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Income Inequality Rises In all 50 States

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Lakia Wilson, a guidance counselor from Detroit, Mich., said that even though you hear on television that the economy is coming back, it hasn’t come back for everyone. (Freddie Allen/NNPA)

Lakia Wilson, a guidance counselor from Detroit, Mich., said that even though you hear on television that the economy is coming back, it hasn’t come back for everyone. (Freddie Allen/NNPA)

 

By Freddie Allen
NNPA Senior Washington Correspondent

WASHINGTON (NNPA) – Income inequality is rising and it affects workers in every state, according to a new report by the Economic Policy Institute (EPI).

Researchers from EPI, a nonpartisan think tank focused on low- and middle-income workers, analyzed Internal Revenue Service data for all 50 states and found that not only was the income gap between the top 1 percent of earners and everyone else getting wider, but that the disparities were not just confined to financial centers in the east or technology centers on the west coast.

All workers took a hit during the Great Recession, but top earners have recovered faster than low- and middle-income earners. According to the report, the top 1 percent of earners captured all of the income gains (100 percent) in 17 states following the Great Recession.

And Blacks live disproportionately in states that experienced the greatest income inequality.

In seven of those states where the top 1 percent captured 100 percent of the income growth since the Great Recession, the share of the population that is Black is higher than the national average. Those states include Delaware (22.1 percent), Florida (16.7 percent), South Carolina (27.9 percent), North Carolina (22 percent), Louisiana (32.4 percent ), Virginia (19.7 percent) and New York (17.5 percent).

With the exception of Texas, where Blacks account for 12.4 percent of the population, the Black population is higher than the national average in states where the top 1 percent collected at least 80 percent of the income growth including Illinois, Arkansas, Michigan, New Jersey, and Maryland.

Mark Price, an economist at the Keystone Research Center in Harrisburg, Penn., said in a statement that state leaders and policymakers need to realize that inequality is a problem everywhere.

“If states are not passing progressive taxes and raising revenue from top earners, they are missing out on a large and growing source of income,” said Price.

Researchers found the greatest disparities between the top 1 percent and the rest of workers in New York and Connecticut where the top 1 percent earned 48 times more than the bottom 99 percent.

Disparities exist in every state.

“Even in the 10 states with the smallest gaps between the top 1 percent and bottom 99 percent in 2012, the top 1 percent earned between 14 and 19 times the income of the bottom 99 percent,” EPI reported.

Estelle Sommeiller, a socio-economist at the Institute for Research in Economic and Social Sciences in Greater Paris, France and co-author of the report, said that every state and every region in the United States is going to have to grapple with the effects of rising inequality.

“Our study paints a picture of the top 1 percent in each state. While there are differences from the 1 percent nationally, no state has escaped the troubling growth of inequality.”

The report comes on the heels of President Barack Obama’s State of the Union address where he urged employers to invest in their workforce and to pay employees overtime that they earned.

“And to everyone in this Congress who still refuses to raise the minimum wage, I say this: If you truly believe you could work full-time and support a family on less than $15,000 a year, try it,” urged Obama. “If not, vote to give millions of the hardest-working people in America a raise.”

According to a 2014 report on wages by the Center for American Progress, a progressive, education and research think tank, said raising the minimum wage to $10.10 per hour would increase the collective income of people of color by $16.1 billion.

As income inequality rises, labor union leaders, policy makers and workers express heightened concern about stagnant wages.

During a recent Raising Wages conference at the Kellogg Center at Gallaudet University in Washington, D.C,, Richard Trumka, president of AFL-CIO, said that immigration and race are also work and wage issues.

“We must have a pathway to citizenship for all immigrants, and we must be a country of dignity for all people, regardless of race or ethnicity,” said Trumka. “Justice at work and justice in our community are intertwined, and both must advance for either to grow.”

Lakia Wilson, a guidance counselor in the public school system in Detroit, Mich., said that even though you hear on television that the economy is coming back, it hasn’t come back for everyone.

“I’m struggling, all of my counterparts in my profession are struggling and in other professions we’re still struggling, so the economy is only coming back for some,” said Wilson.

Wilson, a Detroit native, with no children and degrees in elementary education and counseling, said that she considers herself part of “the working poor,” because sometimes she can’t even afford gas money to get to work.

In 2004, Wilson purchased home and used a part-time job at the community college to help cover her bills. When she lost that job, she also lost her house. She rescued her house from foreclosure by cashing out her retirement account.

Now Wilson said that sometimes she secretly envies people with food stamps at the grocery store.

“I’m counting out every penny for groceries and I realize that I don’t have enough to make it,” said Wilson.

Wilson added that people of color need to know that the struggle is real and that all workers have to get involved from the pizza workers to the professionals.

“We all have to join together to raise the wages,” said Wilson. “The money is there, we need to demand it.”

The EPI report said that today’s levels of inequality in the United States raise a “new American Dilemma.”

It explained, “In the next decade, something must give. Either America must accept that the American Dream of widespread economic mobility is dead, or new policies must emerge that will begin to restore broadly shared prosperity.”

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Oakland Post: Week of April 8 – 14, 2026

The printed Weekly Edition of the Oakland Post: Week of April 8 – 14, 2026

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Oakland Post: Week of April 1 – 7, 2026

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit. 

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM).  “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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