soared. When poor citizens not disabled are given jobs under these pretexts they are being paid SUB-MINIMUM WAGE-----that's why global Wall Street pols used these agencies in that way.
They really did work in regions across the nation as I personally had disabled integrated into many of my managerial departments.
United States Access Board
Advancing Full Access and Inclusion for All ped in regions allowing funds to go where intended.
Human service & community development Agencies
The Neighborhood Reinvestment Corporation, doing business as NeighborWorks America, is a congressionally chartered nonprofit organization that supports community development in the United States and Puerto Rico. The organization provides grants and technical assistance to more than 240 community development organizations. NeighborWorks America provides training for housing and community development professionals through its national training institutes.[1] Since 2007, NeighborWorks America has administered the Congressionally created National Foreclosure Mitigation Counseling Program.
“Throughout this process,” according to Access Board Executive Director David M. Capozzi, “the Board worked very hard to ensure consistency with other consensus guidelines and international standards to promote global harmonization and facilitate compliance.” He noted that, “ICT requirements that are closely aligned remove ambiguity, increase marketplace competition, and lead to better accessibility features and outcomes.”
Access Board Updates Requirements for Information and Communication Technology
On January 18, the Access Board published a final rule that updates accessibility requirements for information and communication technology (ICT) in the federal sector covered by Section 508 of the Rehabilitation Act. The rule also refreshes guidelines for telecommunications equipment subject to Section 255 of the Communications Act.
“This update is essential to ensure that the Board’s Section 508 standards and the Communications Act guidelines keep pace with the ever-changing technologies covered and continue to meet the access needs of people with disabilities,” stated Board Member Sachin Pavithran. “The Access Board is grateful for the input it received from the public and stakeholders throughout the rulemaking process which greatly enhanced the final product.”
The rule jointly updates and reorganizes the Section 508 standards and Section 255 guidelines in response to market trends and innovations, such as the convergence of technologies. The refresh also harmonizes these requirements with other guidelines and standards both in the U.S. and abroad, including standards issued by the European Commission and with the Web Content Accessibility Guidelines (WCAG), a globally recognized voluntary consensus standard for web content and ICT. In fact, the rule references Level A and Level AA Success Criteria and Conformance Requirements in WCAG 2.0 and applies them not only to websites, but also to electronic documents and software.
“Throughout this process,” according to Access Board Executive Director David M. Capozzi, “the Board worked very hard to ensure consistency with other consensus guidelines and international standards to promote global harmonization and facilitate compliance.” He noted that, “ICT requirements that are closely aligned remove ambiguity, increase marketplace competition, and lead to better accessibility features and outcomes.”
The updated requirements specify the technologies covered and provide both performance-based and technical requirements for hardware, software, and support documentation and services. Access is addressed for all types of disabilities, including those pertaining to vision, hearing, color perception, speech, cognition, manual dexterity, and reach. The rule restructures provisions so that they are categorized by functionality instead of by product type due to the increasingly multi-functional capabilities of ICT products. Revisions are also made to improve ICT usability, including interoperability with assistive technologies, and to clarify the types of ICT covered, such as electronic documents.
The Board released a proposed version of the rule for public comment in February 2015 and, before that, earlier drafts of the rule. The rule is based on recommendations from an advisory panel the Board chartered, the Telecommunications and Electronic and Information Technology Advisory Committee which included representatives from industry, disability groups, government agencies, foreign countries, and other stakeholders.
The Section 508 standards, which are incorporated into the federal government’s procurement regulations, apply to ICT procured, developed, maintained, or used by federal agencies. The Communications Act guidelines cover telephones, cell phones, pagers, computers with modems, switching equipment and other telecommunications equipment.
___________________________________________
We want to be clear when looking at those Federal quasi-governmental agencies for our disabled ---there has been a gutting of disabled from all avenues of employment and a move to basic disabled workshop structures that do not require much access technology. The 2008 manufactured economic crash was designed not only to move tens of trillions of dollars in personal and government agency revenue to the global 1% ---it was designed as a reason to purge corporate and government employment. Leaving almost 50% of people unemployed or under-employed makes for keeping the 99% in fear of action.
All the employment gains from civil rights, labor rights, rights of disabled, senior discrimination laws disappeared during 2008 economic crash----this coming manufactured economic crash will take out women and the 5% to the 1%----
So the Neighborhood Reinvestment Corporation would also be from where housing funds for disabled would come as well. If we watch TV we see all that veteran's disability housing et al are now being outsourced to donation. These agencies have long been ignored and used for fraud and corruption. Our National Industries for Blind has been taken mostly by a global foundation for blind we have here in Baltimore -----so I'm pretty sure that agency was replaced by a global NGO.
The switching to immigrant in employment is tied to installing ONE WORLD global labor systems structure and no matter what Trump is pretending THAT GOAL has not changed---they are just shuffling people around. Yes, that is what the 2008 economic crash and massive layoff of US citizens was about----injecting global labor pool. This coming CONGRESSIONAL INFRASTRUCTURE FUNDING will then be used to fund bringing global labor pool to do those projects in US cities.
National Employment Law Project
BRIEFING PAPER
April 2013
Scarring Effects
:
Demographics of the Long
-
Term Unemployed and the Danger of Ignoring the Jobs Deficit
By Mike Evangelist and Anastasia Christman
EXECUTIVE SUMMARY
Four years after the official end of the Great Recession, millions of America’s workers continue to struggle to survive without a paycheck. This persistently high level of unemployment is the real cliff that threatens our economy.
Lost wages, a smaller tax base, less consumer spending, and disproportionate growth in lower-wage sectors pose fiscal challenges for decades to come.
This report—the first of two being released by the National Employment Law Project this spring—explores who the long-
term unemployed are and how their ongoing estrangement from the labor force hurts the entire economy. We suggest that the diversity of this population means it will take a variety of
job creation measures to reattach them to the workforce, and that the longer we wait in the name of austerity
to implement these programs, the more intractable t
he problem of long-term unemployment will become. The second report, scheduled for release next month, will propose
a range of policies to trigger a recovery for those who have thus far been left out, ranging from short-term options designed to give the long-term unemployed a leg up in the labor market, to longer-term projects that would invest in America’s workers and communities.
Among this report’s key findings are the following:
Taken together, the “sequester” and other budget-cutting policies will likely slow GDP this year by 2.1 percentage points, costing the U.S. economy over 2.4 million jobs.
All told, there are 27 million unemployed or underemployed workers in the U.S. labor force, including not only the unemployed counted by official jobs reports, but also the
eight million part-time workers who would rather be working full-time and the 6.8 million discouraged workers who want to work but who have stopped looking altogether.
Several years after the official end of the recession, the average duration of unemployment remains at least twice that of any other recession since the 1950s. An unprecedented four in ten jobless workers—nearly five million people—have been out of work for 27 weeks or longer, pushing the average duration of unemployment up to 37 weeks, nearly 6 weeks longer than during the worst of the 1980s downturn.
Women constitute a smaller portion of the long-term unemployed than their overall representation in the
workforce, but continuing budget cuts and public sector job losses since the recession officially ended have unnecessarily slowed the recovery for women.
Austerity measures and public sector layoffs contribute to a disproportionately high representation of African-American workers among the long-term unemployed.
One in five jobs in state and local government lost during the downturn resulted in a pink slip for an African-American worker.
And because Latino youth make up 30 percent of all youth enrolled in federal job training programs, cuts to federal and state education and workforce budgets threaten to reverse recent gains for these workers and could disproportionately affect Latinos.
Older unemployed workers suffer the highest percentage of long-term unemployment of all age groups, with more than half of unemployed workers ages 45 and older out of work for longer than 27 weeks. With families to support and mortgage payments to make, older unemployed workers have fewer years to make up for lost retirement savings and are likely to instead fall back on already strained disability, medical, and income support programs.
A college degree is not a guarantee of work. During the Great Recession, the number of long-term unemployed with a bachelor’s degree in creased fivefold, while those with some college experienced a similar increase.
Even now, there are just over 900,000 long-term unemployed
workers with a bachelor’s degree.
Public sector jobs are an important avenue for workers with more formal education: almost 16 percent of recent graduates with a bachelor’s degree go into government work, as do nearly 26 percent of those with advanced degrees.
With ongoing austerity measures limiting these employment opportunities, however, more of these workers will be pushed to join the 15 percent who already go into service occupations.
The Great Recession exacerbated a long-term trend away from good jobs. Six in ten jobs lost during the downturn were in mid-wage occupations.
By comparison, during the recovery, employment in lower-wage occupations grew by 2. times more than employment in mid-and high-wage occupations.
Not only do these jobs pay inadequate wages, low-wage jobs in food services, retail, and employment services are synonymous with high turnover, erratic work schedules, limited access to employee benefits, and few opportunities for career advancement.
The elimination of good jobs over the past three decades continues to hollow out our nation’s middle class and fuel growing income inequality.
Recent economic research indicates that growing inequality
could lead to lower economic growth and slower job creation in the future.
The focus on austerity, with its concomitant decrease in quality mid-wage public sector jobs and decrease in public sector
demand for goods and services from the private sector, is exacerbating this trend. Rather than taking the lead
by employing workers to provide the quality public services our country needs to thrive, we are cutting teaching, public safety, and public service workers. Instead of investing in improved physical infrastructure, transit, and energy efficiency, we are
allowing the backbone of our economy to crumble.
___________________________________________
This is Federal funding for STATE LEGAL AID----it was in place to assure all citizens access to legal representation above what a state would provide. In states like Maryland where legal aid and public justice is simply LIP SERVICE------we can be assured these funds have been misappropriated into our lawyer's guild pockets. All legal action geared towards our poor and working class is all paperwork----the lawyers always plead ----settle for small cash awards so there is no justice happening from these Federal legal services corporation agencies.
'The Legal Services Corporation (LSC) is a publicly funded, 501(c)(3) non-profit corporation established by the United States Congress. It seeks to ensure equal access to justice under the law for all Americans by providing civil legal assistance to those who otherwise would be unable to afford it. The LSC was created in 1974 with bipartisan congressional sponsorship and the support of the Nixon administration, and is funded through the congressional appropriations process'.
Far-right wing global Wall Street states like Maryland have turned their state's attorney office into servicing only corporate and international legal needs for these few decades----our public justice and white collar crime units have been dismantled completely. Even the amount of legal representation required by US Constitutional law and Federal law is slowly being ignored ---it has largely been outsourced to PRO-BONO meaning a citizen is not assured of justice ---only if a private lawyer CHOOSES to take the case----IT IS CRAZY STUFF IN MARYLAND-----NO CITIZENS WITH RIGHTS!
We are sure Trump is going to eliminate all these Federal legal aid agencies but guess what? They were being ignored and misused these few decades of Clinton/Bush/Obama---it is critical we rebuild these public justice agencies but it can be done LOCALLY WITH OUR CITY REVENUE AND IT MUST!
Legal aid agency cuts staff, offices
By steve mcconnelL (Staff Writer) / Published: July 14, 2012Article ToolsFont size
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The poor may now have nowhere to turn to take on the law.
Rounds of federal and state cuts this year targeting the only nonprofit agency in Northeastern Pennsylvania offering free legal services for civil disputes has taken its toll.
Officials with North Penn Legal Services said they were forced to lay off 15 percent of its workforce and close two offices.
So now, people with limited funds and nowhere else to turn will have to pay a lawyer - even though they probably cannot do so - to fight their former boss for unemployment compensation, convince a judge they're broke and need to declare bankruptcy, or quickly get a protection-from-abuse order to ward off an abusive spouse, said Alison L. Norton, director of development and communications, on Friday.
Even before their state funding was sliced 20 percent and federal funding chopped 14 percent, the agency still had a hard time helping the poor weed through complex legal issues and court paperwork to help them attain a solution to their problems.
"For every one person we serve, we turned one away because we don't have the staff or dollars," she said.
Because of the cuts, they will be unable to handle nearly 1,600 cases of the thousands brought to their lawyers and paralegals by people with limited funds and nowhere else to turn.
In 2009, the agency accepted 10,304 new cases, according to its website.
At its Scranton office on Linden Street, two staff members were laid off and another full-time employee's hours were reduced to part time.
At the Honesdale office at the Wayne County courthouse, one position was eliminated, Norton said.
Overall, the agency laid off 12 staff members to contend with its $1 million budget shortfall.
The layoffs include attorneys, paralegals, support staff, intake workers and administrators.
The agency, which offers the free legal services to residents in 20 counties, including Luzerne and Carbon counties, closed its offices in Jim Thorpe and Mansfield.
An office at 2 W. Broad St. in Hazleton remains open.
The cuts mean they will now only be able to employ one legal aid advocate for every 10,000 people living in poverty in the 20-county area, the agency said.
State Sen. John Blake, D-22, Archbald, said he voted against the state budget this year in part because of its negligence toward properly funding social service programs.
"There has been a pattern of behavior extending back to the first Corbett budget" that has been "very harmful to the safety net for people in need," Blake said.
Efforts to reach a spokeswoman for Gov. Tom Corbett were unsuccessful on Friday.
The agency also offers legal help for the poor who may be having troubles with their landlord or may have had their utilities turned off, among other civil disputes.
Only residents who are 125 percent at or below the federal poverty guidelines qualify for the free legal aid, among other conditions. For example, a family of four earning at or under $28,813 would qualify, pending other factors, Norton said.
"It's sometimes the last resort for people who have gotten themselves in a fix," Blake said, "and it's the only way they can get themselves represented."
Options are limited - bar associations do offer pro bono legal services, though it can be restricted.
Private attorneys can be expensive.
"A good estimate hourly rate is $250 ... for a private attorney, that's a ballpark," Norton said, though it could be for three to five hours of legal services.
"They can't come up with $250 for an hour," she said. "You can do the math. They don't have that kind of income."
'TRAINED INDEED, TO CONSIDER AND LIVE FOR MYSELF'
Lucretius V 961
This is what a free citizen has for a goal. No education policy in Baltimore with this goal for the 99% of citizens because they are installing RACE TO THE TOP AND COMMONER CORE.
Let's look at a few of the agencies below. The most glaring because of Trump action is NATIONAL PUBLIC MEDIA AND THE ARTS. We have spoken often about the total capture of these by global Wall Street especially after 2010 so we lost those as public agencies these few decades. This is why we have NO PUBLIC INTEREST JOURNALISM OR INFORMATION coming from what is funded to be the voice of communities. Today let's look at MUSEUM AGENCIES.
We have shouted here in Baltimore that our PUBLIC MUSEUMS=====the Walters Museum and Baltimore Museum of Art has been tied to MUNICIPAL BOND DEBT as are our public schools at the time of massive bond market collapse. BMA has always been held by a small group of select 'non-profit' committee members but it is that designation PUBLIC that has both museums open to all and offering cultural and arts programming geared to 99% of citizens. The Walters Museum is world class and a valuable gift to Baltimore citizens---the bond debt combined with Trump's timing of DEFUNDING THE NATIONAL ARTS ENDOWMENT sets the stage for our museums and all subsidies for community arts to disappear. What is the mantra for WRAP-AROUND SERVICES? After school corporate non-profit arts programs. Why did they not install art teachers in public schools? Because global Wall Street was only posing progressive in keeping liberal arts and humanities in schools for the 99%----global corporate campus schools will only train for a job unless you are that exceptionally creative person.
Please keep in mind----it was always the goal of Clinton/Obama global Wall Street neo-liberals that these arts and culture programming would disappear---IT IS NOT JUST TRUMP.
Quasi-official agencies
- 5.1 Arts & cultural agencies
- 5.2 Museum agencies
- 5.3 Commerce & technology agencies
- 5.4 Defense & diplomacy agencies
- 5.5 Human service & community development Agencies
- 5.6 Interior agencies
- 5.7 Law & justice agencies
Quasi-official agencies
Arts & cultural agencies
- John F. Kennedy Center for the Performing Arts
- National Trust for Historic Preservation
- National Building Museum
- National Gallery of Art
- Smithsonian Institution
- Smithsonian Police
- National Zoological Police
- Smithsonian Office of Protective Services
- US National Museum
- US National Zoo
- US National Theater
- Woodrow Wilson International Center for Scholars
- Smithsonian Police
- Washington National Cathedral Foundation
- North American Electric Reliability Corporation
- Municipal Securities Rulemaking Board
- National Futures Association
- Public Company Accounting Oversight Board
- Financial Industry Regulatory Authority
- American Institute in Taiwan
- Millennium Challenge Corporation
- National Endowment for Democracy
- United States Institute of Peace
- National Industries for the Blind
- Neighborhood Reinvestment Corporation
- Access Board
- AbilityOne Commission
ARTS & CULTURE
01/19/2017 01:53 pm ET | Updated Jan 19, 2017
Trump Reportedly Plans To End National Arts Funding
His administration may shutter the National Endowment for the Arts and the National Endowment for the Humanities. That’s not good.
By Claire Fallon
Well, having art and culture sure was cool while it lasted!
President-elect Donald Trump plans to dramatically slash funding for the humanities when he takes office, according to a new report from The Hill. In meetings with White House staff, Trump transition officials have reportedly indicated that the administration will shutter the National Endowment for the Arts and the National Endowment for the Humanities, as well as privatize the Corporation for Public Broadcasting.
The Hill report notes that the floated budget cuts “hew closely to a blueprint published last year by the conservative Heritage Foundation.” It’s previously been reported that the think tank has been enormously influential in shaping Trump’s nascent administration.
In the “Blueprint for Balance: A Federal Budget for 2017,” the Foundation devotes one page each to the eliminations of the NEA and the NEH, which is more than enough to paint a chilling picture for supporters of public arts funding.
In its argument for closing the NEH, the Heritage blueprint proclaims, “government should not use its coercive power of taxation to compel taxpayers to support cultural organizations and activities.” On a similar note, it states of the NEA, “Taxpayer assistance of the arts is neither necessary nor prudent [...] Taxpayers should not be forced to pay for plays, paintings, pageants, and scholarly journals, regardless of the works’ attraction or merit.”
Reached via email, both the NEA and the NEH declined to comment specifically on the report. “We’re not speculating on what policies the president-elect (or the Congress) may or may not choose to pursue,” Victoria Hutter, assistant director of public affairs at the NEA, told HuffPost.
“We are not going to speculate on the policies or priorities of the new Administration,” NEH spokeswoman Theola DeBose reiterated.
The act forming the NEA and the NEH was signed into law by President Lyndon B. Johnson in 1965, in response to a movement to restore due attention and emphasis to the arts in an age driven by scientific innovation and exploration ― an imbalance that hasn’t gone away, as universities today focus on STEM and slash humanities funding.
Though the Heritage Foundation blueprint argues that the endowments can and should be replaced by philanthropy, the NEA and NEH serve a unique purpose. Relying solely on individual arts giving and spending can leave humanities institutions and creatives at the whims of the super-wealthy ― think Trump’s foundation purchasing a portrait of the man himself for thousands of dollars, or, more typically, a moneyed New Yorker donating millions to her favorite opera house ― but the NEA and NEH take on initiatives in partnership with state and local organizations to shore up arts and humanities access in underserved communities. Government grants are offered to cultural institutions and individuals who submit outstanding proposals that hold up to objective vetting and review. The NEH has supported the creation of 16 Pulitzer Prize-winning books and Ken Burns’ iconic documentary “The Civil War.” The NEA also helped get the Sundance Film Festival off the ground.
In a statement responding to the report, literary human rights organization PEN America denounced the alleged proposed cuts as a sign of a “new Dark Ages,” arguing: “The announcement that this is even under consideration casts a sinister cloud over our vibrant national culture.”
Of course, shutting down the NEA and NEH isn’t as simple as a presidential decree issued on Jan. 21. As writer Celeste Pewter pointed out in an extensive Twitter thread, any proposed cuts to various government agencies would depend on Congressional budgets and appropriation:
Much as floods of phone calls from constituents resulted in GOP lawmakers backing down from a secretive push to gut the Office of Congressional Ethics earlier this month, voters opposed to the drastic cuts reported by The Hill can make supporting those budgetary changes deeply uncomfortable for their representatives. For those worried about a possible impending “Dark Ages” of the humanities, repeatedly calling congressional representatives to vocally oppose shuttering the NEA and NEH is a clear and practical next step: It could help save them.
Given Trump’s previously documented lack of interest in books and art that aren’t about himself ― as well as the Heritage Foundation’s power in his transition ― this latest report shouldn’t come as too much of a shock. But the drastic nature of the proposed cuts is nonetheless unsettling, and on the eve of the inauguration, offers a grim vision of what art and culture could face in Trump’s America if the people don’t fight hard to protect them.
____________________________________________
In the DARK AGES before the Reformation and Age of Enlightenment only the global 1% and their 2% had access to high culture and the actors and musicians fought for PATRONS. The Actor's and Music Guild's today still have that association that is why a MERYL STREEP endorsed ARISTOCRACY and HILLARY to replace Democracy.
'The act forming the NEA and the NEH was signed into law by President Lyndon B. Johnson in 1965, in response to a movement to restore due attention and emphasis to the arts in an age driven by scientific innovation and exploration ― an imbalance that hasn’t gone away, as universities today focus on STEM and slash humanities funding'.
Global Wall Street pols Clinton/Bush/Obama have been marching back to STEM only in schools as above we see NEA and NEH was largely funded as part of MLK'S WAR ON POVERTY. Obama dismantled all of MLK's War on Poverty with Race to the Top and the Affordable Care Act. This is why all cultural programming Obama funded had funds coming to CORPORATE ARTS AND MUSIC NON-PROFITS and not public schools.
IT WAS TEMPORARY TO POSE LEFT SOCIAL PROGRESSIVE.
'By the time Bill Clinton took the oath of office in 1993 the Democrats had accepted the hard fact that most of the Great Society goals had not been, nor could they ever be, accomplished, and they did not push for new social legislation'.
It was Bill Clinton in the 1990s who started to DEFUND PUBLIC SCHOOLS following REAGAN NEO-LIBERALISM and sent the funding to start the foundation for CHARTER SCHOOLS under the guise of the same mantra of offering better schools for low-income. Parents in the 1990s KNOW this is when our local public schools started losing their staff from arts, music, theater MOVING FORWARD TO SIMPLY STEM-----BUSH SUPER-SIZED THIS. Since Clinton was far-right wing global Wall Street and not left social Democrat this is when all POSING AND LYING about policies helping the working class and poor started. Here in Baltimore at that same time BALTIMORE READS was the policy as a then MAYOR SCHMOKE handed Baltimore's Public Schools to the state and that started the closing of all public schools in city center. This is when parents started to have bake sales to fund these kinds of activities.
BYE BYE ANY KIND OF ARTS AND MUSIC IN SCHOOLS IN THE 1990S UNDER CLINTON.
As Schools Trim Budgets, The Arts Lose Their Place
By SUSAN CHIRA
Published: February 3, 1993
Arts education, long dismissed as a frill, is disappearing from the lives of many students -- particularly poor urban students. Even though artists and educators argue that children without art are as ignorant as children without math, their pleas have gone unheard as schools have struggled with budget cuts.
Now, in a new campaign to preserve the arts in schools, supporters are taking a different tack. They argue that art classes teach the very qualities that educators believe can reinvigorate American schools: analytical thinking, teamwork, motivation and self-discipline.
A Vanishing Subject
"Arts education in the public schools is very much at risk of being eliminated if we are not more vigilant," said Carol Sterling, director of arts education for the American Council on the Arts. "We must demonstrate that when children do arts, they are doing critical thinking and problem-solving and learning about civilization. Unless we categorize this in terms people understand, arts will always be considered a frill."
There is little reliable up-to-date information on how many schools actually teach art, music, dance or drama. In states like Minnesota, Oklahoma and South Carolina, arts education is thriving. But in many cities and towns, tight budgets mean that arts are the first to go. In California, fiscal problems have wiped out art classes in many schools, particularly in Los Angeles.
In New York City, a mecca for artists, two-thirds of public elementary schools have no art or music teachers. Many highly regarded programs are suffering, including the selective-admissions high schools for which New York was once renowned. Not only have teachers and classes been eliminated, but even supplies and instruments for after-school activities like band or theater productions are gone.
By contrast, Japan and Germany require schoolchildren to study the arts every year, and their schools devote more classroom time to arts than American ones.
Yet America's changing economy and its increasing ethnic diversity make arts education more important than ever before, experts argue.
The Case for Arts What the Arts Can Teach
Few educators dispute the arts' importance, but they argue that hard times demand hard choices. "Yes, I want more art, but my priorities are what?" said James S. Vlasto, a spokesman for the New York City school system, which has seen tight budgets cut arts classes severely. "Do I preserve class sizes from kindergarten through sixth grade at less than 40? We need more art, we certainly do, but we need more bilingual teachers."
Yet arts are vital, supporters argue, because they can help develop the very skills employers say they want, offer lucrative job opportunities and teach sensitivity to other cultures. Arts education, its supporters say, helps children develop their own artistic talents, encourages some to stay in school, builds future audiences and teaches them about past civilizations. Moreover, new theories about how children learn and think suggest that the arts can inspire children often dismissed as failures.
"When there is no art in school, there is usually no alternative to learning by the written and spoken word," said Carol Fineberg, an arts education consultant who has examined how children developed analytical abilities through studying art. "Kids who have a capacity to communicate visually have no avenue for expression. They feel themselves with each year increasingly a failure."
Running so fast he lost his breath, a boy rushed into Ms. Acevedo's art room and handed her a bag. "Blue bottle caps!" shouted the teacher, who seemed as excited as the boy. "Awesome!"
The bottle caps will become objects of art. They might become the eyes on an African mask, or the buttons on an American Indian dance costume.
"If you're painting, roll up your sleeves," Ms. Acevedo called to children clustered in groups of eight around three big round tables. "Let's go!"
The fourth graders knew just what to do. They scurried in all directions. Some children pulled their Japanese paintings off a clothesline strung across the room. Others took out knives to work on origamic architecture, a three-dimensional Japanese paper design.
At the end of the hour, Ms. Acevedo told her students not to worry if their projects were incomplete. "You can come in at break or after school," she said, and there was not a word of protest among the students about the suggestion of giving up free time to do unfinished schoolwork.
The Past and Present Mrs. Molloy's Piano Or Nothing at All
Formal arts education in the United States began in the late 19th century, with the rationale that future workers needed to be able to design competitive industrial goods. Many artists, in particular minority artists like the conductor Michael Morgan, had their first contact with art in public school.
That is not to say that arts education was uniformly good.
"I don't know when the Golden Age was," Dr. Fineberg said. "In the 1950's, when I went to elementary school and Mrs. Molloy played the piano, we had what laughingly passed for music education."
In fact, 75 percent of Americans in a 1989 National Endowment for the Arts report said they had never had any art appreciation classes, and 43 percent had never had art lessons.
Yet if arts education has always been spotty, experts say things are worse now.
____________________________________________
Our US public schools and communities have always been funded for the arts and culture---FDR expanded who attended public schools----LBJ expanded this even more. Depending where in the nation you lived because this funding in some states did not make it to classrooms or communities----This was LEFT SOCIAL DEMOCRACY----CAPITALISM and it was funded by TAXATION OF CORPORATIONS.
The difference between CORPORATIONS AS PATRONS and citizens having community arts and culture funding which they control is the difference between the MEDICIS patronizing artisan workshops for splendid works with workshop artisans barely FED----AND a US Federal system that takes some taxes paid by a 99% of people sending it to cities to dispense to communities and public schools with those citizens creating their own cultural vehicles. Now, those PESKY OLD WORLD MERCHANTS OF VENICE --THE GLOBAL 1% they didn't think much about arts and music at all---they are all business or in today's terms STEM.
MERCHANTS OF VENICE ARE STEM PEOPLE.
This is why CLINTON/BUSH/OBAMA have been erasing all cultural avenues from public schools and communities for the 99%. Clinton moved to corporatize our public media moving from local public media programming to national media that became increasingly global Wall Street Clinton neo-liberalism/ Bush neo-conservatism. Of course all this was sold as helping the working class and poor.
Teaching with Visual Culture
According to A New Deal for the Arts, an exhibit from the National Archives, during the depths of the Great Depression of the 1930s and into the early years of World War II, the Federal government supported the arts in unprecedented ways. For 11 years, between 1933 and 1943, federal tax dollars employed artists, musicians, actors, writers, photographers, and dancers. Never before or since has our government so extensively sponsored the arts. These archival materials explore categories of art—visual artists, writers, filmmakers, for example—and discuss examples and their creators.
ARTS AND CULTURE FLOWED TO 99% OF CITIZENS LAST CENTURY AND EVEN OVER THE HISTORY OF AMERICA AS WESTERN SETTLERS WOULD HAVE OPERA ----CLASSICAL PERFORMANCES---AND FOLK ART BLACK, WHITE, AND BROWN CITIZENS.
It is the MOVING FORWARD to extreme wealth creating the old world division between barely fed artisans and performances for KINGS AND QUEENS. Trump will MOVE FORWARD construction of artisan workshops tied to global corporate campus schools and allow global hedge funds to fund HIGH ART AND MUSIC.
Mar 31 2009
What makes the New Deal and Franklin Roosevelt's presidency particularly exciting to teach in history classrooms today?
In part, apparent parallels between current events and history. The downward spiral of the Dow Jones, continued news about job layoffs, failures of financial institutions, economic stimulus plans, and executive and legislative initiatives evoke the specter of the 1930s.
The internet is full of classroom resources for teaching about the New Deal—arguably, perhaps more than for any other era. We've highlighted a few below that serve as gateways to this internet wealth and a few that address specific subjects and content.
The Overview
During his first 100 days in office, President Roosevelt set an unprecedented legislative pace, sending 15 requests to Congress for action—all of which Congress passed. How FDR Made the Presidency Matter (The New York Times, January 16, 2009) summarizes Roosevelt's record-breaking legislative achievements. (This article is an entry in The Times 100 Days Blog that offers a historical perspective of the first 100 days in office of five 20th century presidents: Franklin Roosevelt, John Kennedy, Lyndon Johnson, Richard Nixon and Ronald Reagan. Blog entries compare their experiences with those of President Obama.)
Don't miss this! The March edition of History Now, a quarterly journal from the Gilder Lehrman Institute of American History, focuses on multi-faceted approaches to learning about and to teaching the Great Depression. In this issue: The Great Depression: An Overview, historian David Kennedy roots the causes of the economic crisis in World War I and discusses the state of the nation during the 1920s, and the New Deal and its effects. Other content areas include lesson plans for elementary through high school including women, the Dust Bowl, migrant farmworkers, popular culture; an exhibit from New York's Lower East Side Tenement Museum; and a variety of additional resources from historians, archivists, and educators.
Annenberg Media's series, America's History in the Making, the film, Film 18, By the People, For the People looks at how a new relationship between individuals and the government arose in the face of plummeting agricultural exports, the stock market crash, and environmental disaster all led to an unprecedented economic depression. Sign up for Video on Demand, a free service of Annenberg Media, in order to access series films.
Teaching with Visual Culture
According to A New Deal for the Arts, an exhibit from the National Archives, during the depths of the Great Depression of the 1930s and into the early years of World War II, the Federal government supported the arts in unprecedented ways. For 11 years, between 1933 and 1943, federal tax dollars employed artists, musicians, actors, writers, photographers, and dancers. Never before or since has our government so extensively sponsored the arts. These archival materials explore categories of art—visual artists, writers, filmmakers, for example—and discuss examples and their creators.
Picturing U.S. History: an interactive resource for teaching with visual evidence, is a digital project from City University of New York and funded by the National Endowment for the Humanities. Developed on the premise that visual materials are vital to understanding the American past, Lessons in Looking, a guide to Web resources, forums, essays, reviews, and classroom activities, helps teachers incorporate this visual evidence into their classrooms. In March 2009, George Mason University professor, Barbara Melosh focuses on teaching the Great Depression through photographs, political cartoons, comics, graphics, prints, and posters. A series of thoughtful essays and comments describes, annotates, and contextualizes selected visual works from the 1930s.
Websites
Best History Websites: US History Great Depression may be the gateway motherlode. This briefly annotated list is divided into three sections: Great Depression in the News; General Information; and Lesson Plans, Teacher Guides, Activities and More. Among the helpful resources: Teaching K-12 Economics and Taking Stock in the Past for the Future: Examining the Causes and Effects of the 1929 Stock Market Crash Through News Coverage in The New York Times, a 1999 lesson plan from New York Times Learning Pages.
New Deal Network is an educational guide to the Great Depression of the 1930, sponsored by the Franklin and Eleanor Roosevelt Institute and the Institute for Learning Technologies at Teachers College/Columbia University and funded in part through a grant from the National Endowment for the Humanities. Document Library. The site is both a gateway and a resource center to just about any imaginable resource on The Great Depression, and includes Lesson Plans, K-12. (NHEC's Lesson Plan Reviews evaluates the approach of one of the Network's lesson plans for elementary school, Children's Letter's to Mrs. Roosevelt).
At Edsitement, the lesson plan, Worth a Thousand Words: Depression-Era Photographs, gives guidelines for working with the image library of the New Deal Network.
America in the 1930s, a project, developed by the American Studies Program at the University of Virginia, allows visitors to view the 1930s through films, radio programs, literature, journalism, museums, exhibitions, architecture, art, and other forms of cultural expression. The site itself is best for students in high school and above; however, it contains excellent resources, such as audio of 1930s radio programs, that teachers can use with students of any age. Materials are most easily accessed through the organized Site Index.
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We will say this----most of public art both national and city in museums are there FOR STORAGE. As US went to GREAT DEPRESSION with all economic structures and business wealth gone to the few global 1% Robber Barons there were no avenues for protecting and maintaining valuable art history so the rich sent their collections to PUBLIC GALLERIES.
As with the Walters and Baltimore Museum of Art the families of those wealthy PATRONS OF THE ARTS having donated to our national galleries and city museums now have enough money to have personal art collections in their HOMES/OFFICES.
Already we are seeing master art pieces being sold overseas but as well we are seeing them sold to private 'collectors' from our public galleries. We are told this is to send revenue to our STARVED CITY AND NATIONAL TREASURIES. So, they are draining our government coffers of revenue and then finding the need to sell valuable arts and book collections. This happened all through CLINTON/BUSH/OBAMA---it will now SOAR under Trump including Baltimore's public collections.
This is especially true of our SMITHSONIAN INSTITUTE---NATIONAL THEATER----remember we talked about how Washington DC parking for commuter buses was getting harder and harder if you were not a global commuter corporation? Those public school buses lining national square for our Smithsonian and national art galleries?
THEY DON'T HAVE THAT IN THIRD WORLD FAR-RIGHT AUTHORITARIAN SOCIETIES.
- National Gallery of Art
- Smithsonian Institution
- Smithsonian Police
- National Zoological Police
- Smithsonian Office of Protective Services
- US National Museum
- US National Zoo
- US National Theater
- Smithsonian Police
Having Florida's Miami nearing bankruptcy is just as crazy as LA===and Baltimore -----there is tons of economic action in Miami et al. As with Baltimore it is all black market and global Wall Street tied development frauds diverting all city assets and revenues to global 1% leaving that city telling its citizens----
Our great Peabody and MICA art galleries and book collections were handed to global corporation JOHNS HOPKINS-----wait until this coming economic crash under Trump and our public library system PRATT will too be privatized/closed. That is a lot of valuable art and music privatized for NO REASON.
WE DON'T KNOW IF WE CAN AFFORD TO KEEP OUR PUBLIC MUSEUMS FUNDED!
We know how----get rid of the US CITY AS FOREIGN ECONOMIC ZONE DESIGNATION as in Baltimore and move from being a BANANA REPUBLIC to returning to being a democratic republic under US Rule of Law and US Constitution.
North Miami Fights to Keep Its Art Museum
By PATRICIA COHENMAY 18, 2014
Babacar M’Bow was appointed by the city manager to be the Museum of Contemporary Art’s director. Credit Angel Valentin for The New York Times
NORTH MIAMI, Fla. — Anyone looking to meet the director of the tiny but highly regarded Museum of Contemporary Art here has two choices. Head into the museum, where its interim director, Alex Gartenfeld, has an office. Or go next door to City Hall, where the city manager’s appointee to the same position, Babacar M’Bow, is essentially working in exile.
The dueling directors are just part of the chaos emanating from a bitter showdown that has erupted between MoCA, as the museum is known, and the city that founded it.
The museum’s board, which has not approved Mr. M’Bow’s appointment, wants to leave this working-class city and merge with the Bass Museum of Art in Miami Beach, its wealthier and more glamorous neighbor. It says that North Miami has neglected the museum building and failed to support a needed expansion.
City officials, in turn, accuse the board of secretly plotting to make off with North Miami’s cultural patrimony. “The collection belongs to the city, and they are trying to steal it,” Mayor Lucie Tondreau said.
The departure may not resonate on the scale of, say, the Dodgers leaving Brooklyn, but the threatened loss of the city’s only art museum to a flashier oceanside neighbor is producing a sizable dose of rancor here.
Museum officials say the city has changed the passwords on email accounts. City employees say the museum cut off access to its bank statements. The dispute has landed in court.
Yet the legal wrangling may overshadow the more profound issues that confront this and other cities across the country that are engaged in complicated public-private partnerships.
Who owns a museum? The city that founded it? The community it serves? The donors who helped finance it or the board members entrusted to run it?
The Detroit Institute of Arts, for example, is operated by a nonprofit organization, but its collection, now threatened with the municipal bankruptcy there, is owned by the city. In Vancouver, Wash., the National Park Service, a nonprofit trust and the city battled recently over control of the Pearson Air Museum.
The debate is particularly fraught in South Florida, because of the sometimes tense relationship between North Miami, which has one of the largest concentrations of Haitians in the United States, and Miami Beach, a haven for vacationing billionaires and college students on spring break.
Greater Miami, teeming with galleries, private museums and fairs like Art Basel, has become a global art center. That success, however, has challenged the Museum of Contemporary Art to maintain its international reputation and relevance in the face of “newer, larger and more glamorous institutions, events and exhibitions in the South Florida area,” the board confessed in its lawsuit.
While the Bass Museum is fronted by a blocklong promenade that leads directly to the beach and faces sumptuous hotels, the Museum of Contemporary Art is situated in North Miami’s downtown, near the DaVita Dialysis Center and the Bible Emporium, which sells Creole, French and Spanish translations.
The Museum of Contemporary Art’s building was constructed in 1996 with federal, state and county funds, with an eye to developing cultural institutions in downtown North Miami. The city established the museum as a nonprofit corporation, in part so that gifts would be tax deductible, and created a board of trustees to operate the museum on its behalf.
“They work for us,” Ms. Tondreau said of the museum’s board. She noted that the museum’s mission statement says it is “dedicated to making contemporary art accessible to diverse audiences — especially underserved populations.”
That means “serving this community,” she said, drumming her finger on a pie chart showing that nearly 60 percent of North Miami’s 60,000 residents are black, compared with 4.4 percent of Miami Beach’s 90,000 inhabitants. The city currently provides about a quarter of the museum’s $4 million annual budget.
The 27 trustees, primarily philanthropists and collectors who live outside the city, generate most of the revenue through donations, fund-raising and grants.
“A museum doesn’t check ZIP codes at the door,” Mr. Gartenfeld said. “It works to achieve the greatest good.” And now the city of North Miami, he said, has “limited our ability to provide for that greater good.”
The museum has won several awards and grants for its after-school, weekend and summer programming, which serve more than 10,000 children and adults each year. In December, more than 4,000 showed up for the Art Basel kickoff bash that the museum co-hosts.
At the same time, the museum has accumulated, through donations and acquisitions, an impressive 600-plus piece collection that includes art by John Baldessari, Tracey Emin, Louise Bourgeois and Robert Rauschenberg.
Yet the small gallery space — about 12,000 square feet — means there is room for no more than one or two exhibitions at a time, even without displaying any of the permanent collection. An ambitious expansion was planned, but in 2012 voters rejected a $15 million municipal bond proposal to finance the project.
Ray Ellen Yarkin, president of the board, said that the museum made no secret of its desire to leave after the bond proposal failed.
Museum officials say they told North Miami’s city manager, Stephen Johnson, of their interest in merging with the Bass Museum last August.
But Mr. Johnson, who is now the police chief for the city of Miami Gardens, and Ms. Tondreau, who took office a year ago, say they did not hear of a possible merger until December, when news organizations began asking about it. Museum officials, they said, initially played down the reports as rumors.
Alan Waufle, the museum’s assistant director, said Mr. Gartenfeld also told staff members not to worry about such whispers.
Mr. Waufle, who is paid directly by the city, not the museum, under the complex operating agreement, described the museum as “an interesting place to work” right now.
“There is less of a collegial feeling,” he said.
Ms. Tondreau said that museum officials only confirmed the merger in February, when the negotiations were nearly finalized, adding, “I was very shocked.”
The dispute quickly escalated.
Although a 10-year management agreement with the city was signed in 2008, the board declared North Miami had breached it by, among other things, failing to fix the roof, pay Mr. Gartenfeld’s salary and provide sufficient security (despite its location, next to Police Department headquarters). The museum filed suit last month to terminate the contract. It noted that the agreement states that the “Board shall own, protect and manage the permanent MoCA collection of art.”
The city countered that the board is simply managing the collection on the public’s behalf. Then the City Council passed an ordinance taking back from the board the power to appoint and remove museum trustees.
The uproar has split prominent collectors here. Rosa de la Cruz, who has donated several works to the museum, is outraged by the proposed merger. “That museum was built to enhance the city,” she said. “The collection belongs to the people.”
Another donor, Martin Z. Margulies, blamed city officials. “They’ve taken 18 years of hard work and generous supporters and thrown them down the drain,” he said.
This month a Miami-Dade County judge ordered the city and the museum to start a mediation process that could include alternatives to a merger with the Bass. In the meantime, though, museum’s future is in limbo.
Summer programs have been transferred off-site, and there are months coming up without any scheduled exhibitions.
“In this war,” Mr. M’Bow said, “nobody is going to win.”
____________________________________________
We all know our Federal HUD and Health and Human Services surrounding DISABLED are being looted by global Wall Street and/or defunded-----well here is that QUASI-GOVERNMENTAL agency that will be said to DUPLICATE what the above is not doing. These are all LBJ War on Poverty agencies that became corrupted during CLINTON/BUSH/OBAMA ----all of the grants have been sent to global Wall Street Baltimore Development or to corporate non-profits that then make sure they DO NOT DEVELOP COMMUNITIES surrounding city center. If we look at how it was involved in the foreclosure program we can guess these agencies during Clinton/Bush/Obama were used to pedal SUBPRIME MORTGAGE LOAN FRAUD.
Again, how much these agencies helped the working class and poor depended on region ----there were plenty of people helped====here we see our AMERICANS WITH DISABILITY ACT agencies that under Clinton with his EXECUTIVE ORDER FEDERALISM ACT-----saw that US Constitutional Amendment IGNORED. These agencies have largely been used to funnel PAY-TO-PLAY locally as unemployment soared. When poor citizens not disabled are given jobs under these pretexts they are being paid SUB-MINIMUM WAGE-----that's why global Wall Street pols used these agencies in that way.
They really did work in regions across the nation as I personally had disabled integrated into many of my managerial departments.
United States Access Board
Advancing Full Access and Inclusion for All ped in regions allowing funds to go where intended.
Human service & community development Agencies
- National Industries for the Blind
- Neighborhood Reinvestment Corporation
- Access Board
- AbilityOne Commission
The Neighborhood Reinvestment Corporation, doing business as NeighborWorks America, is a congressionally chartered nonprofit organization that supports community development in the United States and Puerto Rico. The organization provides grants and technical assistance to more than 240 community development organizations. NeighborWorks America provides training for housing and community development professionals through its national training institutes.[1] Since 2007, NeighborWorks America has administered the Congressionally created National Foreclosure Mitigation Counseling Program.
“Throughout this process,” according to Access Board Executive Director David M. Capozzi, “the Board worked very hard to ensure consistency with other consensus guidelines and international standards to promote global harmonization and facilitate compliance.” He noted that, “ICT requirements that are closely aligned remove ambiguity, increase marketplace competition, and lead to better accessibility features and outcomes.”
Access Board Updates Requirements for Information and Communication Technology
On January 18, the Access Board published a final rule that updates accessibility requirements for information and communication technology (ICT) in the federal sector covered by Section 508 of the Rehabilitation Act. The rule also refreshes guidelines for telecommunications equipment subject to Section 255 of the Communications Act.
“This update is essential to ensure that the Board’s Section 508 standards and the Communications Act guidelines keep pace with the ever-changing technologies covered and continue to meet the access needs of people with disabilities,” stated Board Member Sachin Pavithran. “The Access Board is grateful for the input it received from the public and stakeholders throughout the rulemaking process which greatly enhanced the final product.”
The rule jointly updates and reorganizes the Section 508 standards and Section 255 guidelines in response to market trends and innovations, such as the convergence of technologies. The refresh also harmonizes these requirements with other guidelines and standards both in the U.S. and abroad, including standards issued by the European Commission and with the Web Content Accessibility Guidelines (WCAG), a globally recognized voluntary consensus standard for web content and ICT. In fact, the rule references Level A and Level AA Success Criteria and Conformance Requirements in WCAG 2.0 and applies them not only to websites, but also to electronic documents and software.
“Throughout this process,” according to Access Board Executive Director David M. Capozzi, “the Board worked very hard to ensure consistency with other consensus guidelines and international standards to promote global harmonization and facilitate compliance.” He noted that, “ICT requirements that are closely aligned remove ambiguity, increase marketplace competition, and lead to better accessibility features and outcomes.”
The updated requirements specify the technologies covered and provide both performance-based and technical requirements for hardware, software, and support documentation and services. Access is addressed for all types of disabilities, including those pertaining to vision, hearing, color perception, speech, cognition, manual dexterity, and reach. The rule restructures provisions so that they are categorized by functionality instead of by product type due to the increasingly multi-functional capabilities of ICT products. Revisions are also made to improve ICT usability, including interoperability with assistive technologies, and to clarify the types of ICT covered, such as electronic documents.
The Board released a proposed version of the rule for public comment in February 2015 and, before that, earlier drafts of the rule. The rule is based on recommendations from an advisory panel the Board chartered, the Telecommunications and Electronic and Information Technology Advisory Committee which included representatives from industry, disability groups, government agencies, foreign countries, and other stakeholders.
The Section 508 standards, which are incorporated into the federal government’s procurement regulations, apply to ICT procured, developed, maintained, or used by federal agencies. The Communications Act guidelines cover telephones, cell phones, pagers, computers with modems, switching equipment and other telecommunications equipment.
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We want to be clear when looking at those Federal quasi-governmental agencies for our disabled ---there has been a gutting of disabled from all avenues of employment and a move to basic disabled workshop structures that do not require much access technology. The 2008 manufactured economic crash was designed not only to move tens of trillions of dollars in personal and government agency revenue to the global 1% ---it was designed as a reason to purge corporate and government employment. Leaving almost 50% of people unemployed or under-employed makes for keeping the 99% in fear of action.
All the employment gains from civil rights, labor rights, rights of disabled, senior discrimination laws disappeared during 2008 economic crash----this coming manufactured economic crash will take out women and the 5% to the 1%----
So the Neighborhood Reinvestment Corporation would also be from where housing funds for disabled would come as well. If we watch TV we see all that veteran's disability housing et al are now being outsourced to donation. These agencies have long been ignored and used for fraud and corruption. Our National Industries for Blind has been taken mostly by a global foundation for blind we have here in Baltimore -----so I'm pretty sure that agency was replaced by a global NGO.
- National Industries for the Blind
- Neighborhood Reinvestment Corporation
- Access Board
- AbilityOne Commission
The switching to immigrant in employment is tied to installing ONE WORLD global labor systems structure and no matter what Trump is pretending THAT GOAL has not changed---they are just shuffling people around. Yes, that is what the 2008 economic crash and massive layoff of US citizens was about----injecting global labor pool. This coming CONGRESSIONAL INFRASTRUCTURE FUNDING will then be used to fund bringing global labor pool to do those projects in US cities.
National Employment Law Project
BRIEFING PAPER
April 2013
Scarring Effects
:
Demographics of the Long
-
Term Unemployed and the Danger of Ignoring the Jobs Deficit
By Mike Evangelist and Anastasia Christman
EXECUTIVE SUMMARY
Four years after the official end of the Great Recession, millions of America’s workers continue to struggle to survive without a paycheck. This persistently high level of unemployment is the real cliff that threatens our economy.
Lost wages, a smaller tax base, less consumer spending, and disproportionate growth in lower-wage sectors pose fiscal challenges for decades to come.
This report—the first of two being released by the National Employment Law Project this spring—explores who the long-
term unemployed are and how their ongoing estrangement from the labor force hurts the entire economy. We suggest that the diversity of this population means it will take a variety of
job creation measures to reattach them to the workforce, and that the longer we wait in the name of austerity
to implement these programs, the more intractable t
he problem of long-term unemployment will become. The second report, scheduled for release next month, will propose
a range of policies to trigger a recovery for those who have thus far been left out, ranging from short-term options designed to give the long-term unemployed a leg up in the labor market, to longer-term projects that would invest in America’s workers and communities.
Among this report’s key findings are the following:
Taken together, the “sequester” and other budget-cutting policies will likely slow GDP this year by 2.1 percentage points, costing the U.S. economy over 2.4 million jobs.
All told, there are 27 million unemployed or underemployed workers in the U.S. labor force, including not only the unemployed counted by official jobs reports, but also the
eight million part-time workers who would rather be working full-time and the 6.8 million discouraged workers who want to work but who have stopped looking altogether.
Several years after the official end of the recession, the average duration of unemployment remains at least twice that of any other recession since the 1950s. An unprecedented four in ten jobless workers—nearly five million people—have been out of work for 27 weeks or longer, pushing the average duration of unemployment up to 37 weeks, nearly 6 weeks longer than during the worst of the 1980s downturn.
Women constitute a smaller portion of the long-term unemployed than their overall representation in the
workforce, but continuing budget cuts and public sector job losses since the recession officially ended have unnecessarily slowed the recovery for women.
Austerity measures and public sector layoffs contribute to a disproportionately high representation of African-American workers among the long-term unemployed.
One in five jobs in state and local government lost during the downturn resulted in a pink slip for an African-American worker.
And because Latino youth make up 30 percent of all youth enrolled in federal job training programs, cuts to federal and state education and workforce budgets threaten to reverse recent gains for these workers and could disproportionately affect Latinos.
Older unemployed workers suffer the highest percentage of long-term unemployment of all age groups, with more than half of unemployed workers ages 45 and older out of work for longer than 27 weeks. With families to support and mortgage payments to make, older unemployed workers have fewer years to make up for lost retirement savings and are likely to instead fall back on already strained disability, medical, and income support programs.
A college degree is not a guarantee of work. During the Great Recession, the number of long-term unemployed with a bachelor’s degree in creased fivefold, while those with some college experienced a similar increase.
Even now, there are just over 900,000 long-term unemployed
workers with a bachelor’s degree.
Public sector jobs are an important avenue for workers with more formal education: almost 16 percent of recent graduates with a bachelor’s degree go into government work, as do nearly 26 percent of those with advanced degrees.
With ongoing austerity measures limiting these employment opportunities, however, more of these workers will be pushed to join the 15 percent who already go into service occupations.
The Great Recession exacerbated a long-term trend away from good jobs. Six in ten jobs lost during the downturn were in mid-wage occupations.
By comparison, during the recovery, employment in lower-wage occupations grew by 2. times more than employment in mid-and high-wage occupations.
Not only do these jobs pay inadequate wages, low-wage jobs in food services, retail, and employment services are synonymous with high turnover, erratic work schedules, limited access to employee benefits, and few opportunities for career advancement.
The elimination of good jobs over the past three decades continues to hollow out our nation’s middle class and fuel growing income inequality.
Recent economic research indicates that growing inequality
could lead to lower economic growth and slower job creation in the future.
The focus on austerity, with its concomitant decrease in quality mid-wage public sector jobs and decrease in public sector
demand for goods and services from the private sector, is exacerbating this trend. Rather than taking the lead
by employing workers to provide the quality public services our country needs to thrive, we are cutting teaching, public safety, and public service workers. Instead of investing in improved physical infrastructure, transit, and energy efficiency, we are
allowing the backbone of our economy to crumble.
___________________________________________
This is Federal funding for STATE LEGAL AID----it was in place to assure all citizens access to legal representation above what a state would provide. In states like Maryland where legal aid and public justice is simply LIP SERVICE------we can be assured these funds have been misappropriated into our lawyer's guild pockets. All legal action geared towards our poor and working class is all paperwork----the lawyers always plead ----settle for small cash awards so there is no justice happening from these Federal legal services corporation agencies.
'The Legal Services Corporation (LSC) is a publicly funded, 501(c)(3) non-profit corporation established by the United States Congress. It seeks to ensure equal access to justice under the law for all Americans by providing civil legal assistance to those who otherwise would be unable to afford it. The LSC was created in 1974 with bipartisan congressional sponsorship and the support of the Nixon administration, and is funded through the congressional appropriations process'.
Far-right wing global Wall Street states like Maryland have turned their state's attorney office into servicing only corporate and international legal needs for these few decades----our public justice and white collar crime units have been dismantled completely. Even the amount of legal representation required by US Constitutional law and Federal law is slowly being ignored ---it has largely been outsourced to PRO-BONO meaning a citizen is not assured of justice ---only if a private lawyer CHOOSES to take the case----IT IS CRAZY STUFF IN MARYLAND-----NO CITIZENS WITH RIGHTS!
We are sure Trump is going to eliminate all these Federal legal aid agencies but guess what? They were being ignored and misused these few decades of Clinton/Bush/Obama---it is critical we rebuild these public justice agencies but it can be done LOCALLY WITH OUR CITY REVENUE AND IT MUST!
Legal aid agency cuts staff, offices
By steve mcconnelL (Staff Writer) / Published: July 14, 2012Article ToolsFont size
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The poor may now have nowhere to turn to take on the law.
Rounds of federal and state cuts this year targeting the only nonprofit agency in Northeastern Pennsylvania offering free legal services for civil disputes has taken its toll.
Officials with North Penn Legal Services said they were forced to lay off 15 percent of its workforce and close two offices.
So now, people with limited funds and nowhere else to turn will have to pay a lawyer - even though they probably cannot do so - to fight their former boss for unemployment compensation, convince a judge they're broke and need to declare bankruptcy, or quickly get a protection-from-abuse order to ward off an abusive spouse, said Alison L. Norton, director of development and communications, on Friday.
Even before their state funding was sliced 20 percent and federal funding chopped 14 percent, the agency still had a hard time helping the poor weed through complex legal issues and court paperwork to help them attain a solution to their problems.
"For every one person we serve, we turned one away because we don't have the staff or dollars," she said.
Because of the cuts, they will be unable to handle nearly 1,600 cases of the thousands brought to their lawyers and paralegals by people with limited funds and nowhere else to turn.
In 2009, the agency accepted 10,304 new cases, according to its website.
At its Scranton office on Linden Street, two staff members were laid off and another full-time employee's hours were reduced to part time.
At the Honesdale office at the Wayne County courthouse, one position was eliminated, Norton said.
Overall, the agency laid off 12 staff members to contend with its $1 million budget shortfall.
The layoffs include attorneys, paralegals, support staff, intake workers and administrators.
The agency, which offers the free legal services to residents in 20 counties, including Luzerne and Carbon counties, closed its offices in Jim Thorpe and Mansfield.
An office at 2 W. Broad St. in Hazleton remains open.
The cuts mean they will now only be able to employ one legal aid advocate for every 10,000 people living in poverty in the 20-county area, the agency said.
State Sen. John Blake, D-22, Archbald, said he voted against the state budget this year in part because of its negligence toward properly funding social service programs.
"There has been a pattern of behavior extending back to the first Corbett budget" that has been "very harmful to the safety net for people in need," Blake said.
Efforts to reach a spokeswoman for Gov. Tom Corbett were unsuccessful on Friday.
The agency also offers legal help for the poor who may be having troubles with their landlord or may have had their utilities turned off, among other civil disputes.
Only residents who are 125 percent at or below the federal poverty guidelines qualify for the free legal aid, among other conditions. For example, a family of four earning at or under $28,813 would qualify, pending other factors, Norton said.
"It's sometimes the last resort for people who have gotten themselves in a fix," Blake said, "and it's the only way they can get themselves represented."
Options are limited - bar associations do offer pro bono legal services, though it can be restricted.
Private attorneys can be expensive.
"A good estimate hourly rate is $250 ... for a private attorney, that's a ballpark," Norton said, though it could be for three to five hours of legal services.
"They can't come up with $250 for an hour," she said. "You can do the math. They don't have that kind of income."
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