Connect with us

News

Rev. William Barber: Anti-Voter Laws Worse Than Russian Meddling

Published

on

By Mary Claire Blakeman, New America Media

Although alleged Kremlin connections may ultimately sink Trump’s Presidency, Rev. William Barber  contends that homegrown voter suppression poses a greater threat to U.S. democracy than Russian election tampering.

“Voter suppression hacked our democracy long before any Russian agents meddled in America’s elections,” said Barber, outgoing president of the North Carolina NAACP who is assuming a new role as president and senior lecturer of Repairers of the Breach and will co-lead the national Poor People’s Campaign.

That campaign — to reignite the one begun by Rev. Martin Luther King, Jr., almost 50 years ago — seeks to reorder national priorities to address systemic poverty, racism and the war economy.

“We’re looking at Putin’s strongman tactics and not at our own race-based voter suppression tactics,” Barber said. “But we have to demand attention. What the states with the highest voter suppression have in common is that they also have the highest rates of poverty.”

Barber developed his critique after spending years leading the Moral Mondays movement that coalesced in 2013 to combat escalating voter suppression tactics in North Carolina.

In that state, Republican legislators passed restrictions so blatantly designed to keep black voters away from the polls, the courts eventually charged that they targeted African Americans with “almost surgical precision.”

For instance, legislators reduced early-voting opportunities after analyzing data showing poor and minority citizens were significantly more likely to cast their ballots prior to election day.
In Greensboro, N.C. — where student sit-ins to integrate the Woolworth’s lunch counter helped catalyze the civil rights movement in the 1960s – authorities cut early-voting sites from 16 to only one.

In the name of preventing so-called voter fraud, legislators created photo ID restrictions that disproportionately affected minorities and young people, as well as African American elders born in segregated or rural hospitals which may have lost or never issued their birth certificates.

Although North Carolina’s voter ID laws have been labeled the worst in the nation, dozens of other states have passed similar legislation — particularly after the U.S. Supreme Court’s 2013 Shelby v. Holder decision struck down key provisions of the Voting Rights Act of 1965.

As Ari Berman, author of Give Us The Ballot reported in the Nation magazine, by the time of the 2016 presidential election, there were 868 fewer polling places in states with a long history of voter discrimination.

“After Shelby they went on steroids in terms of voter suppression legislation,” Barber said. “That’s the real hacking of our system.”

While Barber and members of the Moral Mondays movement participated in civil disobedience to protest voter suppression in North Carolina, he also led the state’s NAACP to fight it in the courts. In one of those cases – North Carolina v. North Carolina State Conference of the NAACP – the civil rights organization chalked up a victory.

On May 15, the Supreme Court of the United States (SCOTUS) let stand a lower court ruling against the restrictive voting measures.

“This victory is powerful because it proves they cannot hide under the guise of photo ID,” Barber said. “It was really a monster voter-suppression bill and this case makes that very, very clear.” 

Voting-rights advocates also cheered a May 22 SCOTUS decision that rejected North Carolina’s 2011 redistricting plan because legislators used race as the basis for drawing boundaries in two congressional districts. Then on June 5, the court found that 28 state legislative districts were also illegal racial gerrymanders.

Despite this good news, Barber noted that those elected through the racially biased plan remain in power.

“This ruling means we have an unconstitutionally constituted legislature that has been passing unconstitutional laws,” he said. “This legislature is not legitimate because they cheated and would not be in office. We also have people in Congress, who would not be there if we did not have this race-based redistricting plan.”

The Brennan Center for Justice supports Barber’s view about the impact of gerrymandering in its Extreme Maps report, which found that “extreme partisan bias in congressional maps account for at least 16-17 Republican seats in the current Congress.”

In light of this report and other studies on voter suppression, Barber argues that far more public attention needs to be focused on this issue — and he counsels voting-rights advocates to continue pressing it.  “Expose what they’re doing,” he said.

“Make sure the public is aware of them — and make sure these laws are examined under the microscope of the constitution.”

Mary Claire Blakeman  has written for newspapers such as The Los Angeles Times, Washington Post and San Francisco Chronicle.

 

Continue Reading
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Activism

Oakland Post: Week of April 8 – 14, 2026

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

Published

on

To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.

Continue Reading

Activism

Oakland Post: Week of April 1 – 7, 2026

The printed Weekly Edition of the Oakland Post: Week of April 1 – 7, 2026

Published

on

To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.

Continue Reading

#NNPA BlackPress

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. 

Published

on

By

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.

Continue Reading

Subscribe to receive news and updates from the Oakland Post

* indicates required

CHECK OUT THE LATEST ISSUE OF THE OAKLAND POST

ADVERTISEMENT

WORK FROM HOME

Home-based business with potential monthly income of $10K+ per month. A proven training system and website provided to maximize business effectiveness. Perfect job to earn side and primary income. Contact Lynne for more details: Lynne4npusa@gmail.com 800-334-0540

Facebook

Trending

Copyright ©2021 Post News Group, Inc. All Rights Reserved.