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COMMENTARY: Media Responsibility and Accountability in the Era of #MeToo

NNPA NEWSWIRE — “The statistics confirm that sexual harassment is alive and well across all industries and women of color working low-wage jobs are facing the brunt of this abuse,” Emily Martin, the vice president of Education & Workplace Justice at the National Women’s Law Center, said in response to those statistics.

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Recently, the recurring challenge for journalists has been demonstrating fairness and objectivity in the wake of the #MeToo movement, founded by Tarana Burke in 2006 to help survivors of sexual violence.

By Stacy M. Brown, NNPA Newswire Correspondent
@StacyBrownMedia

In a world with an ultra-competitive, 24-hour news cycle, journalists are often urged by their editors and publishers to be first with the story.

Unfortunately, in doing so, some have traded accuracy for sensationalism.

Being first to break a story might provide accolades and even financial rewards, but whether printed, published online, or broadcast, a journalist’s words can have serious repercussions for both the accuser and the accused.

A 2018 Pew Research survey found that about two-thirds of American adults (68 percent) say they at least occasionally get news on social media. About the same percentage share the news and information that they find on social channels.

While Pew notes that many of these consumers are skeptical about the information they see there, noting that a majority (57%) say they find information on social media to be inaccurate, the pervasiveness of social channels makes it more imperative than ever for the press to present facts and stray from innuendo.

In some cases, mainstream media has failed to adequately report or focus on stories that would benefit the public.

For example, FBI statistics indicate that more than 424,000 girls have gone missing since the beginning of 2018, yet many say the media hasn’t done enough to shine a light on the crisis, which includes a large number of African Americans.

News reporting is a key witness in the court of public opinion

Take for example the case of  Emmett Till, the black teen lynched and killed by white men after he was falsely accused of whistling at a white woman in Mississippi in 1955.

Author Michael Oby noted that the Black Press shed light on Emmett Till’s brutal murder and continued to press the case for decades afterwards. Though Emmett’s killers never spent a day in prison, in the APMreports series, “In the Dark: Acquitting Emmett Till’s killers,” Peter Vesco notes, “Pictues of Till’s battered, unrecognizable face were printed in JET magazine and publications across the country. News of his hideous lynching led to outrage around the world.”

Oby said news coverage by the Black Press proved to be crucial in the mobilization of African Americans at that time because it ignited the civil rights movement of the mid-1950s.

In a 2007 interview with historian Timothy Tyson, Carolyn Bryant, wife of Roy Bryant, one of the two men who faced trial for the killing, and Emmett’s false accuser, admitted that she lied, and in 2018 federal prosecutors reopened the case.

Today, it may be difficult for some to maintain high journalistic standards, especially since so many ‘citizen reporters’ are using cell phones and other handheld devices to chronicle criminal activity and expose wrongdoing that would have otherwise never been seen – or believed.

Diamond Reynolds filmed the police shooting of her fiancée, Philando Castile, who was pulled over by an officer because his car’s break light wasn’t working.

While the officer claimed he feared for his life because Castile was reaching for a gun, Reynold’s video showed that Castile informed the officer that he had a firearm and was licensed to carry it. It also showed that he never reached for it.

In July 2014, video captured by a citizen reporter shows police questioning Eric Garner of Staten Island, New York, after he allegedly sold loose cigarettes. Officer Daniel Pantaleo then used a chokehold on Garner, who heard repeatedly telling police “I can’t  breathe!”

Garner later died.

During that same year, cellphone video captured the tragic moment when 12-year-old Tamir Rice was shot and killed by police, just seconds after exiting their patrol car, while he was playing in a park in Cleveland with a toy gun.

A police dispatcher had alerted Timothy Loehmann, the officer that fatally shot the boy, that Tamir had a fake gun when she sent authorities to the scene, but Loehman still got out of his car and shot the young boy to death.

Ava DuVernay’s recent documentary, “When They See Us,” has brought attention to the “Central Park Five,” a group of young men who spent eight years in prison after being falsely accused of raping a woman in New York’s Central Park in 1989.

Much has been made about Donald Trump’s position on that case, including when he took out full-page ads in several New York newspapers calling for the death penalty after the incident.

But very little attention was given to the failure of the press to accurately report that story. Instead, the media sensationalized. For his part, Trump continues to refuse to acknowledge that he was mistaken and apologize to the young men who were ultimately exonerated.

When asked by a reporter in mid-June whether he would apologize, Trump replied, “Why do you bring that question up now? It’s an interesting time to bring it up.  You have people on both sides of that. They admitted their guilt. If you look at Linda Fairstein and you look at some of the prosecutors, they think that the city should have never settled that case, so we’ll leave it at that.”

Recently, the recurring challenge for journalists has been demonstrating fairness and objectivity in the wake of the #MeToo movement, founded by Tarana Burke in 2006 to help survivors of sexual violence.

Because there are often no other fact witnesses to the allegations levelled by accusers or corroborators that support the denials made by the accused, #MeToo’s gray areas have proven to be the places where the media fails to adequately practice journalistic standards or exercise caution. Many accusations associated with #MeToo have been substantiated. However, others were proven false.

It Matters if You’re Black or White

The National Organization of Women – or NOW – noted that, for African American women, sexual assault and violence are “incredibly pervasive issues that routinely go unreported and under-addressed.”

The U.S. Equal Employment Opportunity Commission reported that, between 2012 and 2016, black women filed sexual harassment charges at nearly three times the rate of white and non-Hispanic women.

Data shows this is true regardless of the type of industry.

“Black people in the United States have never been given a presumption of innocence in the criminal justice system. Their entire relationship to justice is not a standard of ‘not guilty’ but one of ‘not guilty, yet,’” said Innocence Project Senior Staff Attorney Karen Thompson, who released a report earlier this year that revealed that more than 220 black men have been exonerated by DNA while on death row after they were falsely convicted of various serious crimes.

“The statistics confirm that sexual harassment is alive and well across all industries and women of color working low-wage jobs are facing the brunt of this abuse,” Emily Martin, the vice president of Education & Workplace Justice at the National Women’s Law Center, said in response to those statistics.

Sexual assaults and harassments are serious charges and false accusations can be devastating and career-ending, especially when amplified by news reports.

For example, in 2018, multi-talented actor, singer and songwriter Jamie Foxx was accused of assaulting a woman after she allegedly refused to perform a sex act.

The woman reported the 2002 incident to Las Vegas police and the media seized upon it, threatening Foxx’s career.

Foxx’s attorney said his client didn’t even know the woman, but reporters still swarmed to get her story.

“Jamie emphatically denies that this incident ever occurred,” Allison Hart, Foxx’s attorney said in a statement.

“The first time [Foxx] became aware of this woman’s absurd claims about an incident that supposedly occurred 16 years ago was when [celebrity website] TMZ contacted his representatives about this story,” Hart said.

Eventually, Foxx was cleared of any wrongdoing, but little was written about his innocence.

Even in instances where the truth is not immediately evident – a he said/she said scenario – like that faced by entertainment mogul Russell Simmons, the press has an obligation to objectively present the facts when reporting the story.

Simmons, who maintains that he’s never been violent with a woman or forced any to have sex, said aspects of the #MeToo movement will help ensure that his own daughters will have a better future.

“I see no benefit in getting in the mud with my accusers or the media,” Simmons said. “I’m certain that my truth will come out sooner or later.”

To accuse someone who was doing the kind of work Simmons was doing – “using his money and fame to raise more [money] to help those who needed it, you have to wonder why?” said Barbara Mealer, author of the novels “The Jillian Factor” and “Abilene: No Place to Hide.”

“The media must ask these questions before running with a one-sided story: Did he reject them? Were they just trying to get even with him for some slight? Were they just jumping on the bandwagon so they could get notoriety?” Mealer said.

One high-profile individual who requested anonymity for this article, told NNPA Newswire that, “There’s a case pending against me, which my lawyers said will probably be dismissed shortly and the court has indicated it will be.”

“I’m lucky, right? But, why do I have to spend $600,000 or whatever the number is, to defend myself against a woman who said I did something not her 31 years ago and I don’t ever remember meeting her and she couldn’t produce one friend who she ever told she knew me or one photo or one thing to prove that she ever met me,” the individual said.

The media has been guilty of exacerbating claims, including those of Jackie Coakley, who provided an unsubstantiated story to Rolling Stone magazine that formed the basis of 2015’s “A Rape on Campus,” saying that she had been gang-raped by fraternity members at the University of Virginia.

The story went viral, making headlines in newspapers and television news broadcasts throughout the country, until it was discovered that Coakley made up the story. Even using fake text messages to support her false claims.

Rolling Stone reporter Sabrina Rubin Erdely failed to verify Coakley’s story and the magazine ultimately settled the lawsuits with the fraternity and its members.

In 2013, blogger Susan Shannon accused Col. David “Wil” Riggins of sexually assaulting her in 1986 while they were both cadets at West Point. The allegations caused Riggins to lose a promotion to general, leading him to retire. A jury heard both sides and sided with Riggins, awarding him $8.4 million in damages.

A July 2019 Forbes Magazine article referenced an earlier story in The New Yorker. Jane Mayer’s piece is highly critical of the frenzy that led to the forced resignation of Al Franken from the Senate.

“Mayer described Franken’s fall as ‘stunningly swift’—so swift that it left far too little time to sort the facts,” Forbes reported.

“Every accuser should be heard, but their rights should be no more substantial than the accused, a fact that separates the United States from every other country,” New York-based marketing strategist Tracey Campbell said. “The press must be above that and must recognize that the burden of proof can’t be found in one corner or the other, even when a reporter is convinced the accuser is telling the truth,” Campbell said.

“Believe women,” a slogan that gained popularity during the Supreme Court confirmation hearings for Brett Kavanaugh, refers to the need to accept women’s allegations of sexual harassment or sexual assault at face value. Don’t assume women as a gender are especially deceptive or vindictive and recognize that false allegations are less common than real ones, says Elle Magazine’s Sadie Doyle.

The professional press has an obligation to do as much as possible to “get it right,” present a fair and balanced summary of the facts to its readers and resist the urge to encourage a presumption of guilt.

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.


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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

 

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