BlackPressUSA

A California Law Forced Police to Release Shooting Footage; Now Videos Follow the Same Script

Published

3 years ago

April 21, 2023

By Nigel Duara
CalMatters

Ken Pritchett clicks his mouse and the logo of a Southern California police department pops up on a computer monitor the width of his shoulders. Another click and the image flips to a three-dimensional map. A glowing orange arrow indicates the direction a man ran as he tried to evade police.

“Right here, this is the path he took in the alley,” Pritchett said, switching from the map to a still image highlighting an object in the man’s hand. “Then you can see him turn toward the officers. He wants to die. This is suicide.”

This incident, like all the videos Pritchett produces in his home office, ended in a police shooting. Pritchett has made more than 170 of these for police departments and sheriff’s offices, mostly in California.

The video flips again, this time to the display of a shuddering body camera worn by an officer sprinting down an alley. Commands are yelled, the person being chased lifts an object with his right hand, police fire their weapons, the man falls down.

The video isn’t much different from hundreds of others produced since California passed a law in 2018 mandating police departments release body camera footage within 45 days of any incident when an officer fires a gun or uses force that leads to great bodily injury or death. Like most other critical incident videos released by law enforcement agencies after a shooting, this one is a heavily edited version of the original raw video, created by one of the private contractors that went into business editing police footage after the law went into effect.

Pritchett, who makes more of these videos than any other private contractor in California, asked CalMatters not to disclose the name of the police department in order to preserve their business relationship.

The law has some exceptions, allowing departments to withhold video if it would endanger the investigation or put a witness at risk. Law enforcement departments often cite those reasons when regularly denying records requests by CalMatters and other news organizations. Of the 36 fatal police shooting cases since July 2021 being tracked by CalMatters, only three have responded with even partial records.

Instead, the public and the media must rely on edited presentations that often include a highlighted or circled object in a person’s hand, slowed-down video to show the moments when the person may have pointed the object at police and transcriptions of the body camera’s audio.

They are also the only documentation of a fatal police encounter that the public will see for months, or years, or maybe ever.

Since the advent of cell phone cameras and, later, police-worn body cameras, the public has had detailed access to violent police encounters in a way it never had before. After incidents including the livestream of the aftermath of the Minnesota police shooting of Philando Castile in 2016 and the helicopter footage of the Sacramento police shooting of Stephon Clark in 2018, states including California passed a host of laws aimed at using that technology to better judge the actions of officers.

Critics allege that the problem with the condensed, heavily-edited version of the body camera footage released by law enforcement agencies is that they shape public opinion about a person’s death or injury at the hands of the police long before the department in question releases all the facts in the case or the full, raw video.

They also point to particular incidents in which a department erased or failed to transcribe audio critical to understanding the case, did not make clear which officers fired their gun or cut the video at a critical moment. In one case, Los Angeles journalist Sahra Sulaiman has taken apart multiple videos released by the Los Angeles Police Department and found irregularities that she asserts are deliberate manipulations meant to justify officers’ actions. In response, she said the LAPD ignores her or directs her back to the video.

“To only release an edited version is not what we think is called for from the defendant’s point of view,” said Stephen Munkelt, executive director of California Attorneys for Criminal Justice, a Sacramento-based association of criminal defense attorneys. “If they’re editing things out, it’s probably the stuff that’s beneficial to the defendant.”

He also worries about the impact of the release of the body camera footage on a potential jury pool. Still, Munkelt said, some video is better than none, if only because defense attorneys have more grounds to ask a judge for the full, unedited video.

Former journalist working with California police

In response to the 2018 body camera law, a cottage industry has emerged to produce these videos, though several larger law enforcement agencies produce theirs in-house. Pritchett works for Critical Incident Video, founded, not coincidentally, when the law went into effect in 2019. According to emails obtained by The Appeal and The Vallejo Sun, Critical Incident Video charges $5,000 per video.

Pritchett is a former journalist and insists that he applies the same scrutiny and objectivity to these videos, paid for by police departments, that he did in his former life as a television reporter and anchor in Fresno and Sacramento.

“Virtually every article we’ve seen about what we do, somebody accuses us of spinning for the police department, but I have yet to ever see an example put forward that shows that we’re spinning anything,” he said. “And if they did, tell me, for God’s sakes. My entire goal is to make these straight, spin-free.”

Not every department uses Critical Incident Video, but for the dozens that do, Pritchett’s style is unmistakable: first, the map, then usually a transcription of 911 calls, then the body camera video. Pritchett said that, if he’s done his job well, he can help head off conflict between a law enforcement agency and the public.

“I think the main issue now is people come jumping to conclusions about what happened before they’ve seen the video, which is why we recommend that (law enforcement) always get that video out there as quickly as possible,” Pritchett said. “We have done quite a few videos where there was a social media public narrative about something that happened, and the video clearly shows that that didn’t happen.”

Pritchett said that, before he made his first video, he learned by watching the videos that departments produced internally. He did not like what he saw.

“Basically, what we saw was the LAPD’s videos, and I didn’t like them … I probably shouldn’t have said that,” he said with a laugh. “But I remember seeing mugshots. I remember seeing information that was not really relevant (like) previous charges. I remember thinking the whole (video) that someone had a gun, until they told me at the end that it was actually not a gun.”

So, he has rules. He will not refer to the person who was shot as a “suspect.” He will not use mugshots of the person who was shot. He will not display previous charges or convictions of the person shot, even if the department asks him to — something that he said cost his company a client when the police department insisted on including it. If an object was later found to be anything other than a gun, he demands that the departments tell viewers that up front.

Critical Incident Video’s process usually begins hours after a shooting. The police department or sheriff’s office will call Pritchett and send the raw footage, along with any witness video the agency has obtained. He combs through it, picking out the parts he believes are important.

He reads the initial police press release — “which is often incorrect,” he said — then reads any related media reports. He transcribes the audio of the body camera, creates a 3D map showing where the encounter began and writes a prospective script if one is requested, then tells the police to put it in their own words.

Pritchett said he pushes back against departments. Sometimes in a press release, agencies will say they immediately rendered first aid to a person they shot, but the video shows a delay.

“Sometimes that becomes a point of contention,” Pritchett said. “I’m looking at the video and say, well, how do you define immediate? We’ll change that. Like I said, we have to fight.”

The California Police Chiefs Association and the California State Sheriffs’ Association did not return voicemails from CalMatters for this story.

Assemblymember Phil Ting, a San Francisco Democrat who wrote the 2018 body camera law, said he has no problem with the condensed videos provided by law enforcement agencies after a shooting, because they’re much better than what was made public before the law.

“After the legislation was passed into law, we’ve seen so much more released and so much more video,” Ting said. “If a department is articulating why they acted in a particular way, that’s a good thing. They work for the public and we want accountability.”

Michele Hanisee, president of the Los Angeles Association of Deputy District Attorneys, said the release of the videos is a balancing act, forcing prosecutors to weigh the benefit of transparency against the potential harm of prejudicing the jury pool.

“While transparency promotes public confidence in the conduct of law enforcement,” Hanisee wrote in an email to CalMatters, “the pre-trial release of evidence has the potential to influence the testimony of witnesses, create bias in potential jurors, or create an environment that could justify a change in venue.”

Replaying LAPD shooting videos

Three hundred and sixty miles south of Pritchett’s Sacramento home office, Sulaiman, a communities editor for StreetsBlog Los Angeles, is in front of her own monitor, squeezed into the two-foot patch of carpet between her couch and a knee-high table on which her laptop is perched.

Her eyes, reflected back in the dark blue of a police uniform on screen, dart back and forth between the video released by the LAPD and the time code. She rewinds, presses play, pauses the video, rewinds again.

“Did you hear it?” she asks, then presses play on the video from December 2021. “Listen again.”

On screen is Margarito Lopez, a developmentally disabled 22-year-old sitting on a set of short stairs, holding a meat cleaver, bathed in blue and red light. Several LAPD patrol cars are parked in front of him, the officers shouting at him to drop the cleaver, as they have for at least five minutes.

Lopez stands. The police continue to shout in English and in Spanish. He holds the cleaver over his head. The body camera video’s transcription matches the words of the officers: “Hey, drop it, drop it, stop right there!”

Seconds later, officers fire live rounds, killing Lopez. Sulaiman rewinds again and turns up the volume on her laptop.

This time, a piece of audio that wasn’t transcribed by the LAPD is clear: “Forty, stand by.”

Forty, in this case, is code for a less-lethal foam projectile, a warning to other officers that what they’re about to hear are not lethal rounds.

“The protocol demands that they give the warning and then everybody stand down, wait to see what effect it has,” she said. “So he gives the warning and if you don’t know what you’re listening for, you just hear shouting. But then I realized that that’s what the warning was, and immediately, as soon as the less lethal is fired, it’s contagious fire because they didn’t hear the warning.”

Without that piece of audio, Sulaiman said, the video makes it appear that Lopez was shot after failing to comply with commands and advancing toward the officers.

“And that’s where they play with these transcriptions a little bit,” she said. “So that’s the kind of thing where if you have this different piece of information, that completely changes what this incident is.”

Sulaiman doesn’t believe the LAPD transcription left out the less-lethal warning by accident. The LAPD did not respond to specific questions from CalMatters about this incident or the video transcription.

Since the murder of George Floyd by Minneapolis police in May 2020, Sulaiman has focused her work almost entirely on police violence.

Among her most thorough investigations was when she found the only evidence that an LAPD sergeant fired his weapon from his vehicle without stopping during a police chase on July 18, despite two other officers determining moments earlier that the man being chased didn’t have a gun.

The video never made clear which officer fired the shot that wounded 39-year-old Jermaine Petit, but in the reflection in the glass of the sergeant’s patrol car dashboard, she saw him holding up his gun and pointing it out the passenger side window. At the time of the shooting, the sergeant’s arm jerks backward. She said she had to watch the video several times, including at one-quarter speed, before she noticed the reflection.

She acknowledges that police have a difficult job in often-chaotic circumstances, trying to make life-or-death decisions. But that, she said, is their job.

“A lot of times they’ll say, oh, when we put civilians through these active shooter sort of scenarios, they just fire willy-nilly at people,” she said. “Well, yeah, ’cause I’m not f——- trained.

“And when you go second-by-second through these, it is certainly a lot easier to play Monday morning quarterback. But you also see that LAPD is doing the same thing when they’re constructing these narratives.”

Sulaiman said the videos themselves are a mixed bag of consequences. She’s glad that there is some video evidence of the shootings released, but said the format is ripe for manipulation by the police.

“What these videos have taught me is how really skilled LAPD is at deflecting attention at deeper structural reform,” she said. “That they are very good at pointing the finger, at localizing blame on the things that take the least amount of tweaking to fix and deflecting any kind of interest in questions of structural reform.”

Both Sulaiman and Pritchett, in their respective jobs, have had to watch hours and hours of people being shot. The images they see are not blurred. People lie dying in pools of blood, people ask why they were shot, people shout for their mothers.

“It’s tough,” Sulaiman said. “I don’t know what else to say about it.”

When asked how viewing those videos affects him, Pritchett paused for several seconds, started to speak, stopped himself, then started again.

“To be determined.”

Copyright © 2023 Bay City News, Inc. All rights reserved. Republication, rebroadcast or redistribution without the express written consent of Bay City News, Inc. is prohibited. Bay City News is a 24/7 news service covering the greater Bay Area.

The post A California Law Forced Police to Release Shooting Footage; Now Videos Follow the Same Script first appeared on Post News Group. This article originally appeared in Post News Group.

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Latinas Deserve Equal Pay. Unions Help Make It Happen.

Published

4 days ago

October 8, 2026

Fred Redmond

By Fred Redmond

Everywhere you look, everything costs too much. Families are stretching every paycheck to cover soaring grocery bills. Too many are struggling to make rent. Child care, health care and gas bills continue to strain household budgets. Working people are doing everything right, yet too many are still falling behind.

For Latina workers, this crisis is compounded by a persistent and unjust pay gap. That’s why we observe Latina Equal Pay Day on Oct. 8 this year. It brings attention to the fact that among full-time, year-round workers, Latinas earned just 60 cents in 2025 for every dollar earned by white men. That wage gap isn’t just a statistic—it means smaller paychecks, fewer opportunities to build wealth, less financial security and harder choices about how to provide for their families.

Latinas deserve equal pay for equal work. Full stop. Anything less hurts working families and weakens our economy. A union contract can help level the playing field.

The evidence is clear. Hispanic workers overall receive a large wage boost from union membership, with a 16.4% wage premium compared with nonunion Latino workers. Latinas in a union earn about $15,288 more per year than Latinas who are not in a union. Most importantly, union contracts also help narrow the gender pay gap: Women working full time in union jobs earn 86.2 cents for every dollar earned by men who are union members—a significantly smaller gap than among nonunion workers.

Negotiated contracts replace arbitrary decisions with clear wage scales, transparent pay systems and enforceable workplace standards. Instead of leaving pay to bias or favoritism, union contracts establish fair standards that workers can enforce.

A report from the Economic Policy Institute finds that strengthening workers’ rights to organize and increasing union density would significantly reduce racial wage gaps while strengthening our economy and our democracy. Communities with higher union membership invest more in public education, are more likely to expand access to health care and provide stronger unemployment protections when people lose their jobs.

Our labor movement has always understood that civil rights and workers’ rights are inseparable. Dr. Martin Luther King Jr. recognized that truth when he stood with striking sanitation workers in Memphis, Tennessee. Today, we carry that legacy forward by fighting for workplaces where every worker is respected, protected and paid fairly.

Latina Equal Pay Day should not simply remind us how far we still have to go. It should remind us that we already know how to make progress. Progress happens when workers organize. It happens when we bargain together. And it happens when we stand in solidarity with one another. That’s why we must elect leaders who will fight to protect workers’ rights, strengthen unions and defend our democracy.

We must recommit ourselves to building an economy where every worker is valued, every paycheck reflects the dignity of work and every Latina receives the equal pay she has long deserved. Because when Latinas are paid fairly, every family can afford to build a better future.

Fred Redmond, the highest-ranking African American labor official in history, is the secretary-treasurer of the AFL-CIO, the nation’s largest labor federation representing 65 unions and nearly 15 million workers.

Art

Houston’s ‘call Me Mother’ Exhibit Opens Today, Spotlighting Black Maternal Health

AFRICAN-AMERICAN NEWS AND ISSUES – DALLAS — The Health Museum in Houston today opens “The Call Me Mother Experience,” an exhibition spotlighting Black maternal health through art and personal storytelling. Curated by Houston’s first Black poet laureate, Deborah D.E.E.P. Mouton, the project originated from her own poem written during a miscarriage.

Published

5 days ago

October 7, 2026

BlackPressUSA Newswire

Image Credit: African American News & Issues

HOUSTON — A new exhibition opening Sunday, Oct. 4, at The Health Museum is bringing Black maternal health into public view through art and personal storytelling.

The Call Me Mother Experience will be on display through Feb. 28, 2027. The museum lists a preview reception today from 3 to 5 p.m. at 1515 Hermann Drive, with tickets priced at $5 for members and $15 for nonmembers.

A personal story becomes a community conversation

According to the museum, founder, curator and lead artist Deborah D.E.E.P. Mouton developed the project from a poem she wrote during a miscarriage. The installation combines films, recorded interviews, visual artwork and contributions created with community members.

Mouton, Houston’s first Black poet laureate, discussed the exhibition and her connection to its subject in an Oct. 1 appearance on KPRC’s Houston Life. The station described the project as addressing the unequal burden of pregnancy-related illness and death faced by Black women in Harris County.

An announcement distributed by the Call Me Mother Experience says the initiative will also reach community locations and faith-based organizations across Greater Houston. Those additional settings are intended to extend the conversation beyond a museum visit.

What visitors can expect

The museum says reception guests can explore the exhibit, hear the curator and meet participating artists. Reception admission includes general museum entry; refreshments are available while supplies last.

The featured image accompanying this article is an original illustrative concept, not a photograph of the exhibition or its artwork.

Sources and visitor information:The Health Museum exhibition listing; preview reception details and tickets; KPRC Houston Life; organizer announcement.

The post Houston’s ‘Call Me Mother’ Exhibit Opens Today, Spotlighting Black Maternal Health appeared first on African American News and Issues.

Based on reporting by African-American News and Issues – Dallas.

Black Press

Should You Have to Pay to Hear the Gospel?

ST. LOUIS AMERICAN — Pastor Philip Anthony Mitchell of Atlanta’s 2819 CHURCH and Tim Timberlake of Celebration Church in Jacksonville, Florida, are at the center of a social media debate. The controversy stems from ticket prices for their “Street Preachers” podcast tour, with general admission tickets reportedly costing around $60 and VIP options up to $200.

Published

5 days ago

October 7, 2026

BlackPressUSA Newswire

A sold-out podcast tour featuring Pastors Philip Anthony Mitchell, left, and Tim Timberlake has sparked debate over the boundary between spreading the Gospel and selling an experience. Critics question whether ministers should charge admission to hear the Gospel, with tickets including a $200 VIP package. — Photo courtesy of Street Preachers Podcast

For generations, the Black church has passed the offering plate to keep the lights on, pay the preacher, help the poor and carry the Gospel beyond its walls. But what happens when the preacher leaves the sanctuary, takes a popular Christian podcast on tour — and charges admission?

That question has placed Pastor Philip Anthony Mitchell, founder and lead pastor of Atlanta’s fast-growing 2819 CHURCH, at the center of a heated social media debate.

Mitchell and Tim Timberlake, senior pastor of Celebration Church in Jacksonville, Florida, host “Street Preachers,” which its official website describes as a “raw, unfiltered podcast” committed to spreading the Gospel.

‘A brood of vipers’

The controversy began after ticket prices for the podcast’s 2026 tour circulated online. General admission tickets reportedly cost about $60 before fees, with premium options, including a VIP meet-and-greet package, priced at $200. Critics questioned whether ministers should charge people to hear the Gospel.

Others defended the pastors, arguing that Christian events require venues, transportation, security, equipment and staff.

Mitchell answered critics from the pulpit last month, calling them “a brood of vipers.” He said the podcast is a separate, personal project and that neither his church nor Timberlake’s is bankrolling it.

“Now we have decided to go on a tour to take the gospel to cities, and because that’s not funded by 2819, and it’s not funded by Celebration Church, Tim and I gotta do that with our own pockets,” Mitchell said. “It’s why there is tickets. We have to pay for venues and security and productions and staff from our own pockets.”

Mitchell called some critics “ignorant” and said they did not know that a child was healed through faith during one of the events.

“And you want to complain about a 60 ticket?” he said. “So hate on!”

Worship service vs. media event

Mitchell maintains that “Street Preachers” is an independently produced podcast tour, not a worship service, and that ticket revenue helps cover production costs.

Yet the presence of pastors, Scripture and Gospel language makes the distinction less clear to some believers.

The official tour website lists all eight 2026 stops as sold out. Promotional material announcing additional dates promised, “Better ticket options. Same Gospel. Same move of God.”

Corporate prayer gathering

The language gets to the heart of the dispute. Some Christians argue that no one should be kept outside because they cannot afford a ticket. Others say the Gospel remains free even when people pay for the venue and experience surrounding its presentation.

The paid podcast tour, however, is not Mitchell’s only large-scale gathering. On Oct. 10, 2819 CHURCH will host “ACCESS — That Powerful Hour of Prayer” at AT&T Stadium in Arlington, Texas. Admission is free.

2819 CHURCH has said 80,000 free tickets were claimed before registration reopened.

The contrast raises another question: What makes one Gospel-centered event a ministry supported by donors and another a production supported by customers?

Unfiltered preaching, youth appeal

Mitchell’s congregation, composed largely of young Black adults, grew from fewer than 200 weekly worshippers in 2023 to about 6,000, according to the church. Some worshippers arrive before sunrise to secure a place inside.

His appeal rests partly in an intense, vulnerable and raw preaching style.

“I’m preaching without watering that down, without filtering out things that we think might be too controversial,” Mitchell told The Associated Press.

That visibility has also brought scrutiny of his theology, associations, travel, security and the businesses surrounding his ministry.

But the controversy reaches beyond Mitchell and Timberlake. Christian music concerts charge admission. Seminaries charge tuition. Religious publishers sell Bibles, books and devotionals. Churches pay musicians, media teams and guest preachers. Money becomes particularly uncomfortable, however, when an event is presented simultaneously as ministry and entertainment.

Ministry vs. entertainment

Supporters should not assume every dollar collected becomes personal profit. Critics, however, question whether lower-cost seats, sponsored tickets or free admission for people who cannot pay should be part of a Gospel-centered event.

The Black church always has required resources for ministry. It also has carried a sacred responsibility to make room for people with little or nothing to give.

The sold-out “Street Preachers” tour shows people are willing to pay to attend. The free ACCESS gathering offers a different model. The challenge is preserving that open door as Christian ministry increasingly adopts the machinery — and economics — of popular entertainment.

The post Should you have to pay to hear the Gospel? appeared first on St. Louis American.

Based on reporting by St. Louis American.

Black Press

NCCU Ramping up for the 89th Ultimate Homecoming Experience

NORTH CAROLINA CENTRAL UNIVERSITY – CAMPUS ECHO — N.C. Central University is preparing for its 89th Ultimate Homecoming Experience, a week-long celebration. Thousands of students, family, friends, and alumni are expected to gather on campus for festivities including the Homecoming Countdown, parade, Miss and Mister NCCU Coronation, concerts, and the football game.

Published

5 days ago

October 7, 2026

BlackPressUSA Newswire

NCCU's gospel choir, WPI performs at the 2025 Ultimate Homecoming gospel concert. — Photo by Morgan McNeil.

This Saturday N.C. Central University will kick off its 89th Ultimate Homecoming Experience — a week-long celebration bringing thousands of students, family, friends and alumni to campus.

This year’s festivities include the Homecoming Countdown, parade, Miss and Mister NCCU Coronation, concerts and the football game.

The number of visitors to the football game on Saturday, Oct. 10 is expected to reach at least 10,000 — O’Kelly Riddick Stadium’s capacity, with NCCU’s recent enrollment increase of more than 10,000 students.

The Eagles will face William & Mary after playing against the Campbell University’s Fighting Camels on Oct 3.

Students are already expressing excitement for the upcoming festivities.

“I’m excited for homecoming because I can meet alumni and go outside and party with my fellow eagles,” Digital Filmmaking junior Rhese Gardner said. “I’m also really looking forward to the Greek Bowl because there’s a lot going on.”

He added that even though he’s disappointed this semester’s Oil Spill was canceled, he’s still excited for the other events like the parade and concerts.

Here is a list of the week’s on-campus events:

Oct. 3 – Homecoming Countdown

Oct. 4 – Gospel Concert

Oct. 5 – Coronation of Miss and Mister NCCU

Oct. 6 – 10:40 Break

Oct. 6 – Homecoming Experience Showcase

Oct. 7 – Fried Chicken Wednesday

Oct. 7 – Festival Block Party

Oct. 7 – Late Night Breakfast

Oct. 8 – Back to the Nest Young Alumni Mixer

Oct. 8 – Old School Greek Stroll Off

Oct. 8 – Hip-Hop Concert

Oct. 9 – Step Show

Oct. 10 – Football Game

The post NCCU ramping up for the 89th Ultimate Homecoming Experience first appeared on Campus Echo Online.

Based on reporting by North Carolina Central University – Campus Echo.

Black Press

Botham Jean’s Killer Granted Parole 7 Years After His Murder

MICHIGAN CHRONICLE — Former Dallas police officer Amber Guyger has been granted parole, seven years after her conviction for murdering Botham Jean inside his Dallas apartment. The Texas Board of Pardons and Paroles approved her release on October 1, seven years to the day after her murder conviction. Guyger was convicted in 2019 and sentenced to 10 years in prison for Jean’s 2018 death.

Published

5 days ago

October 7, 2026

BlackPressUSA Newswire

Botham Jean’s Killer Granted Parole 7 Years After His Murder

Former Dallas police officerAmber Guyger has been granted parole seven years after she was convicted of murdering her neighbor,Botham Jean, inside his Dallas apartment.

The Texas Board of Pardons and Paroles approved Guyger’s release Thursday (October 1), seven years to the day after Guyger was convicted of Jean’s murder, according to NBC News.

In 2019, a jury convicted Guyger of murder and she was sentenced to 10 years in prison for Jean’s 2018 death. Her conviction and 10-year sentence were upheld on appeal in 2022.

Geyger’s first parole request was denied in 2024, NBC Dallas-Fort Worth reported.

The Dallas Police Department fired her after the shooting. During her trial, Guyger testified that she mistakenly entered Jean’s apartment after returning home from work, believing it was her own apartment one floor below.

She said she saw Jean inside and fired her weapon because she believed he was an intruder, according to NBC News.

Jean was a 26-year-old Black man from St. Lucia who worked as an accountant. He was inside his home eating ice cream when Guyger entered and shot him, NBC DFW reported.

The parole board cited Guyger’s prison record in approving her release. According to NBC DFW, officials said she did not have a documented pattern of violent or assaultive arrests or convictions, maintained a satisfactory adjustment while incarcerated, and completed programs intended to help her obtain and maintain employment.

Jean’s family opposed the parole decision and had asked that Guyger serve her full 10-year sentence, according to NBC DFW.

Civil rights attorney Lee Merritt, who represents the family, told NBC DFW that the decision was deeply disappointing.

“They stood up again and again to ask that the full sentence be served,” Merritt said.

The Dallas Police Department told NBC DFW that the parole decision was outside its authority and that the department had no role in determining whether Guyger would be released. The department said its thoughts remained with Jean’s family and others affected by his death.

Guyger’s conviction and 10-year sentence were upheld on appeal in 2022.

A civil jury ordered Guyger to pay Jean’s family $98.6 million in damages in 2024, according to NBC DFW.

Guyger’s release date has not been announced. NBC News reported that the Texas Department of Criminal Justice will determine when she is released.

The Black Information Network is your source for Black News! Get the latest news 24/7 on The Black Information Network. Listen now on the iHeartRadio app or click HEREto tune in live.

Based on reporting by Michigan Chronicle.

Black History

Morehouse School of Medicine Fall Convocation Has Strong Ties to Nashville

TENNESSEE TRIBUNE — Morehouse School of Medicine recently held its 42nd Fall Convocation and White Coat and Pinning Ceremony, which highlighted strong connections to Nashville. Dr. Valerie Montgomery Rice, in her 12th year as president and CEO, leads the institution, which welcomed 355 new students.

Published

5 days ago

October 7, 2026

BlackPressUSA Newswire

Morehouse School of Medicine held its 42nd Fall Convocation and White Coat and Pinning Ceremony on September 18, and it featured strong ties to Nashville. Dr. Valerie Montgomery Rice is completing her 12th year as president and CEO of Morehouse School of Medicine (MSM). The school boasts 355 students seeking degrees and certificates in the medical field.

“This entering class represents the future of medicine, science, public health and health care leadership,” said Valerie Montgomery Rice, MD, and FACOG. “As these students begin their journeys at Morehouse School of Medicine, they join a community grounded in excellence, service and our shared commitment to advancing health equity. We look forward to supporting their development as leaders who will transform the health and well-being of the communities they serve.”

Infectious diseases physician and scientist Dr. Barney S. Graham, MD, and PhD, served as the keynote speaker. He serves as the director of the David Satcher Global Health Equity Institute, professor of Medicine and Microbiology, Biochemistry and Immunology at Morehouse School of Medicine. He is an inventor of vaccines and monoclonal antibodies approved for human use to prevent or treat RSV, COVID-19 and Ebola. He joined MSM in 2022. He served in various positions at Vanderbilt University for 21 years.

Dr. Graham told the audience to “Embrace the Unseen” and focused on three points: Do the Best You can with what’s in front of you, Do what makes you come alive and Do the right thing even when no one is looking. He added, “Anything you do to improve mental and physical wellness and promote disease prevention will reduce health disparity by reducing the resources needed for treatment.”

His remarks commanded a roaring applause from the audience, which included his wife, Dr. Cynthia Turner Graham, and the former First Lady of Tennessee State University, Mrs. Edwina Hefner, a close friend to the family.

Based on reporting by Tennessee Tribune.