A/74/274 debilitating narratives that negatively impact how black femininity is understood. Implicit racial and gender biases may also inform how we read the behaviours and actions of black girls and women. The public typically understands black femininity according to distinct and narrow stereotypes about black women and girls as hypersexual, sassy, conniving or loud. When we combine latent misperceptions about black femininity with punitive discipline policies, we are paving the way for black girls to be disproportionately pushed out of schools. Black girls are the only girls overrepresented in all discipline categories for which data are collected by the Office for Civil Rights of the United States Department of Education. 34 43. In the aftermath of Serena Williams’ controversial loss at the United States Open Tennis Championships, Australian cartoonist Mark Knight’s dehumanizing and grotesque representation of Williams is reminiscent of an earlier caricature in popular media of the angry black woman. Furthermore, not only does Knight portray Williams with undertones of classic racial stereotypes, including the apelike stance, but he overexaggerates her physical attributes. In Knights ’ drawing, Williams does not look human. Her choice to wear a tennis outfit that covered her entire body in order to prevent blood clots after pregnancy, following a specific clotting incident in which Williams nearly died after the birth of her first child only months before, was disparaged by tennis officials (who conceded months later a fter public outcry) and labelled inappropriate compared to quite revealing tennis wear chosen by other players. She was fined for reacting to a call she perceived as unfair in 2018, while white male players famous for hot tempers were not. The stereotype o f the angry black woman, combined with the intersectional expectations placed on women and expectations that black bodies must be controlled, impact Williams financially and professionally, as well as personally. Spread of negative racial stereotypes in advertising 44. Imagery and sounds from television, film, music, the Internet and other media influence how people act and think and what they believe. Black identity is associated with violence, misogyny, materialism and deviancy in popular music. This is reinforced and communicated in other forms of popular culture, such as television and film. 35 45. Media advertisements that reinforce negative stereotypes of people of African descent are cross-cutting and transnational. There is a long tradition of the advertising industry using derogatory stereotypes to promote products to large audiences. Advertisements invoke stereotypes about apes and monkeys, slavery and black servitude, blackface, black culture, cleanliness and purity and black criminal ity and the need to control black bodies. Many have also presented and promoted whiteness as a trope for people of African descent to aspire to. Today, these racist archetypes are subtler than historically deployed stereotypes, but they are powerful and en during, evidencing the transformation, strength and survival of racist stereotyping. Examples of racist advertising abound, and they are sometimes met with public outrage and demands for corrective and reparatory action. 46. H&M, a popular clothier, released an advertisement of a young Black boy wearing a sweatshirt labelled “Coolest Monkey in the Jungle”. In another example, in 2008, eMobile released a commercial in Japan that showed a monkey dressed in a suit at an election rally standing in an audience populated with multiple signs reading __________________ 34 35 19-13272 See Melinda D. Anderson, “The Black Girl Pushout”, The Atlantic, 15 March 2016. Available at https://www.theatlantic.com/education/archive/2016/03/the-criminalization-of-black-girls-inschools/473718/. See David Jason Childs, “Let’s talk about race: exploring racial stereotypes using popular culture in social studies classrooms”, Social Studies, vol. 105, No. 6 (2014). 13/22