What is the global media landscape? How has it evolved over the past decades? What role has UNESCO played in the shaping of the global media landscape?
The global media landscape is the digital technology and aesthetics of the flow of media. It has evolved over the last decade by allowing the global and contra-flow of media to flow in different directions (export and import). This allows those who didn’t have access to other nations or target audience to expand their base or reach a larger audience. The UNESCO role, which is the mediator, has shaped the global media landscape. It helps to report information to the key players involved providing them with education for a better understanding of culture scientifically. I think that this allows all parties involved to make better decisions when it comes to the trading of communication and media commodities.
Who are the major media players (companies and countries)? What is meant by ‘subaltern’ contra-flows? Are these anti-hegemonic or pro-American? Why?
The major media players in terms of countries is United States, Europe, and Asia. The major media company players are CNN (US), ESPN (US), Disney (US), Discovery (US), Hollywood (US), Google (US), BBC (Europe), CNBC (US), Wall Street Journal (US), Japanese Animation (Japan), etc.( Thussu, 12).
What is meant by “subaltern Contra-flows”, is an sub-alternate flow that flows culture from one place to another by a constituent from another region (Thussu,11-13) . For example, there are two types of Contra-Flows: Transnational and Geo Cultural (Thussu,12) . Transnational is a subaltern flow that consist of multi-vocal, multimedia, and multi-directional flows (Thussu,11-13).
According to the text, Thussu states that global media traffic isn’t just one way, even with the US at core. I think that this shows that the subaltern flows is anti-hegemonic even though they may be hybridized (Thussu,18-21). The goals of these subaltern flows is to create a flow that counters the dominant flows, giving the world audience a different perspective of culture and creativity (Thussu, 10-13).
Subject: What is flow and contra-flow? What is meant by ethno-mediascape?
Flow is how communication and media networks attempt to hold their audience from one program to another; or even from a segment in the program to the next segment. In summary, how the constituent consumes media across networks or from programs. Contra-flow is the movement of culture brought to another place through an migrant (diaspora) which moves the flow of media in the opposite direction of just flowing from the west to the rest of the population, making it a two way movement. Ethno-mediascape is a type of global cultural flow, mediascape is communciations media as a whole and ethno is simply ethnics. In summary, ethno-mediascape is ethnic communications media as a whole.
Author: Briyana Kelly
Date: Monday, January 22, 2018 12:05:28 AM CST
Subject: How does flow and contra-flow contribute to the emerging ethno-mediascape?
Flow and contra-flow contributes to the emerging ethno-mediascape by creating diversity in the market from ethnic cultural groups directly, other than media and communication that is disseminated by outside sources. It allows other cultures to build their own communications commodities that reflect their culture and gives them the power to tell their own story including inform their fellow members who may have relocated nationally. It gives constituents a direct connection which is a major key in relations to how flow and contra-flow contributes to ethno-mediascape. This is also great because it’s great for representational value dealing with other ethic cultural groups.
Why am I igniting this conversation?
Well as you know, I’m building my credibility as a Social Scientist and Engineer, so it’s only right that I share my research. I’m currently studying Global Media and Informational Flowwith my Professor, Dr. Deborah James, at Governors State University.
My interest in Media Studies is from never seeing an accurate portrayal of my identity and culture. I want to help move Urban Culture forward scientifically and dis-spell all of the misconceptions of who I am in the world. As an Urban Citizen I didn’t get into institutional studies to be socially reformed, I admitted myself to socially reform those who share their perspective of the African Diaspora globally based on their assumptions of who we are. I think we need to focus on glocal conversations in the dominant aka global media flow.
Source:
Thussu,Daya Kishan. (2007)Media on the Move: Global flow and contra-flow.New York, NY. Routledge.
Chicago native and Empire star Ta’Rhonda Jones is set to take the stage at City Winery Chicago on Monday, July 20th at 7:30 PM for a one-night-only evening blending music, storytelling, comedy and candid conversation. Best known for her breakout role as Porsha Taylor on FOX’s hit drama Empire, Jones brings her signature charisma and authentic South Side energy to an intimate live setting that showcases the many sides of her artistry beyond the screen.
Since stepping away from scripted television, Jones has built a second on-screen life as a host, most notably fronting Oprah’s OWN Network reality dating series The Never Ever Mets. The show follows couples who fell for each other online meeting in person for the first time, and Jones, known for her blunt honesty and warmth, guides them through cohabitation and relationship tests with the same grounded, relatable energy that made Porsha a fan favorite. She returned for Season 2, which premiered in spring 2025, cementing her place as one of OWN’s go-to hosts for unscripted storytelling. I’m looking forward to seeing her return to the screen.
The date holds extra meaning: it falls right around Jones’s birthday, and it’s a great gift to give someone who never asks for anything but shares everything. The show is a shared celebration with her fans not just for her Solar Return but for all of her recent milestones. Below is a recent Instagram post announcing the event, she wrote:
“It’s my B(earth)Day! 💫 If you’ve ever wanted to support me, this is the perfect way. Grab your ticket to my @citywinerychi show, celebrate with me, and you’ll automatically be entered into raffles for FREE artist resources… When you pour into me, I get to pour right back into our creative community. Let’s celebrate together. ❤️“
Ticket buyers are entered into a raffle for artist development prizes, including a Billboard placement, a music video, and a Hype Magazine feature and more, tying the night directly to her broader mission of resourcing Chicago’s creative community.
The show comes on the heels of her latest album, Breaking Character, released June 6th. The 13-track project features collaborations with Teefa, SandyRedd, Joel Q, GLC, VAADI, Nathan Palmer, Mg Marz, and Philmore Greene, and has already drawn praise for its intentionality and cohesion, critics note the album’s replay value and the way its sequencing carries listeners through themes of identity and self-presentation. Fan-favorite tracks include “Villian” and “Feeling Good, Feeling Great.”
My favorites are “ Villain” , “Menace”, “Let Me Talk to Myself”, and “Favor on My Soul”.
Jones’s Chicago roots run deep. Beyond acting and music, she’s the founder of the S.E.E.D. Foundation, a nonprofit dedicated to funding, mentoring, and resourcing emerging Chicago creatives through grants, studio access, and hands-on programming. Her impact will be formally recognized this year when she receives an Honorary Doctorate Degree in Humanity from Leaders Esteem Christian Bible University at its Fall Graduation Ceremony on August 23, 2026, in Atlanta. Announcing the honor, Jones reflected: “This isn’t just a title. It’s a testament… Y(our) FLYNESS… Dr. Ta’Rhonda Jones.”
CHICAGO (AP) – George E. Johnson, who built one of the most successful Black-owned businesses in U.S. history through his hair care company, has died. He was 99.
Johnson died Monday of natural causes at his home in downtown Chicago, his son, John Edward Johnson, said.
Johnson founded Johnson Products Co. in 1954 after developing a hair straightener designed to avoid burning the scalp. He funded the startup with a small bank loan, which he obtained by telling the loan officer he needed the money for a vacation rather than revealing his business plans.
The company grew into a multimillion-dollar business and in 1971 became the first Black-owned company to trade on the American Stock Exchange. Its product lines, including Ultra Sheen and Afro Sheen, became widely used among Black consumers across the country.
Johnson Products’ advertising, created by Black-owned agencies, was known for depicting Black Americans in professional and family settings at a time when such portrayals were uncommon in mainstream media. The company also sponsored the television show “Soul Train.”
Johnson, a high school dropout who grew up poor on Chicago’s South Side, later gave millions of dollars to fund college scholarships for minority students.
He stepped down as chairman and CEO in 1988. The company changed hands multiple times in subsequent decades. Johnson published a memoir about his life and career in 2025.
He is survived by his wife, Madeline Murphy Rabb, four children and several grandchildren.
The headlines are alarming: a growing outbreak of cyclosporiasis, an intestinal illness caused by the parasite Cyclospora cayetanensis, has sickened hundreds of people across the Midwest and prompted investigations by state and federal health officials. While the source of the contamination remains under investigation, the outbreak raises a larger question that extends beyond one contaminated food item.
What if the bigger story isn’t what made people sick but the system that allowed it to happen?
That question sits at the center of what I call The Systems Lens, an approach that looks beyond headlines to examine the infrastructure, policies, and processes shaping our everyday lives.
What happened?
According to the U.S. Centers for Disease Control and Prevention (CDC), Cyclospora is a microscopic parasite that spreads through food or water contaminated with human fecal matter. Unlike many stomach viruses, it is not typically transmitted directly from person to person because the parasite requires time in the environment to become infectious. Fresh produce has historically been associated with outbreaks because many fruits and vegetables are consumed raw and receive minimal processing before reaching consumers.
Health officials are continuing to investigate the current outbreak, and, as of publication, they have not identified a single confirmed food source responsible for every reported illness.
Why did it happen?
That is where the conversation often stops. News reports understandably focus on identifying the contaminated product. Public health investigators work to trace illnesses back through farms, distributors, and retailers. Those efforts are essential.
But there is another question worth asking.
How does human fecal contamination reach fresh produce in the first place?
The answer is rarely simple.
Contamination can occur through improperly treated irrigation water, sewage entering agricultural water supplies, contaminated wash water used during processing, flooding events, or inadequate sanitation infrastructure for agricultural workers. Each represents a different point where a safeguard intended to protect the food supply may have failed. None of these scenarios automatically means individuals are defecating in crop fields. More often, they reflect failures in water management, sanitation systems, or food-processing infrastructure.
Why should people care?
Food safety is not created at the grocery store. By the time lettuce, herbs, or berries reach your shopping cart, they have traveled through an interconnected system involving water management, agriculture, transportation, food processing, regulation, and retail distribution.
Every step depends on the one before it.
When one layer of protection fails, another is supposed to prevent contamination from reaching consumers. A widespread outbreak suggests that multiple safeguards may have broken down somewhere along the chain, even if investigators have not yet determined exactly where.
This isn’t about assigning blame to a particular farmer, company, or country. It’s about recognizing that public health depends on resilient systems, not perfect people.
What questions should we be asking next?
Instead of asking only, “What food made people sick?” we should also ask:
How is irrigation water monitored before it reaches crops?
How often are agricultural water systems tested for contamination?
What safeguards exist to prevent wastewater from entering irrigation supplies?
How transparent are food supply chains when outbreaks occur?
What investments in water and sanitation infrastructure could reduce future outbreaks?
These questions shift the conversation from reacting to the latest headline to preventing the next one and building a community.
Looking through the Systems Lens
Every major outbreak tells two stories. The first is about illness. The second is about infrastructure.
While scientists work to identify the immediate source of contamination, the public has an opportunity to think more broadly about the systems that produce, transport, and regulate the food we eat every day. Understanding those systems doesn’t make us fearful; it makes us informed. And informed communities are better equipped to ask better questions, demand greater transparency, and support stronger public health protections.
Sometimes the most important story isn’t the outbreak itself.
It’s the system the outbreak exposes.
Want to learn more about systems thinking?
This article uses what I call The Systems Lens, looking beyond individual events to understand the structures, incentives, and relationships that shape them. If you’re curious about the broader field of systems thinking, I recommend starting with The Donella Meadows Project’s “A Visual Approach to Leverage Points.” It’s one of the clearest introductions to seeing problems as interconnected systems rather than isolated events. Helping everyday people understand a complex subject.
The difference between a declaration and a legally binding agreement
Every few months, a familiar message begins circulating across Facebook:
“I do not authorize Facebook or Meta to use my photos or personal data…”
It usually comes with urgent language about a “new rule,” references to a television program, an unnamed attorney, or a deadline that’s supposedly “tomorrow.” People copy and paste it with good intentions, believing they’re protecting their privacy. The problem? It doesn’t work. And I’m tired of seeing them. I once was a victim of reposting these, too, so I thought it would be great to share something I learned.
A declaration is not a contract
One of the most important principles in communications, business, and law is understanding the difference between making a declaration and entering into an agreement. A declaration is simply a statement expressing your wishes, opinions, or intentions. A contract, or the terms of service and privacy policy you agree to when creating and continuing to use a platform, is a legally binding agreement that defines the rights and responsibilities of both parties.
Posting a status update on your Facebook timeline does not amend, override, or replace the agreement you accepted when you created your account. Unless Meta officially changes its terms or provides a legal mechanism for opting out, a copied-and-pasted status has no legal effect.
In other words: Your declaration does not supersede the platform agreement you voluntarily accepted.
So does Meta own your photos?
According to Meta’s published policies, you retain ownership of the content you create. So no. However, by uploading content to Facebook or Instagram, you grant Meta a license to host, store, display, reproduce, distribute, and process that content so the platform can operate as intended. Without that license, Facebook couldn’t display your photos to your friends, show them across devices, or perform many of the basic functions users expect.
Ownership and licensing are not the same thing. Think of it like renting an apartment. You still own your furniture. But you’ve granted the landlord certain rights to operate the property according to the lease. Likewise, your content remains yours, but you’ve licensed Meta to use it under the terms you accepted.
What about artificial intelligence?
This is where the conversation becomes more nuanced.
Meta has acknowledged that it uses certain publicly shared content from adult users to improve and train its artificial intelligence systems. That reality has understandably raised questions about digital ownership, consent, and privacy. Those concerns are legitimate. But they should lead us toward understanding platform policies, not forwarding misinformation. A chain post cannot opt you out of AI training. Reading the platform’s privacy settings, limiting the audience for your posts, removing content you no longer wish to share, and understanding your rights are far more effective than reposting internet folklore.
Why these posts keep going viral
As someone who works in strategic communications, I find these posts fascinating. They spread because they combine three powerful ingredients: fear, urgency, and authority. Mention a lawyer. Reference a television show. Create a deadline. Tell people they must “copy and paste before tomorrow.” These are classic persuasion techniques designed to encourage sharing before verification. Ironically, the posts often accomplish the exact opposite of what they claim to promote: They encourage people to share information without checking the facts first.
Digital literacy is the new media literacy
The internet rewards speed and instant gratification. Wisdom rewards verification and credibility.
Before sharing anything online, ask yourself five questions: Who originally published this? Can I find an official source? Does this claim appear in the platform’s terms of service? Is there credible reporting confirming it? Is this encouraging me to react emotionally instead of thinking critically?
Those five questions can prevent the spread of thousands of pieces of misinformation every day.
Protecting your privacy online is important. So is understanding how digital platforms actually work. The strongest defense isn’t copying and pasting a viral status. It’s reading the agreements you accept, understanding your privacy settings, exercising informed consent, and developing strong digital literacy skills.
In an era of artificial intelligence and algorithmic communication, our greatest protection isn’t fear. It’s knowledge and being willfully ignorant.
Question
What do you think? Have you ever shared one of these viral privacy notices before learning they weren’t legally effective? Join the conversation below and let’s discuss what real digital literacy looks like in the age of AI.
SPRINGFIELD, Ill. – Illinois schools will soon be required to limit students’ cellphone use from the start of the school day until dismissal under legislation lawmakers sent to Gov. JB Pritzker’s desk this year.
Senate Bill 2427 directs every public school board and charter school to adopt a “wireless communication device” policy by the start of the 2027-28 school year. At minimum, the policy must bar students from using phones, tablets, laptops, gaming devices and smart watches throughout the school day, including instructional time, lunch and passing periods, according to bill records maintained by the Illinois General Assembly. High schools have some flexibility to allow device use during lunch or between classes; elementary and middle schools do not.
The measure passed the Senate 55-2 and the House 102-3 before lawmakers adjourned their spring session June 1. Pritzker, who proposed the policy during his State of the State address, is expected to sign it.
“Every parent and educator knows the damage that unchecked screen time and social media can do to our children and how disruptive they can be in school,” Pritzker said in a statement after the bill’s passage.
The law carves out several exceptions. Students may use devices during emergencies, when a licensed physician, physician assistant or nurse practitioner determines a device is medically necessary, to fulfill an individualized education program, or if needed to access learning materials as an English language learner. Schools are barred from enforcing the policy through fines, fees, suspensions, expulsions or by involving school resource officers or police.
State Sen. Cristina Castro, D-Elgin, the bill’s lead Senate sponsor, said the goal is to help students refocus on schoolwork. “Teachers and students should be able to collaborate effectively without distractions standing in the way,” Castro said, according to a news release cited by NBC Chicago. In an interview with NPR Illinois, Castro said several teachers in her district had urged her to pursue the legislation.
The policy mirrors bans already adopted locally by some Illinois districts, including Elgin School District U-46 and Hinsdale Township High School District 86, according to NBC Chicago. Illinois joins a large majority of states that have adopted some form of statewide restriction on phones in schools, according to Illinois Policy, a nonprofit research organization; Indiana is among neighboring states with a similar law.
Supporters point to research suggesting phone restrictions can help classroom focus. NBC Chicago reported the governor’s office cited Pew Research Center survey data showing roughly three in four high school teachers consider phone-related distraction a major problem. NPR Illinois cited Rutgers University research finding that students in classes permitting phone use scored worse on final exams than peers in phone-free classes.
Not everyone welcomed the change. The Chicago Teachers Union has argued the policy could cut off a way for students to reach family during emergencies, including immigration enforcement actions, and that managing devices already falls to teachers as part of daily classroom routines, Illinois Policy reported. Supporters counter that the bill’s emergency exception is intended to cover those situations.
Educators who already restrict phones say enforcement remains a work in progress. Ashley Kolovitz, director of digital learning and innovation at Lake Forest Academy, a private school not covered by the new law but with its own device policy, told NPR Illinois that students often reach for phones out of habit. “Sometimes, I have to stop and collect them at the start of class if it keeps happening,” Kolovitz said.
Under the law, the Illinois State Board of Education must publish a model wireless device policy for districts by Sept. 1, and school boards must review their policies at least every three years.
Sources:
Illinois General Assembly, Bill Status of SB2427 – ilga.gov
Capitol News Illinois, “Cell-phone ban, loosening foreign language requirements among education bills to pass” (June 2, 2026)
NPR Illinois, “School cellphone ban is designed to help students focus” (July 7, 2026)
Chicago-Ty Money, better known as Fat Money, returns with new music: 13 tracks in his signature style for this year’s CincoDeMoney installment, Wolf, Part 1.
This project is one I anticipate annually. Not just out of loyalty , but because the series consistently reflects authenticity and growth. Each year feels like a continuation, not a repetition.
Money still slaps the same way he did the first time I pressed play years ago. And I still spin the older records too. That consistency matters.
Beyond affiliation, because yes, this is family, the work stands on its own. The quality is there. The storytelling is structured. The themes are grounded in everyday Chicagoland life. There’s intention in the sequencing and delivery that many artists today struggle to maintain.
It’s narrative and a vibe.
The project was mixed by Rio Mac and Fat Money, with features from Rio Mac and Kris Lofton, adding texture without disrupting the tone.
A personal highlight for me is the recurring nod to my family’s restaurant legacy.
My uncle, Chuck “Woo Woo’s” Higgins, built something lasting from Washington Heights (99th & Halsted) to Lynwood, Calumet City, Dolton, Chicago Heights, and now:
CHICAGO — Actress and recording artist Ta’Rhonda Jones is expanding her creative work into music with Breaking Character, a project centered on identity, perception and personal transformation.
The project includes tracks such as “Favor on My Soul” and “Villain,” which explore contrasting emotional perspectives, one rooted in alignment and affirmation, the other in perception and misunderstanding.
“Breaking character is really about stepping outside of what people expect from you,” Jones said. “It’s personal.”
Jones, known for her role as Porsha Taylor on the television series Empire, is using music to expand her storytelling beyond the screen.
“I choose to be present. I choose to be 100% me,” she said. “No more performing. No more people pleasing. I’m no longer who society wants me to be.”
The duality presented in “Favor on My Soul” and “Villain” reflects a broader theme of balance within the project.
“I wanted to show that balance is necessary,” Jones said. “I can be both soft and firm. Soft says I understand you, and firm says I still choose what’s best for me.”
Production for “Favor on My Soul” is underway, with visuals emphasizing tone, reflection and transformation. The project’s visual direction aligns with its themes, focusing on mood-driven storytelling and emotional depth.
“There are moments where you’re misunderstood for growing,” Jones said. “That’s where ‘Villain’ comes from.”
Jones also described the creative process as liberating, noting that each phase of development has expanded her perspective.
“Every time I create, I discover new freedom,” she said. “It feels like a phoenix rising, like I’ve unlocked a new level of consciousness.”
A release date for Breaking Character has been confirmed for June 6. The project marks Jones’ continued expansion into music and visual storytelling, positioning it as a personal and creative evolution.
Known for her unapologetic voice, bold personality, and cultural influence rooted in Chicago, Queen Key is stepping beyond music and into something more tangible;retail, ownership, and curated lifestyle. Just like a big stepper should.
With the announcement of her boutique, Kolors, grand opening, Sunday, April 19, at 2144 W. 95th Street from 5 PM-9 PM, she’s not just inviting people to an event…she’s inviting them to her next chapter of evolution and introducing them to a special space in her life.
Queen Key, born Ke’Asha McClure, has never followed a traditional blueprint, at all. I love 🥰 that for those of us looking 👀 to be inspired by originality.
From viral tracks to building a loyal audience, her career has been defined by authenticity and independence. But this latest move signals something deeper:
Ownership of experience.
A boutique isn’t just a store.
It’s:
A reflection of personal style
A direct-to-consumer brand channel
A physical extension of {brand} identity
And for an artist like Queen Key, whose image and presence have always been just as impactful as her music, this move feels less like a pivot and more like a natural progression.
This isn’t just about racks of clothing or a new address on a flyer.
Her Grand Opening represents:
A new level of entrepreneurship
A claim to a bigger physical space in the culture
A deeper connection between artist and audience, in marketing and advertising.
This is where supporters become customers. Where followers become community.
And where brand becomes infrastructure.
The Power of Physical Space in Communications
In a digital-first world, creating a physical location is a power move.
It says: “I’m not just visible, I’m established.”
For Chicago especially spaces like this matter because we’re an international city and market.
We are a hub for:
Local fashion influence
Cultural expression
Community engagement
And when someone like Queen Key opens that door, it doesn’t just create opportunity for herself, it creates a ripple effect and opportunities for others.
What to Expect
While details are still unfolding, one thing is clear:
This won’t be a passive shopping experience.
Expect:
Energy
Personality
A crowd that reflects her audience
And a space that feels like an extension of her brand, and for the fly & danty ladies.
Because if there’s one thing Queen Key understands, it’s how to make people feel something.
Why This Moment Matters
Her boutique launch 🚀 is a signal.
A signal that artists, especially women in hip-hop, are continuing to expand beyond industry limitations and step fully into ownership, business, and legacy-building.
In an era obsessed with metrics and influence, it’s become common to confuse visibility with legitimacy. Follower counts, likes, and algorithms are often used as shortcuts to determine credibility socially, legally, and politically. But journalism has never worked that way, and it still doesn’t.
Journalism is not defined by how many people follow you. It is defined by the practice: inquiry, documentation, discernment, and ethics.
What is journalism?
Journalism is the disciplined practice of gathering, verifying, contextualizing, and ethically presenting information in the public interest.
Notice what’s not in that definition:
Follower counts
Virality
Personal branding
Popular opinion
Journalism is a method, not a mood.
At its core, journalism requires:
Inquiry which is asking informed questions
Documentation via recording conversations, events, and facts
Verification from cross-checking information and sources
Editorial judgment by deciding what to publish, how, or whether at all
Ethics is minimizing harm, protecting sources, and exercising restraint
I don’t stop being a journalist because I chose not to publish something. In fact, that’s often when journalism is most evident.
Conversations can happen without publication. Interviews can occur without release. Information can be verified, contextualized, and ultimately withheld. not because it didn’t happen, but because discretion mattered more than attention. That is not fabrication. That is judgment. Sometimes it’s best that way, too.
There are moments when the responsible decision is to retract, unpublish, or archive a story. Not every truth is meant to be broadcast, especially when doing so would create unnecessary harm, entangle private parties, or reduce complex human situations into a public spectacle. It’s already enough reality media with drama being produced consistently, in dominant and alternate sources, so choosing restraint is not a weakness. It’s professionalism and grace.
Credibility isn’t a vibe. It’s a stack, as a matter of fact.
A credible source typically has a combination of:
1️⃣ Formal education
I have:
An Associate of Arts
A Bachelor’s degree in Communications
A Broadcasting certification
That means:
I’ve been trained in media theory, communications law, ethics, research methods, and audience analysis
I understand editorial standards, framing, and public responsibility
I was evaluated, credentialed, and graduated under institutional standards
That alone places me well within professional legitimacy.
2️⃣ Methodological competence
My portfolio shows that I:
Conduct interviews
Document narratives and cultural events
Work across written, visual, and broadcast formats
Understand PR, media relations, and editorial boundaries
Make conscious publish / retract decisions based on ethics, not pressure
That’s journalism in practice, not theory.
3️⃣ Editorial discretion
This part matters more than people realize.
A credible journalist:
Knows when not to publish
Protects third parties
Separates documentation from spectacle
Understands that truth without context can cause harm
or sometimes the truth with context can cause harm if it’s not delivered properly
I demonstrate this by retracting stories that became too messy to responsibly release, especially if I have to support them if it comes to me in the form of an inquiry.
That is not disqualifying. That is editorial maturity.
4️⃣ Independence
I am not operating as:
A gossip blog
A hype page
A paid mouthpiece
A fan account
I operate independently, with my own standards and boundaries.
That independence is part of credibility, even when it upsets people who want access or control (of a narrative).
What concerns me more than criticism is a growing tendency toward revisionism when mediocrity isn’t accepted, or access is denied. When boundaries are enforced, legitimacy is suddenly questioned, especially when there’s no clout chasing involved. When collaboration is no longer available, history is rewritten as if engagement never occurred at all. This tactic isn’t new; it’s ancient, and it lacks transparency.
Ethical journalism does not operate on entitlement or a false sense of content creation. Access is not owed, proximity is not permission, and past conversations do not guarantee future platforms nor do they guarantee creditable published works. When access is revoked or personal opinions are shared, it is not an invitation to discredit the work or the worker. It is simply a decision. Just like someone’s opinion.
Follower count measures:
Reach
Popularity
Algorithmic distribution
It does not measure:
Accuracy
Ethics
Training
Truthfulness
Legitimacy
By that logic:
Freelance journalists wouldn’t exist
Local reporters wouldn’t count
Investigative journalists working quietly would be “fake”
Archival researchers would be irrelevant
That argument collapses under basic scrutiny.
I stand by the work I’ve published and the work I’ve chosen not to publish or never published because I worked with some partners where we couldn’t get on the same page for some reason. All reflect the same standard. Documentation does not require exposure. Integrity does not require consensus. And credibility does not require a crowd. It all requires practice, earned and non-paid creditable work, which in most industries is considered as paying dues for your credits.
Journalism is defined by method and ethics, not metrics. My work reflects both.
Some stories are resolved privately because that is where they belong. Not on the internet or circulating around people who can’t help you resolve the situation or tell the story. Some records are archived because restraint is part of the responsibility and being ethical in your dealings. And some conversations are over not because they never happened, but because they no longer serve the public good.
Journalism is not a popularity contest. It is a practice. And I practice it with intention.
CHICAGO — Two Illinois political candidates are challenging federal and state laws that ban people with felony records from owning firearms, arguing the policies are unconstitutional and deny due process.
Andy Williams Jr. and Tyrone Muhammad filed suit in the U.S. District Court for the Northern District of Illinois, with an amended complaint submitted March 7, 2024. In a Sept. 11, 2025, press release, the candidates reaffirmed their stance that blanket firearm bans for people with felony convictions violate fundamental rights.
Official Press Release
The men say the laws treat all people with felony records as permanent threats to public safety, regardless of their rehabilitation or time since release.
Background
Williams served time for a robbery conviction and has remained law abiding since his release in 1991. He is currently running for Illinois attorney general; he’s a member of For The People, LLC, AWJ Ministries , a Painter, and a married family man.
Muhammad, who served time for murder, went on to found ECCSC (Ex-Cons for Community and Social Change) a nonprofit focused on community advocacy. He is now a candidate for the U.S. Senate.
Both men argue that their lived experiences make them uniquely positioned to highlight how existing laws disproportionately affect people who have rebuilt their lives.
Constitutional Questions
On Feb. 7, 2025, former President Donald Trump signed Executive Order 14206, directing the U.S. attorney general to protect the right to bear arms. Trump called the Second Amendment “an indispensable safeguard of security and liberty.”
Williams and Muhammad argue those protections must also apply to people who have served their sentences. They note that many formerly incarcerated people cannot afford private security and rely on their constitutional rights for protection.
Courts have also ruled that police have no constitutional duty to protect individuals:
In DeShaney v. Winnebago County Department of Social Services, 489 U.S. 189 (1989), the U.S. Supreme Court held that the state was not required to protect a child from an abusive father despite prior warnings. Read the case.
In Town of Castle Rock v. Gonzales, 545 U.S. 748 (2005), the Court found that police could not be sued for failing to enforce a restraining order that may have prevented the deaths of three children. Read the case.
“These rulings show that the government cannot guarantee personal safety,” the candidates said. “If police don’t have to protect us, then we must have the right to protect ourselves.”
Williams and Muhammad contend the laws are unconstitutional, overly broad and discriminatory. They are calling for legislative changes or constitutional amendments that would replace categorical bans with standards based on individual circumstances.
Call to Action
“I’m calling on others to join this fight,” Williams said. “Support the lawsuit by filing a motion to intervene. Watch for upcoming town halls where we’ll talk about your rights. I’m running for attorney general. I’ll protect the rights of the people, including the formerly and currently incarcerated people and their families.”
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Communications Generalist | Cultural Strategist | Data & Business Analyst 