Americans Misperceive Racial Disparities in Economic Mobility

2021 ◽  
pp. 014616722110241
Author(s):  
Shai Davidai ◽  
Jesse Walker

What do people know about racial disparities in “The American Dream”? Across six studies ( N = 1,761), we find that American participants consistently underestimate the Black–White disparity in economic mobility, believing that poor Black Americans are significantly more likely to move up the economic ladder than they actually are. We find that misperceptions about economic mobility are common among both White and Black respondents, and that this undue optimism about the prospect of mobility for Black Americans results from a narrow focus on the progress toward equality that has already been made. Consequently, making economic racial disparities salient, or merely reflecting on the unique hardships that Black Americans face in the United States, calibrates beliefs about economic mobility. We discuss the importance of these findings for understanding lay beliefs about the socioeconomic system, the denial of systemic racism in society, and support for policies aimed at reducing racial economic disparities.

2021 ◽  
pp. 194855062110564
Author(s):  
Ethan Zell ◽  
Tara L. Lesick

According to the Marley hypothesis, White Americans are more ignorant of historical racism than Black Americans, which explains their greater tendency to deny racism in the present. We extended the Marley hypothesis by testing whether it explains political differences in perception of racism among White Americans in the United States. Two preregistered studies measured participants’ knowledge of historical racism as well as their perception of present racism in individual cases and in society ( N = 463). White Republicans had less knowledge of historical racism and perceived less individual and systemic racism than White Democrats. Consistent with the Marley hypothesis, political differences in perception of individual racism were significantly mediated by knowledge of historical racism. These findings suggest that ignorance of historical racism may partly explain why White Republicans perceive less racism than White Democrats, and therefore extend the Marley hypothesis to the political realm.


Public Voices ◽  
2016 ◽  
Vol 13 (2) ◽  
pp. 1
Author(s):  
John R Phillips

The cover photograph for this issue of Public Voices was taken sometime in the summer of 1929 (probably June) somewhere in Sunflower County, Mississippi. Very probably the photo was taken in Indianola but, perhaps, it was Ruleville. It is one of three such photos, one of which does have the annotation on the reverse “Ruleville Midwives Club 1929.” The young woman wearing a tie in this and in one of the other photos was Ann Reid Brown, R.N., then a single woman having only arrived in the United States from Scotland a few years before, in 1923. Full disclosure: This commentary on the photo combines professional research interests in public administration and public policy with personal interests—family interests—for that young nurse later married and became the author’s mother. From the scholarly perspective, such photographs have been seen as “instrumental in establishing midwives’ credentials and cultural identity at a key transitional moment in the history of the midwife and of public health” (Keith, Brennan, & Reynolds 2012). There is also deep irony if we see these photographs as being a fragment of the American dream, of a recent immigrant’s hope for and success at achieving that dream; but that fragment of the vision is understood quite differently when we see that she began a hopeful career working with a Black population forcibly segregated by law under the incongruously named “separate but equal” legal doctrine. That doctrine, derived from the United States Supreme Court’s 1896 decision, Plessy v. Ferguson, would remain the foundation for legally enforced segregation throughout the South for another quarter century. The options open to the young, white, immigrant nurse were almost entirely closed off for the population with which she then worked. The remaining parts of this overview are meant to provide the following: (1) some biographical information on the nurse; (2) a description, in so far as we know it, of why she was in Mississippi; and (3) some indication of areas for future research on this and related topics.


2021 ◽  
Vol 37 (2) ◽  
pp. 119-136
Author(s):  
Rick Mitchell

As today’s catastrophic Covid-19 pandemic exacerbates ongoing crises, including systemic racism, rising ethno-nationalism, and fossil-fuelled climate change, the neoliberal world that we inhabit is becoming increasingly hostile, particularly for the most vulnerable. Even in the United States, as armed white-supremacist, pro-Trump forces face off against protesters seeking justice for African Americans, the hostility is increasingly palpable, and often frightening. Yet as millions of Black Lives Matter protesters demonstrated after the brutal police killing of George Floyd, the current, intersecting crises – worsened by Trump’s criminalization of anti-racism protesters and his dismissal of science – demand a serious, engaged, response from activists as well as artists. The title of this article is meant to evoke not only the state of the unusually cruel moment through which we are living, but also the very different approaches to performance of both Brecht and Artaud, whose ideas, along with those of others – including Benjamin, Butler, Latour, Mbembe, and Césaire – inform the radical, open-ended, post-pandemic theatre practice proposed in this essay. A critically acclaimed dramatist as well as Professor of English and Playwriting at California State University, Northridge, Mitchell’s published volumes of plays include Disaster Capitalism; or Money Can’t Buy You Love: Three Plays; Brecht in L.A.; and Ventriloquist: Two Plays and Ventriloquial Miscellany. He is the editor of Experimental O’Neill, and is currently at work on a series of post-pandemic plays.


2013 ◽  
Vol 8 (1) ◽  
pp. 82-90 ◽  
Author(s):  
Geraldine Pierre ◽  
Roland J. Thorpe ◽  
Gniesha Y. Dinwiddie ◽  
Darrell J. Gaskin

This article sought to determine whether racial disparities exist in psychotropic drug use and expenditures in a nationally representative sample of men in the United States. Data were extracted from the 2000-2009 Medical Expenditure Panel Survey, a longitudinal survey that covers the U.S. civilian noninstitutionalized population. Full-Year Consolidated, Medical Conditions, and Prescribed Medicines data files were merged across 10 years of data. The sample of interest was limited to adult males aged 18 to 64 years, who reported their race as White, Black, Hispanic, or Asian. This study employed a pooled cross-sectional design and a two-part probit generalized linear model for analyses. Minority men reported a lower probability of psychotropic drug use (Black = −4.3%, 95% confidence interval [CI] = [−5.5, −3.0]; Hispanic = −3.8%, 95% CI = [−5.1, −2.6]; Asian = −4.5%, 95% CI = [−6.2, −2.7]) compared with White men. After controlling for demographic, socioeconomic, and health status variables, there were no statistically significant race differences in drug expenditures. Consistent with previous literature, racial and ethnic disparities in the use of psychotropic drugs present problems of access to mental health care and services.


2018 ◽  
Vol 3 (3) ◽  
pp. 221-229 ◽  
Author(s):  
Penny Fang ◽  
Weiguo He ◽  
Daniel Gomez ◽  
Karen E. Hoffman ◽  
Benjamin D. Smith ◽  
...  

2018 ◽  
Vol 17 (3) ◽  
pp. 312-331 ◽  
Author(s):  
Faye Gleisser

This article draws out the ‘politics of the misfire’ as a process constituted in part by discursive articulations of the ‘misuse’ of guns, and in part by mediated visual narratives of criminality cultivated in American visual culture. Specifically, the author examines how the decades-long historiography of artist Chris Burden’s iconic artwork, Shoot (1971), relies upon and perpetuates spatially racialized and gendered notions of innocence and safety. She argues that the conceptual art collective Asco’s theorizing of misfires in response to their vulnerability as Chicanos in America provides a vital framework for recognizing how the neutralized archetype of white masculinity, simultaneously innocent and lawless, animates and sustains the legacy of Shoot. Through consideration of geographies of cumulative vulnerability, access to resources, and systemic racism this article links processes of art historical canonization to discriminatory practices that structurally oppress people of color in the United States.


2018 ◽  
Vol 50 (1) ◽  
pp. 3-25 ◽  
Author(s):  
Robert L. Reece

Critical race theory teaches that racism and racial inequality are constants in American society that stand outside of the prejudices of individuals. It argues that structures and institutions are primarily responsible for the maintenance of racial inequality. However, critical race theorists have neglected to formally examine and theorize colorism, a primary offshoot of racial domination. Although studies of colorism have become increasingly common, they lack a unifying theoretical framework, opting to lean on ideas about prejudice and preference to explain the advantages lighter skinned, Black Americans are afforded relative to darker skinned Black Americans. In this study, I deploy a critical race framework to push back against preference as the only, or primary, mechanism facilitating skin tone stratification. Instead, I use historical Census data and regression analysis to explore the historical role of color-based marriage selection on concentrating economic advantage among lighter skinned Black Americans. I then discuss the policy and legal implications of developing a structural view of colorism and skin tone stratification in the United States and the broader implications for how we conceptualize race in this country.


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