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Equifax May Owe You a $125 Payment. But Let’s Be Real, You’ll Get Much Less

Published

7 years ago

August 17, 2019

The Federal Trade Commission (FTC) on June 22^nd announced the outcome of a settlement with Equifax, one of the three major credit monitoring firms in the United States.

The settlement requires Equifax to pay somewhere between $500 and $700 million in restitution for a 2017 data breach that affected about 147 million people across the United States, according to Jacqueline Connor, a privacy attorney with the FTC. The amount of the settlement is the highest in U.S. history for a data breach and the number of people impacted represents almost half the United States’ population. That’s nearly every adult in the country who has credit.

In California alone, Hackers were able to access and expose the personal information of about 15 million people.

“Our credit status impacts nearly every aspect of our lives – from purchasing a home or a car to finding a job,” said California Attorney General Xavier Becerra. “The same Americans who had to immediately protect themselves from fraudsters or identify thieves will have to be vigilant for the rest of their lives. We encourage every eligible person to apply for the relief they are entitled to as part of our settlement.”

About $300 million of the settlement amount will go to making payments to Americans affected by the breach. Equifax will pay another $275 million in fines to close the investigation by the Consumer Financial Protection Bureau and to end legal action by states who filed lawsuits against the company.

The hackers, who have not yet been identified, penetrated Equifax’s data files and were able to steal social security numbers, credit card numbers, addresses and other personal data. The breach affected all 50 states, the District of Columbia and U.S. territories.

To compensate victims, Equifax has set up a website (EquifaxBreachSettlement. com) where you can first check to see if you were affected by the breach. Then, you can apply for a check payment of “up to” $125, or you can choose free credit monitoring with all three major credit bureaus for up to four years, a value of a little over $950. When that period is over, you can choose to opt in for free credit monitoring by Equifax for another six years.

Because “millions of people” affected have filed claims for the $125 payment option since the settlement announcement, the FTC, which is responsible for consumer protection across the country, says applying for a cash payment is not the best way to go. So, as an alternative, Equifax is primarily now offering free credit monitoring to its customers affected by the data breach. If you’re already signed up for a free credit monitoring service and intend to keep it for the next six months, then you can apply for the $125 payment.

“The pot of money that pays for that part of the settlement is $31 million,” the FTC said in a statement. “A large number of claims for cash instead of credit monitoring means only one thing: Each person who takes the money option will wind up only getting a small amount of money. Nowhere near the $125 they could have gotten if there hadn’t been such an enormous number of claims filed.”

For Equifax to have paid out the full $125 to each person affected, a number of no more than 248,000 people would have needed to apply. If all 147 million people end up filing a claim, individual payouts would shrivel down to around .22 cents per person.

The cost for Equifax’s credit monitoring service is $19.99 a month, according to the company’s website. If every victim of the breach signs up, it could cost Equifax up to $2 billion to cover the costs.

Victims of identity theft or other fraud resulting directly from the breach who have documentation to back up their claim, will receive compensation of $25 an hour (for up to 20 hours) of the time they took to resolve the problem. They will be eligible for up to another 10 hours of $25-an-hour payments for the time they took to research or purchase protection services, including freezing their credit, after the fraud happened.

Those who incurred legal expenses or spent money on credit monitoring, notaries and other approved fines as a result of the hack, are eligible for up to $20,000 per person in reimbursements. They will also be required to show proof that their claims are valid.

The deadline to file all claims is Jan. 22, 2020.

Manny Otiko, California Black Media

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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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April 10, 2026

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Oakland Post: Week of April 1 – 7, 2026

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April 6, 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.

Published

3 weeks ago

March 24, 2026

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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.

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.