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OP-ED: Income Opportunity and the American Dream

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By Jean Quan, Mayor of Oakland

The middle class is not only an American creation, it is the backbone of our country and the greatest force for economic growth and prosperity in history. The middle class in America represents about half of the country’s population, but because wages have ground to a stagnant halt while the rich have become richer, our middle class is shrinking.

< p>This lack of income opportunity is a growing problem, causing the American dream to exist out of the reach of millions of Americans. The fight for our American dream has come to focus in the battle for the minimum wage with this month’s filibuster in Congress of President Obama’s proposal to raise the national minimum wage to $10.10.

Income opportunity is not about punishing the successful for being successful. It is about making sure that the working poor have a fair chance to earn their way into the middle class. It is about making sure the middle class families have the opportunity to become global success stories in the 21st Century economy. A thriving middle class, with strong families, prosperous communities and growing incomes, is essential to America’s future and a growing economy.

We have work to do in America.

As the nation’s wealth is increasingly concentrated at the top, more and more Americans are falling out of the middle class into poverty. The growing disparity between the rich and the poor is now wider than ever, and reversing this trend will require a multi-faceted approach with both long and short-term solutions. In the long-term, education reform and greater access to health care will help the working poor earn their way into the middle class and the middle class earn their way to whatever opportunity they choose. In the short-term, the most effective solutions such as raising the minimum wage will immediately improve the economic health of working Americans and strengthen the middle class.

Then Senator Hillary Clinton said it well as an advocate for the middle class, taking action to raise the minimum wage, expand unemployment benefits and make real progress to improve the lives of everyday Americans, “With all due respect, it is not rich people who made America great. It is the vast American middle class. It is the upward mobility of people who thought they could do better than their parents.”

The fight for the minimum wage has been a long and continuing process. Throughout her Senate career, Hillary Clinton was a staunch supporter of increasing the minimum wage and voted repeatedly to raise it. She was an original cosponsor of the Fair Minimum Wage Act, which raised the minimum wage from $5.85 to $7.25. She also authored the Standing with Minimum Wage Act, which sought to increase the minimum wage to $9.50 by 2011. After 2011, the act proposed to tie the minimum wage to congressional pay raises.

Unfortunately, Congress failed to pass this legislation, keeping the federal minimum wage at $7.25 an hour, where it still stands today. However, since it was last raised in 2009, the real value of the federal minimum wage has decreased more than 8% due to inflation. As a result, it no longer constitutes a livable wage – a full-time, minimum wage job pays just $14,500 a year, and according to the Economic Policy Institute, a full-time worker would realistically need to earn $11.06 an hour to keep a family of four out of poverty.

We all need to join the fight Hillary Clinton championed and raise the minimum wage to a living wage nationally. In my state and my city we are moving on local initiatives, but this a national issue.

Even with a higher minimum wage, people are inevitably going to fall on hard times through no fault of their own. That is why Senator Hillary Clinton fought to extend emergency unemployment benefits and continues the fight today recently using her voice to encourage Congress to renew the expired federal unemployment program.

Today, there are 2.1 million Americans who are considered long-term unemployed, meaning they have been out of work for so long that their state unemployment benefits have run out. Renewing the federal unemployment program will provide these people with a financial lifeline, a helping hand, at a time when they need it the most.

I agree with Hillary Clinton when she said increasing the minimum wage is “certainly an American issue and a human issue, but it is particularly a woman’s issue” and this is a way to help “empower women and girls. Many of the workers who will benefit are lower paid women service workers.

Income opportunity is vital to America’s future. More Americans are falling into poverty, we must fight for the shrinking middle class by fighting for a fair minimum wage and better economic opportunities for poor and working people. By protecting the American dream we will continue to make sure America grows and prospers for everyone. I am proud to join Hillary Clinton and the movement for a fair minimum wage.

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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

The printed Weekly Edition of the 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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