The For-Profit College Industry: Dropouts, Debt and Padlocked Doors

The promise of the for-profit college is a no-frills, career focused path to a job that is available to all.  It might leave you with a certificate in areas like law enforcement, automotive technician, cosmetology, or video game design. There are no fraternities, performing arts centers or football teams. You don’t necessarily have to be on a campus and you may not need to follow a rigorous academic schedule. In fact you might never need to leave your room.

For-profit college student bodies skew older than traditional colleges and they are substantially more female. The average age of the for-profit college student is 31. They have often been positioned as an alternative for portions of the population who are underserved by the public college and university community. They are also very much a second chance outlet: your high school record, SAT or ACT scores, are irrelevant.

And yet the education-for-profit industry in the U.S. is tanking. And there are a number of good reasons why.

  1. The fact that the goal of the for-profit college is profit changes the way decisions are made about investment and education. Shareholders are the key constituents, not students. How do you maximize profit? By charging a lot and spending a little. A report issued by the U.S. Senate Health, Education, Labor and Pensions Committee in 2012 reported they spend an average of 17.7 percent of their revenue on student instruction. Where else does the revenue go? A lot goes into advertising and marketing, some goes to shareholders and some to executive compensation. That same Senate committee identified the average compensation package for the CEO of a publicly-traded education corporation at $7.3 million. And that was back in 2012.
  2. The for-profit college is not substantially cheaper than traditional colleges. Costs fall in-between those of public and private non-profit schools. US News and World Report listed the average cost of tuition and fees at for-profit colleges in 2019 at $17,000 annually. Thus they are more expensive than community colleges or 4-year public universities.
  3. On the whole the outcomes for students who choose to enter for-profit colleges are woeful. According to U.S. News and World Report, only about 30% of students who enroll in for-profit colleges graduate after five years. Those that do graduate generally emerge with earnings potential that is less than graduates of public institutions, and often less than what graduates need to make to pay off their student loans.
  4. You have a good chance of coming out of a for-profit college in worse shape than when you started. That’s because of debt. The Senate committee report found that while for-profits enrolled only about 13% of the nation’s college student population, for-profit students represented 47% of the loan defaults. The National Center for Education Statistics pegs the 12 year for-profit student loan default rate at 65.7%.
  5. If you move on to another institution or chose to continue your education by seeking a more advanced degree, you’re likely to find your for-profit college experience to be useless. Former Department of Education appointee Michael Itzkowitz has reported statistics that show 94% of credit earned at for-profit schools won’t be accepted by community colleges or other institutions. In fact 83% won’t even be deemed acceptable at another for-profit.
Cost of college cartoon

As taxpayers, we are all paying for these so-called educational institutions because they completely depend upon public funds to pay the tuition of students who are more likely to default on their loans than they are to graduate. That same Senate report from 2012 found that 86% of for-profit college revenue came from federal loans and grants. For the largest of the for-profits, the University of Phoenix, 86% comes from federal financial aid and another 3% comes from the Department of Defense in the form of GI Bill benefits. According to The Century Foundation, “It is now widely acknowledged that many for-profit colleges engaged in unsavory practices to maintain the flow of taxpayer dollars. By marketing to veterans and low-income students eligible for the maximum amount of federal financial aid,, owners grew their schools rapidly, while overcharging and under-delivering along the way.”

What’s more, you never know whether you’re going to come to class and find the doors padlocked. Since 2010, 40% of all for-profit colleges have closed. Between 2014-16 alone, 180 for-profit college campuses shut their doors. Of all the colleges that have closed since 2013, 95% of them were for-profits. 

empty classroom
(image by Nathan Dumlao)

Thus, in spite of the efforts of the current administration in Washington and the Secretary of Education to protect and expand for-profit education, this industry is in free-fall. For-profit student enrollment peaked in 2010 at 2 million according to the National Student Clearinghouse Research Center statistics. In 2017 that number had dropped to 900,000 and two years later it was just short of 750,000.

In this series of posts, I’ll look at the history of non-profit colleges in the U.S., provide some case studies of these companies and report how the DeVos Department of Education continues to try to enable for-profit education.

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Painting on the walls, with social commentary

Vida Americana: Mexican Muralists Remake American Art 1925-1945

Whitney Museum of American Art

Man, Controller of the Universe
In 1934 the Rockefeller Corporation commissioned Diego Rivera to paint a fresco in the Rockefeller Center Tower. The completed work included a portrait of Vladmir Lenin. Nelson Rockefeller asked Rivera to erase the portrait. He refused and Rockefeller Corp. destroyed the mural. Rivera recreated a version of it at the Palace of Fine Arts in Mexico City and titled it Man, Controller of the Universe. This is a reproduction of that work.

The Whitney’s most recent exhibit is dedicated to the influence of a group of Mexican muralists who emerged following the Mexican Revolution which ended in 1920. It focuses on three artists: José Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros. All of them spent some time in the U.S. and created some murals here. The exhibit also features the works of some of the artists, both American and Mexican, who were influenced by the muralists.

Diego Rivera

Diego Rivera was born in Guanajuato in 1886. He was an atheist and member of the Mexican Communist Party, though he was later expelled from the party for being a Trotskyite. Rivera studied art in both Paris and Italy. He created murals in San Francisco, Detroit and New York. The artist Frida Kahlo was the fourth of his five wives. They married in 1929, divorced in 1939, and then remarried in 1940.

Portrait of America, Diego Rivera
This is a study for part of Rivera’s 21-panel Portrait of America that he painted for the Communist New Workers School in New York in 1933.

Jose Clemente Orozco

Jose Clemente Orozco was born in 1883 in what is now Ciudad Guzman. When he was 21, he lost his left hand while making fireworks. He is best known for political murals. He lived in the U.S. from 1927-34 and he painted murals in New York, California and at Dartmouth College in New Hampshire. He also illustrated John Steinbeck’s The Pearl.

Prometheus
This is part of a reproduction of Prometheus, a mural which Orozco painted at Pomona College’s Frary Dining Hall in Claremont, Calif.
Christ Destroying His Cross
Christ Destroying His Cross reproduces one of the panels that was part of Orozco’s mural at Dartmouth College.

David Alfaro Siqueiros

David Alfaro Siqueiros was born in Chichuahua in 1896. By the age of 18 he was a member of the Constitutional Army fighting the government of Victoriano Huerta. He would be a political activist throughout his life. He lived and worked in Los Angles for a spell in the 1930’s but was deported by the U.S. government. In 1938 he was fighting in Spain against Franco and back home in 1940 he led an unsuccessful attempt to assassinate Trotsky who was in exile in Mexico. In 1960 he was imprisoned after leading protests against the arrest of striking workers and teachers.

Self Portrait with Mirror
Self Portrait with Mirror
The Struggle Against Terrorism
This is a reproduction of The Struggle Against Terrorism, a mural painted in a two story courtyard at the University of Michoacan in Morelia, Mexico. It was painted by Philip Guston and Reuben Kadish, two artists who trained with Siqueiros in Los Angeles, and by Jules Langsner
The Protector, Alfredo Ramos Martinez
The Protector, Alfredo Ramos Martinez
Zapatistas, Alfredo Ramos Martinez
Man and Woman, Ruffino Tamayo
Man and Woman, Ruffino Tamayo
Woman of Tehuantepec, Tina Modotti
Woman of Tehuantepec, Tina Modotti
Me and My Parrots, Frida Kahlo
Me and My Parrots, Frida Kahlo
The Driller, Harold Lehman
The Driller, Harold Lehman
Motherhood, Mardonio Magaria
Motherhood, Mardonio Magaria
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Treefall

In the forest, old trees give way to the new.

In winter you see their broken trunks splayed about the forest floor.

Come spring the woods turn green,

and they are forgotten.

MIlls Reservation
MIlls Reservation
MIlls Reservation
MIlls Reservation
MIlls Reservation
MIlls Reservation

Photos from Mills Reservation, Cedar Grove and Montclair, N.J.

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The LBJ Enigma

LBJ in his office

There is no U.S. president that I have more mixed feelings about than Lyndon Baines Johnson. LBJ assumed the presidency in 1963 after the assassination of John F. Kennedy. I was 13 at the time. He would remain president for most of my teenage years. I was approaching the age of 18, which at the time meant conscription, the draft, a possible unwanted tour of Vietnam. LBJ inherited that war but he perpetuated and escalated it. I hated him for it. At protest marches against the war we would chant, “Hey, hey, LBJ, how many kids did you kill today?”

It took quite awhile for me to appreciate the things that LBJ did. His presidency included more landmark progressive legislation than anyone else I can think of. He signed the Civil Rights Act and the Voting Rights Act. During his administration Medicare and Medicaid were created, legislation was passed addressing fair housing, immigration reform, clean air and clean water.

The LBJ Museum and Library on the campus of the University of Texas in Austin addresses the enigma of LBJ, albeit in an ever so gentle way. The war is presented from the viewpoint of the president. More than once I saw the quote, “I can’t win it, and I can’t get out.” It’s the latter part of that sentence than many of us would take issue with.

LBJ did this:

LBJ's legislation

He enabled this:

LBJ accomplishments

But then there’s this:

Vietnam War
Vietnam War era cartoon
Washington Post headline

And yet this quote is as appropriate today as it was in 1965:

LBJ quote
JFK and LBJ
LBJ's limo
LBJ’s limo

From start to finish:

LBJ as a school teacher
LBJ's last speech
The LBJ library
The LBJ library

The campaigns:

LBJ's hat

LBJ the cartoon:

LBJ with kids

LBJ statue
LBJ and Lady Bird
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Soundtrack of the 60’s

It was on Martin Luther King Day that I visited the LBJ Museum and Library on the campus of the University of Texas in Austin. Seems somewhat appropriate since it was LBJ who signed the Civil Right Act and the Voting Rights Act. Much to my surprise I found a special exhibit, curated by the Grammy Museum, on Motown. And why not? LBJ was president from 1963-69. Motown was the soundtrack of that era

It all started here:

Hitsville U.S.A.
Hitsville U.S.A. was the home of Motown founder Berry Gordy at 2648 West Grand Boulevard in Detroit. Gordy bought the house in 1959. He carved out some office space, moved his family upstairs and, in the garage, set up Studio A, where the Motown sound was born.

The Motown Look

The influencers

The Temptation Walk
Lady Sings the Blues
Stevie Wonder
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The Whitney Collection Never Ends

Since the Whitney Museum of American Art is one of my favorite art museums, I go there two or three times a year. Each time there is at least one floor, and sometimes two, dedicated to exhibits curated from the museum’s collection. You would think by now I would have seen a substantial portion of their collection. Yet, everytime I go, I see lots of works I’ve never seen before. Here are a few of the pieces that caught my eye during my more recent visit. They were part of an exhibit “The Whitney’s Collection: Selections from 1900 to 1965.”

Still Life Number 36, Tom Wesselmann
Still Life Number 36, Tom Wesselmann
Subway Scene, Isabel Bishop
Subway Scene, Isabel Bishop
Fantasia on a Theme by Dr. S., Paul Cadmus
Fantasia on a Theme by Dr. S., Paul Cadmus
Door to the River, Willem de Kooning
Door to the River, Willem de Kooning
The White Calico Flower, Georgia O'Keeffe
The White Calico Flower, Georgia O’Keeffe
Gertrude Vanderbilt Whitney, Robert Henri
Gertrude Vanderbilt Whitney, Robert Henri
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Off the Leash, Literally

Pochuck Boardwalk

part of Appalachian Trail

Vernon, N.J.

Pochuk boardwalk
Pochuck boardwalk
Pepper hiking
On the lookout.
Pochuk boardwalk
Pochuk boardwalk
Pepper crossing the bridge
Pochuk boardwalk
That might be too cold for me.
Pochuk boardwalk
You coming?
Pochuk boardwalk
Ugh! Mud.
Pochuk boardwalk
heading home
Pochuck boardwalk map
Let’s see where we are
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Desert Modern: Selections from the Palm Springs Art Museum

Palm Springs Art Museum
Lost Angel Flakes, Bill Schenck
Lost Angel Flakes, Bill Schenck
Old Couple on a Bench, Duane Hanson
Old Couple on a Bench, Duane Hanson
Intense Curiosity, Gross Neglect, Edward Rusche
Intense Curiosity, Gross Neglect, Edward Rusche
Montage Series #3, Don Namingha
Montage Series #3, Don Namingha
The Moon Through 13 Months, Christopher Brown
The Moon Through 13 Months, Christopher Brown
Rat Catcher of Hamelin IV, Mark Bradford
Rat Catcher of Hamelin IV, Mark Bradford
Sence-2, Victory Vasarely
Sence-2, Victory Vasarely

Alexander Girard, fabric designer and interior architect

Changing Dimensions, Claire Falkenstein
Changing Dimensions, Claire Falkenstein
Interlocking Forms, A, Black Linear #2, Karl Stanley Benjamin
Interlocking Forms, A, Black Linear #2, Karl Stanley Benjamin

Il Deserto Fiorito (The Flowering Desert), glassworks by Lino Tagliapietra

Untitled, Fletcher Benton
Untitled, Fletcher Benton
The Last Outpost, Llyn Foulkes
The Last Outpost, Llyn Foulkes
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Two Deserts Under a Winter Sky

Joshua Tree National Park

Joshua Tree National Park in southeastern California consists of nearly 800,000 acres located at the convergence of the Mohave and Colorado deserts. The Joshua tree, for which the park is named, grows only in the higher elevation Mohave desert in the western half of the park. A protected species, most of the world’s Joshua trees are in this park.

I visited Joshua tree in late December a day after a full day of precipitation. In the Colorado desert, the eastern half of the park with elevations below 3,000 feet, that precipitation fell as rainfall. But in the Mohave it was snow. Entering the park from the eastern side I started by walking in the sand through the cactus gardens. But a little ways up the road I was standing in 8 inches of snow amidst a field of Joshua trees.

Colorado Desert

Joshua Tree National Park

Cholla Cactus Garden

Mohave Desert

Joshua trees
Joshua Tree National Park
Joshua Tree National Park
Joshua tree
Joshua tree
Joshua tree
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Some wire, wood and fabric; some wool blankets, beads and human hair.

Making Knowing: Craft in Art, 1950-2019

Whitney Museum of American Art, New York

Kitchen, Liza Lou
Kitchen, Liza Lou. beads, plaster, wood and found objects
Swimmer, Mary Frank
Swimmer, Mary Frank. earthenware
Giant BLT, Claes Oldenburg
Giant BLT, Claes Oldenburg. vinyl, kapok, painted wood and wood
Untitled, Robert Gober
Untitled, Robert Gober. wax, cloth, wood, leather and human hair
Angel: The Shoe Shiner, Pepon Osorio
Angel: The Shoe Shiner, Pepon Osorio. painted wood, rubber, fabric glass, ceramic, shells, painted cast iron, hand-tinted photographs, paper, mirror, two video monitors
No title, Eva Hess
No title, Eva Hess. latex, rope, string and wire
Skywalker/Skyscraper, Marie Watt
Skywalker/Skyscraper, Marie Watt, reclaimed wool blankets and steel
Me Man, Viola Frey
Me Man, Viola Frey. glazed ceramic
Portals, Njideka Akunyill Crosby
Portals, Njideka Akunyill Crosby. acrylic, solvent transfer, collage of fabric and paper, colored pencil on paper
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