Stop and frisk is when police “temporarily” detain somebody and pat down their outer clothing when there are specific articulate facts leading a reasonable police officer to believe a person is armed and dangerous. It is not necessary for the officer to articulate or identify a specific crime they think is being committed, only that a set of factual circumstances exist that would lead a reasonable officer to have a reasonable suspicion that criminal activity is occurring. “Reasonable suspicion” is one step below “probable cause” and one step above a hunch.
A “frisk” by definition is a type of search that requires a “lawful stop”. It is best thought of as a separate act, but in practice, a suspect who refuses to answer questions in a stop may be providing the officer with sufficient justification to frisk. A frisk should not be for anything other than a dangerous weapon or contraband. However, if other evidence, like a suspected drug container, is felt, it can be seized by the officer under the “plain feel” doctrine. The test for “plain feel” is that the item’s contraband nature be “immediately apparent”.
Resource: uslegal.com
One of several problems with stop & frisk, is that most if not all Police demand name, address, question people of colour when in upper income communities and or assume gang affiliation least we talk about the percentage of Black Latino Asian or Caucasian men&women being stopped on a daily basis … is it a quota, a civil rights issue, a misuse or abuse of power ~ Nativergrl77
James Mercer Langston Hughes was born February 1, 1902, in Joplin, Missouri. His parents divorced when he was a young child, and his father moved to Mexico. He was raised by his grandmother until he was thirteen, when he moved to Lincoln, Illinois, to live with his mother and her husband, before the family eventually settled in Cleveland, Ohio. It was in Lincoln that Hughes began writing poetry. After graduating from high school, he spent a year in Mexico followed by a year at Columbia University in New York City. During this time, he held odd jobs such as assistant cook, launderer, and busboy. He also travelled to Africa and Europe working as a seaman. In November 1924, he moved to Washington, D. C. Hughes’s first book of poetry, The Weary Blues, (Knopf, 1926) was published by Alfred A. Knopf in 1926. He finished his college education at Lincoln University in Pennsylvania three years later. In 1930 his first novel, Not Without Laughter, (Knopf, 1930) won the Harmon gold medal for literature.
Hughes, who claimed Paul Lawrence Dunbar, Carl Sandburg, and Walt Whitman as his primary influences, is particularly known for his insightful, colorful portrayals of black life in America from the twenties through the sixties. He wrote novels, short stories and plays, as well as poetry, and is also known for his engagement with the world of jazz and the influence it had on his writing, as in his book-length poem Montage of a Dream Deferred (Holt, 1951). His life and work were enormously important in shaping the artistic contributions of the Harlem Renaissance of the 1920s. Unlike other notable black poets of the period—Claude McKay, Jean Toomer, and Countee Cullen—Hughes refused to differentiate between his personal experience and the common experience of black America. He wanted to tell the stories of his people in ways that reflected their actual culture, including both their suffering and their love of music, laughter, and language itself.
The critic Donald B. Gibson noted in the introduction to Modern Black Poets: A Collection of Critical Essays (Prentice Hall, 1973) that Hughes “differed from most of his predecessors among black poets . . . in that he addressed his poetry to the people, specifically to black people. During the twenties when most American poets were turning inward, writing obscure and esoteric poetry to an ever decreasing audience of readers, Hughes was turning outward, using language and themes, attitudes and ideas familiar to anyone who had the ability simply to read . . . Until the time of his death, he spread his message humorously—though always seriously—to audiences throughout the country, having read his poetry to more people (possibly) than any other American poet.”
Langston Hughes died of complications from prostate cancer in May 22, 1967, in New York City. In his memory, his residence at 20 East 127th Street in Harlem has been given landmark status by the New York City Preservation Commission, and East 127th Street has been renamed “Langston Hughes Place.”
In addition to leaving us a large body of poetic work, Hughes wrote eleven plays and countless works of prose, including the well-known “Simple” books: Simple Speaks His Mind, (Simon & Schuster, 1950); Simple Stakes a Claim, (Rinehart, 1957); Simple Takes a Wife, (Simon & Schuster, 1953); and Simple’s Uncle Sam (Hill and Wang, 1965). He edited the anthologies The Poetry of the Negro and The Book of Negro Folklore, wrote an acclaimed autobiography, The Big Sea (Knopf, 1940), and cowrote the play Mule Bone (HarperCollins, 1991) with Zora Neale Hurston.
Selected Bibliography
Poetry
Collected Poems of Langston Hughes (Knopf, 1994) The Panther and the Lash: Poems of Our Times (Knopf, 1967) Ask Your Mama: 12 Moods for Jazz (Knopf, 1961) Montage of a Dream Deferred (Holt, 1951) One-Way Ticket (Knopf, 1949) Fields of Wonder (Knopf, 1947) Freedom’s Plow (Musette Publishers, 1943) Shakespeare in Harlem (Knopf, 1942) The Dream Keeper and Other Poems (Knopf, 1932) Scottsboro Limited (The Golden Stair Press, 1932) Dear Lovely Death (Troutbeck Press, 1931) Fine Clothes to the Jew (Knopf, 1927) The Weary Blues (Knopf, 1926)
Prose
Remember Me to Harlem: The Letters of Langston Hughes and Carl Van Vechten, 1925-1964 (Knopf, 2001) The Arna Bontemps-Langston Hughes Letters (Dodd, Mead, 1980) Good Morning, Revolution: Uncollected Social Protest Writings by Langston Hughes (Hill, 1973) Simple’s Uncle Sam (Hill and Wang, 1965) Something in Common and Other Stories (Hill and Wang, 1963) Tambourines to Glory (John Day, 1958) Simple Stakes a Claim (Rinehart, 1957) I Wonder as I Wander (Rinehart, 1956) Laughing to Keep From Crying (Holt, 1952) Simple Takes a Wife (Simon & Schuster, 1953) Simple Speaks His Mind (Simon & Schuster, 1950) The Ways of White Folks (Knopf, 1934) Not Without Laughter (Knopf, 1930)
Drama
Collected Works of Langston Hughes, vol. 5: The Plays to 1942: Mulatto to The Sun Do Move (University of Missouri Press, 2000) The Political Plays of Langston Hughes (Southern Illinois University Press, 2000) Mule Bone (HarperCollins, 1991) Five Plays by Langston Hughes (Indiana University Press, 1963)
Poetry in Translation
Cuba Libre (Anderson & Ritchie, 1948) Selected Poems of Gabriela Mistral (Indiana University Press, 1957)
Every April, the U.S. Department of Health and Human Services (HHS) Office of Minority Health (OMH) observes National Minority Health Month to highlight the importance of improving the health of racial and ethnic minority and American Indian/Alaska Native (AI/AN) communities and reducing health disparities.
OMH is proud to announce the theme for National Minority Health Month 2023: Better Health Through Better Understanding.
This year’s theme focuses on improving health outcomes for racial and ethnic minorities and AI/AN communities by providing them with culturally and linguistically competent healthcare services, information, and resources. When patients are provided with culturally and linguistically appropriate information, they are empowered to create healthier outcomes for themselves and their communities.
Freedom’s Sisters is an exhibition created by Cincinnati Museum Center, organized for travel by Smithsonian Institution Traveling Exhibition Services, and made possible by a grant from the Ford Motor Company Fund.
Presented locally by Macy’s.
Freedom’s Sisters is the first and most comprehensive traveling exhibit on women in the Civil Rights movement, focusing on the lives and contributions of 20 African American women – from key 19th century historical figures to contemporary leaders – who have fought for equality for people of color. Visitors of all ages and backgrounds will be moved and inspired by the stories of the women celebrated in this interactive exhibit. Created by Cincinnati Museum Center, in collaboration with The Ford Motor Company Fund, and Smithsonian Institution Traveling Exhibition Service (SITES), Freedom’s Sisters made its world premiere at Museum Center, and has now embarked on a three-year, nationwide tour. To see the full itinerary, click here.
Programming and Events
As Museum Center worked with Ford and SITES to develop the exhibit, a primary goal was to help encourage the next generation of leaders through dialogue on the civil rights struggle, past, present and future. Reaching young people was a crucial component of the exhibit’s mission. With Macy’s as the local presenting sponsor, 1,000 under served school children from the community joined the thousands of others who were able to see and benefit from this groundbreaking experience.
When Freedom’s Sisters opened on March 15, 2008, Museum Center was delighted to host all five of the “living legends” highlighted in the exhibit including: Myrlie-Evers Williams, Sonia Sanchez, Charlayne-Hunter Gault, Dr. Dorothy Height and Kathleen Cleaver. Several of these remarkable women returned to Cincinnati in July for the national N.A.A.C.P. convention. Myrlie-Evers Williams, in her address to conventioneers said that Freedom’s Sisters at Museum Center “was not to be missed!”
In association with Freedom’s Sisters, Museum Center hosted a poetry slam during National Poetry Month in April. An incredibly enthusiastic and diverse crowd turned out for the event—many of whom were brave even enough to get on the mic! In May, Museum Center presented a lecture by Darlene Clark Hine, Ph.D. Hine, who is considered a pioneer of African American women’s studies scholarship, was named Museum Center’s Distinguished Historian for 2008.
To provide a local tie, the Cincinnati History Museum developed a Cincinnati’s Freedom Sisters floor program, designed to educate children about the Civil Rights movement in Cincinnati. Through interactive smartboard activities students were able to access primary source material, and oral history interviews.
People of color are far more likely to work minimum wage jobs: they represent 42 percent of those earners even though they make up just 32 percent of the workforce. And people of color who earn minimum wage are far more likely to live in poverty than average. A 2013 study found that three and a half million people of color would be lifted out of poverty if Congress passes a law raising the minimum wage to $10.10 — out of the six million total. That is 60 percent.
BOTTOM LINE: Low-wage jobs have dominated job growth since the end of the Great Recession, and these jobs are done disproportionately by people of color. New data shows yet another reason to raise the minimum wage to $10.10: it would provide a $16.1 billion boost to people of color and go a long way toward making sure that Americans working a full-time job don’t have to live in poverty.
by uslegal.com
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