Between 2010 and 2020, the United States experienced its second slowest growth rate in history. Although the country’s population has surpassed 331 million people for the first time, several states saw declining population numbers and will see their representation in Congress cut.
Did your state grow between 2010 and 2020? Or will it lose a seat in the House of Representatives? Here’s what you need to know.
The U.S. Census data is in and it’s a mixed bag for many states.
Perhaps the biggest news from the census data is that the country’s most populous state, California, will lose a seat in the House of Representatives. Meanwhile, several southern states (those that typically vote Republican) will gain representation as Texas adds two Congressional seats and Florida and North Carolina add one each.
The U.S. Census Bureau’s acting director, Ron Jarmin, reported the new state population counts at a virtual news conference. The long-awaited announcement has reset the balance of power for the next decade in the House of Representatives and the Electoral College, where each state’s share of votes is tied to its census numbers.
Other states that will see their representation shift include Pennsylvania, Ohio, Illinois, New York, Michigan, and West Virginia, all of which will lose one seat. Oregon, Colorado and Montana will add a seat.
What does this mean for elections moving forward?
This data shows that the nation’s political center of gravity keeps shifting further to the Republican-led South and West. The census release marks the official beginning of the once-a-decade redistricting battles. The numbers released Monday, along with more detailed data expected later this year, will be used by state legislatures or independent commissions to redraw political maps to account for shifts in population.
Meanwhile, Americans continue to move to GOP-run states. For now, that shift provides the Republicans with the opportunity to shape new congressional districts to maximize the influence of their voters and have a major advantage in upcoming elections—possibly enough to win back control of the U.S. House.
But in the long term, it’s not clear the migration is good news for Republicans. Many of the fastest-growing states are increasingly competitive political battlegrounds where the new arrivals —including many young people and people of color— could at some point give Democrats an edge.
Do we know more about the demographic makeup of the country?
Not yet, that data will be released during the second census announcement later this year. The bureau plans to start releasing this information by Aug. 16. This data will also used to guide the distribution of an estimated $1.5 trillion a year in federal money for Medicare, Medicaid, education and other public services for local communities.
It’s 1970. Groans of discomfort permeate a Los Angeles County Hospital hallway as a Mexican-American woman is in labor. This is going to be her first child.
Little does she know that it’ll also be her last.
“This is an example of erasure,” director Kathryn Boyd-Batstone told mitú.
For Rosa, details a harrowing reality for many women of color in 1970s California. Inspired by the 1978 Madrigal v. Quilligan case, the story follows Eva, a mother faced with the pivotal decision to join the Madrigal Ten after discovering she was unknowingly sterilized.
Wanting to highlight each individual experience, Boyd-Batstone described her heroine as “a fictional composite character” inspired by multiple plaintiffs from the Madrigal Ten.
At first glance, Eva’s story prominently resembles the experience of plaintiff Melvina Hernández.
Hernández, at 23, signed a document that allegedly consented to an emergency C-section. Fearmongering by doctors and nurses highlighted a perceieved risk of mortality, pressuring her to sign a document she couldn’t read.
Four years later, she was informed that she had actually signed for a tubal ligation.
The history of eugenics is an ugly one, acting as a form of silent genocide.
In Eva’s case, medical professionals take advantage of her. Doctors and nurses took advantage of her language barrier and the pain of child labor.
The story, while historical, is relevant in the current context of the Trump era’s immigration policies.
Last year, an ICE nurse whistleblower reported the nonconsensual mass hysterectomies of migrant women detained at the border.
“Although the court case happened over fifty years ago, we are still in a time where reproductive rights are not respected,” Boyd-Batstone said. “This is not an issue of the past, and so the fight continues.”
A mistrust that remains prevalent in the 21st century.
The Madrigal Ten is a testament to the fight for reproductive rights and women of colors’ autonomy.
In 1975, Dolores Madrigal alongside nine other women filed a class-action lawsuit against L.A. County-USC Medical Center for the nonconsensual tubal ligations that occurred during child labor.
A complicated ordeal that received little funding, 26-year-old Chicana Civil Rights attorney Antonia Hernández impressively took on the case. Boyd-Batstone who read the court documents said, “it became obvious that at the time the hospital did not have adequate steps in place to make sure their patients could give informed consent.”
Dr. Karen Benker, the only physician to testify against the hospital, told the New York Times in 2016 that “voluntary informed consent” didn’t exist in the early 70s.
That is until after the National Research Act of 1974 following public outcry from the Tuskegee study.
Following Roe v. Wade, the Madrigal Ten case sought to end the forced sterilizations of women of color, define informed consent and provide consent forms in Spanish at a reading level individuals could understand.
In 2016 PBS released a documentary on the case called “No Más Bebes,” which greatly inspired Boyd-Batstone to create For Rosa.
“The main feeling that stuck with me after watching the documentary was how much strength it must have taken these women to face someone who tried to take their identity and demand accountability,” she said.
Validating women of color’s experiences was essential for Boyd-Batstone. While the film mirrors the malpractices of the medical industry, brought upon by systematic racism and bias, she also hopes that women who have felt “diminished or uneasy around doctors” find the courage to speak out.
For Rosa, sheds light on traditional themes of womanhood and Chicana feminism.
Simultaneously, the lawsuit took place during the rise in Chicana activism.
As tensions between mainstream white feminism and women of color peaked; Chicana activists put legislative reform and reproductive justice at the forefront. Furthermore, they brought awareness to discrimination as it intersects race, class, gender, and immigration.
Though on the sidelines, the case also harbored on the cultural question of defining femininity.
Worried for the state of her marriage, the correspondence of fertility with femininity felt dense. Heavily ingrained in machismo culture; the pain and frustration of no longer being able to conceive are palpable.
But the strength and courage to speak out defies all odds.
“As women, especially Latina women, I don’t think many stories show us how to do this,” Boyd-Batstone said. “So it was important to me to, one, honor the Madrigal Ten’s bravery but [to also] show young girls what it looks like to stand up and fight for your rights.”
Though it has been nearly 50 years since the Madrigal Ten case, the fight for women’s autonomy and reproductive rights is ongoing.
On June 7, 1978, the U.S. District Court ruled in favor of the USC Medical Center. Judge Jesse Curtis stated that miscommunication and language barriers resulted in unwanted sterilizations.
Nonetheless, the lawsuit’s impact was potent. The California Department of Health revised its sterilization guidelines to include a 72-hour waiting period and issued a booklet on sterilization in Spanish.
In 1979, California abolished its sterilization law after 70 years.
More than 20,000 people of various races and ethnicities were sterilized during this time.
For Rosa ends with archival footage of Dolores Madrigal and Antonia Hernández announcing the lawsuit. Nevertheless, its timely release is indicative of the continual demands for justice today.
Now more than ever we must remember the narratives of the Madrigal Ten, and other Black and Brown activists who continue to pave the way for change.
“My hope is that For Rosa humanizes the women so that whatever culture or race or gender you are, you can empathize with the women as human beings,” Boyd-Batstone said.
“My hope is that every person who watches understands that these Latina women are deserving of respect.”
Para Rosa (For Rosa) is available to stream on HBO Max.
La Virgen de Guadalupe means so much to so many. Especially the Latino community in Van Nuys, California, near Los Angeles, which is reeling after an important mural depicting La Virgen was vandalized overnight.
Although security cam footage captured an unknown man defacing the mural, the suspect is still at large and the community is asking for help in finding out who committed the vandalism.
A suspect was caught on camera destroying a mural with La Virgen de Guadalupe.
The community of Saint Elisabeth Church near Los Angeles is asking the community for prayers after a mural of Our Lady of Guadalupe was vandalized on church grounds.
The parish’s security system recorded video footage of an unknown man dressed in black approaching the mural with a sledgehammer at 1:40 a.m. Wednesday morning. He can be seen smashing the tiles that make up Our Lady’s face several times before fleeing.
On Friday, April 23, Father Di Marzio led a prayer service, which was livestreamed on the parish Facebook page. Some 30 parishioners gathered to sing and pray a decade of the rosary in front of the mural, which is roped off with caution tape, while nearly 100 others joined online. In closing, Fr. Di Marzio encouraged parishioners to “continue to pray to the Blessed Virgin Mary to help us, and to touch the heart of the person who did this.”
Also on Friday, a local artist, Geo Rhodes, was scheduled to visit the mural and discuss a plan for repair, arranged by the Archdiocese of Los Angeles. “We hope that soon we will restore the image, or have a new one more beautiful than the one we had before,” Fr. Di Marzio said.
La Virgen de Guadalupe is extremely important to the church.
The hand-painted tile mural stands between the church and the rectory. It was installed over 35 years ago as a “symbol of community unity,” said business manager Irma Ochoa. Each square tile was sponsored by a parish family. Overlooking a small altar, the mural has become a popular place for parishioners to pray and light candles, asking Our Lady for special blessings.
“I feel an unspeakable sadness,” said Fr. Antonio Fiorenza, who is in residence at the parish. “But I feel pity for the one who made this sacrilegious gesture. I pray for his conversion and for all those who show contempt to the Virgin Mary.”