Tagged: gross underrepresentation

“The American Civil Liberties Union is taking on Hollywood’s boys-club mentality. The organization on Tuesday called on state and federal agencies to investigate gender discrimination at major Hollywood studios, networks and talent agencies, contending that ‘women are systematically excluded from or underemployed in directing jobs.'”

At the end of the article, Melissa Goodman, director of the ACLU SoCal’s LGBTQ, Gender & Reproductive Justice Project is quoted as saying: “Blatant and extreme gender inequality in this large and important industry is shameful and unacceptable. The time has come for new solutions to this serious civil rights problem.”

Hmmm. I find it vvveerrrrry interesting that the ACLU will accuse Hollywood of gender discrimination, but won’t say ANYTHING about pervasive and widespread racism in Hollywood!!?? Although the ACLU is going after Hollywood for what they claim is a lack of female directors, it’s the predominately white/”Jewish” talent agencies who scout, sign and represent directors and work with the predominately white/”Jewish” networks and studios to land them jobs. With that being said, let’s look at the racial composition of the William Morris Agency’s (now William Morris Endeavor Entertainment) New York office during my employment:

Although this chart doesn’t break down the gender composition of William Morris’ New York office, white women in the New York office accounted for approx. 45 percent of Agents during my employment at the company.  Based on the gender composition of William Morris’ Agents in the New York office, it can only be argued that WOMEN OF COLOR are being discriminated against from being hired and/or promoted to Agent, which has direct effect on the gross under-representation of directors, screenwriters and actors of color that we see on the big and small screen today.

Despite the fact that the Civil Rights Act of 1964 was a direct result of the black-led civil rights movement, white women have actually benefited from this statute the most and yet their claims of gender discrimination are always taken seriously. The same cannot be said when African Americans and other groups of color accuse Hollywood of being racist.

One thing I would like to know: How many black and persons of color are employed in meaningful positions at the ACLU??? I’m sure that will help explain their complete refusal to address the longstanding issue of racism in Hollywood…

Source: Oliver Gettel. “ACLU Calls For Investigation Into Gender Discrimination In Hollywood.” LA Times. May 12, 2015. http://www.latimes.com/entertainment/movies/moviesnow/la-et-mn-aclu-gender-discrimination-hollywood-20150512-story.html.

Between 2000 and 2011, the New York office of William Morris was only able to identify ONE African American “qualified” enough to be hired as an Agent. His name was Manie Barron. Barron became the first African American literary Agent in the department’s 58 year history.

“Why are the federal courts so hostile to discrimination claims?”

Each year, the United States District Court for the District of Massachusetts holds an extraordinary panel. All active judges are present to answer questions from the bar. A lawyer’s question one year was particularly provocative: “Why are the federal courts so hostile to discrimination claims?” One judge after another insisted that there was no hostility. All they were doing when they dismissed employment discrimination cases was following the law—nothing more, nothing less.

I disagreed. Federal courts, I believed, were hostile to discrimination cases. Although the judges may have thought they were entirely unbiased, the outcomes of those cases told a different story. The law judges felt “compelled” to apply had become increasingly problematic. Changes in substantive discrimination law since the passage of the Civil Rights Act of 1964 were tantamount to a virtual repeal. This was so not because of Congress; it was because of judges.

Decades ago, law-and-society scholars offered an explanation for that phenomenon, evaluating the structural forces at work in law-reform litigation that lead to one-sided judicial outcomes. Focusing on employment discrimination claims, Marc Galanter argued that, because employers are “repeat players” whereas individual plaintiffs are not, the repeat players have every incentive to settle the strong cases and litigate the weak ones. Over time, strategic settlement practices produce judicial interpretations of rights that favor the repeat players’ interests. More recently, Catherine Albiston went further, identifying the specific opportunities for substantive rulemaking in this litigation—as in summary judgment and motions to dismiss—and how the “repeat players,” to use Galanter’s term, take advantage of them.

In this Essay, drawing on my seventeen years on the federal bench, I attempt to provide a firsthand and more detailed account of employment discrimination law’s skewed evolution—the phenomenon I call “Losers’ Rules.” I begin with a discussion of the wholly one-sided legal doctrines that characterize discrimination law. In effect, today’s plaintiff stands to lose unless he or she can prove that the defendant had explicitly discriminatory policies in place or that the relevant actors were overtly biased. It is hard to imagine a higher bar or one less consistent with the legal standards developed after the passage of the Civil Rights Act, let alone with the way discrimination manifests itself in the twenty-first century. Although ideology may have something to do with these changes, and indeed the bench may be far less supportive of antidiscrimination laws than it was during the years following the laws’ passage, I explore another explanation. Asymmetric decisionmaking—where judges are encouraged to write detailed decisions when granting summary judgment and not to write  it—fundamentally changes the lens through which employment cases are viewed, in two respects. First, it encourages judges to see employment discrimination cases as trivial or frivolous, as decision after decision details why the plaintiff loses. And second, it leads to the development of decision heuristics—the Losers’ Rules—that serve to justify prodefendant outcomes and thereby exacerbate the one-sided development of the law.

Great article by Nancy Gertner [not a woman of color]. This is what happens when the federal courts have intentionally been filled with ideologically conservative, white male, Republican appointed federal judges, particularly since Ronald Reagan became president 34 years ago. Below is Gertner discussing this topic at the New York Law School’s Symposium titled “A View From the Bench — The Judges’ Perspective on Summary Judgment In Employment Discrimination Cases.” [go to the 38:38 mark]

Major reform is needed — not only to strengthen the Civil Rights Act of 1964, but to develop structural mechanisms that will eliminate racist and corrupt judges who intentionally ignore the law and deprive plaintiffs in employment discrimination cases of their right to a jury trial under the color of law.

Source: Nancy Gertner. “Loser’s Rules.” The Yale Law Journal Online. October 16, 2012.  http://yalelawjournal.org/the-yale-law-journal-pocket-part/procedure/losers%E2%80%99-rules/

DigitalMusicNews says the MUSIC INDUSTRY is “STILL a WHITE BOYS’ CLUB.”

Blues was invented in America, and so was Rap.  Blues led to Rock n’ Roll; Rap transformed the entire landscape of modern pop music.  Simply stated, without the African-American influence, American music would probably suck.

So why, if the influence of Black artists on music is so massive, are there hardly any powerful Black executives in the modern music industry?

Why are companies like Pandora, Live Nation, Apple, Spotify, AEG, Warner Music Group, SXSW, Clear Channel Communications, and Universal Music Group dominated by white executives, often from privileged backgrounds and educations?

Why do executives like Troy Carter and Chuck D always feel like ‘token Black guys’ at major music industry events.

Sure, you can rattle off the names of hyper-successful African-American music industry executives like Jay Z, will.i.am, and Carter, but those are exceptions that prove the rule.  Because after meeting with hundreds of music industry companies and probably thousands of executives, attorneys, technologists, and investors while running Digital Music News, I can safely say that bumping into a successful Black music industry executive is a rare event.

And it’s way worse on the technology and live concert side, i.e., the biggest growth areas of this industry.

Let me take it a step further: off the top of my head, I can’t name one Black executive from Pandora, Live Nation, Apple, Spotify, AEG, or SXSW, just to pluck from the above list.  That doesn’t mean they don’t exist, but for the most part, they are not in prominent, influential positions at these companies.  And, sadly, there’s a distinct possibility there aren’t any influential Black executives on the payrolls at many of these enterprises.

But Spotify is Swedish, right?  That’s the country of origin, yes, but the US is their biggest and most important market.  And we have Black people here (but, not here).

Thank God this isn’t my father’s music industry, when the greatest, most creative Black artists toiled in poverty (while being mercilessly copied and exploited by white artists).  When famous African-American musicians battled a tricky maze of racism and violent threats while touring America.  When there were two types of radio stations, Black and white.

When someone like Jay Z couldn’t have possibly existed.

But comparing this industry to the industry of the 50s and 60s doesn’t really accomplish much.  We’re out of the dark ages, sure, but there isn’t a dark face in the boardroom to prove it.

And if only the most extremely talented, insanely intelligent, and amazingly lucky Black executives are making it, then there’s still a big problem.  In the music industry, in music technology, and America at large.

Great commentary by Paul Resnikoff [who is white btw]! This problem is not unique to Hollywood, but the “entertainment industry” as a whole.  Don’t think I’m raising my claims of institutionalized racism only from the actions of William Morris! I could put various record labels and predominately all-White executives I’ve dealt with over the years on blast as well, but there’s no need since their companies are tanking right now anyway.

Source: http://www.digitalmusicnews.com/permalink/2014/01/20/whiteboysclub.

BLACK IS BEAUTIFUL. Naomi Campell and Iman Fight Back Against RACISM in the Fashion Industry!!!

Supermodel Naomi Campbell glittered as the grand finale to Diane von Furstenberg’s show at this week’s New York Fashion Week, but DVF is the exception to what Campbell and others are calling racism on the runway.

“I don’t like it, and I say it,” Campbell, 43, told ABC News. “I say, ‘Where’s the others?’ I’m very outspoken, as we know.”

Now, as part of an advocacy group called “Diversity Coalition,” Campbell, beauty icon Iman and former model-turned-advocate Bethann Hardison are taking the unprecedented step of naming high-profile designer names who they say are sending a negative message by appearing to define beauty and high fashion as virtually all white.

In an open letter to the governing bodies of fashion weeks across the globe, based on what they saw at last season’s fall shows, Campbell, Iman and Hardison name designers Calvin Klein, Donna Karan, Armani and others for using just “one or no models of color” in the fall shows, which featured dozens of models, calling it a “racist act.”

“The statistics, it’s really shocking,” Campbell said. “Heartbreaking. Your body and beauty, it doesn’t matter what color you are. If you’ve got the right talent, you should be there having the opportunity to do the job.”

They hope that by speaking out, diversity will become fashionable. “Who else? Iman asked. “Who’s going to do it [speak out]? Somebody has got to do it. And change does not happen easily.”

Hardison said, “I don’t want to try and embarrass anyone to do anything.”

“You know, this is not the business of shaming,” Iman, 58, agreed. “And as we go back again to clarify it, nobody is calling any of these designers racist. The act itself is racism.”

Iman, the supermodel turned makeup mogul, also known as Mrs. David Bowie, may be a mega power player, but she says she’s outraged that things haven’t changed since the 1970s.

“There were more black models working then than it is happening in 2013,” she said. “There is a time when silence is not acceptable at all. And if the conversation cannot be had publicly in our industry, then inherently there is something wrong with the industry.”

ABC News reached out to many of the designers on the list and none responded to requests for comment.

But Campbell praised Diane von Furstenberg and other designers for taking diversity seriously. She said Tom Ford casts all his own runway models and doesn’t rely on casting agents or “stylists” to make that judgment. “He has diversity because he sees the beauty in diversity,” Iman said.

The Council of Fashion Designers of America sent two emails to the designers in New York Fashion Week, writing, “The most powerful message is one of diversity,” it told ABC News.

But industry analysts say the excuse is often artistic.

“As a creative visionary, people do have very specific, artistic notions of how they want all their creations to be presented,” said Emma Rosenblum, the Etc. section editor at Bloomberg Businessweek.

Campbell’s not buying it, saying, “I think they hide behind aesthetics.”

Added Hardison, who broke barriers along with Iman in the 1970s: “I think they’re ignorant and they’re arrogant, and I think it’s not even about racism.

“I think it’s a sense of laziness and they’ve told themselves a story.”

I commend these three for FINALLY speaking out publicly, although Hardison needs to do better with her interviews. We all know what it is. She can’t back with statements like “I think it’s not even about racism” when you are alleging RACISM. It’s all or nothing now. Don’t be afraid to speak the truth.

Watch the interview here: http://abcnews.go.com/blogs/lifestyle/2013/09/fashion-icons-naomi-campbell-iman-demand-diversity-on-racist-runway/. Read the full letter at Hardison’s site, Balance Diversity: http://balancediversity.com/.

Here’s also an article saying the British Fashion Council has responded: http://styleblazer.com/181331/bethann-hardison-elicits-response-from-british-fashion-council/.