ethnic media case study

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In This Article Expand or collapse the "in this article" section Ethnic Media

Introduction.

• Overview Work
• Encyclopedia Entries
• Methodological Approaches and Concerns
• The Roles of Ethnic Media in the Lives of Their Audiences
• Ethnic Media Audiences
• Ethnic Media Producers
• Ethnic Media Organizations
• Comparative Journalism
• Policies and Regulations
• Asian Media
• Black Media
• Latino Media
• Conceptualization of Ethnic Media
• Global South and Regional Studies

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Ethnic Media by Sherry S. Yu , Matthew Matsaganis LAST REVIEWED: 21 March 2024 LAST MODIFIED: 21 March 2024 DOI: 10.1093/obo/9780199756841-0308

Ethnic media are defined in the widely cited book Understanding Ethnic Media (cited under Overview Work ) as “media that are produced by and for (a) immigrants, (b) racial, ethnic, and linguistic minorities, as well as (c) indigenous populations living across different countries.” This bibliography on “Ethnic Media” specifically focuses on the first two groups and not the third, because a rich bibliography dedicated to “ Indigenous Media ” already exists in the Oxford Bibliographies . The emphasis in this bibliography is on both “ethnic media” and “diasporic media,” whose audiences comprise migrants (immigrants) and people of migrant heritage (racial, ethnic, linguistic minorities). While digital native ethnic media expand the concept of what ethnic media used to be, locally produced media are still often associated with the term “ethnic media,” whereas internationally imported media from or linked to a variety of countries of origin are often associated with “diasporic media,” as discussed in the references provided in this bibliography, including Understanding Ethnic Media . The references are organized to provide a roadmap of ethnic/diasporic media research, from Early Work to Areas for Further Research . The first three sections ( Early Work , Overview Work , and Encyclopedia Entries ) showcase ethnic media research dating back to Chicago School pioneer Robert E. Park (see Park 1922 , cited under Early Work ) to recent work that offers a comprehensive overview of ethnic media research. These publications will likely serve well any researcher, instructor, or student venturing into this field for the first time. Two sections that follow, on Theories and Methodological Approaches and Concerns , offer references that speak to conceptual frameworks and methods used for ethnic media research and lay the groundwork for the sections that follow to examine ethnic media from various vantage points: The Roles of Ethnic Media in the Lives of their Audiences , Ethnic Media Audiences , Ethnic Media Producers , and Ethnic Media Organizations . Expanding on ethnic media production, the references on Comparative Journalism highlight studies that juxtapose mainstream and ethnic journalism practices and explore similarities and differences. Such comparisons are marginal in the comparative journalism literature but are significant in the ethnic media literature. The Policies and Regulations section offers references that inform our understanding of how policy regimes in various regions of the world affect ethnic media production and consumption. Although all of these sections consider research on Asian, Black, and Latino Media , alongside studies on other ethnic media, a separate section is provided to highlight the long history of ethnic media research pertaining to these three groups. For example, while the Early Work section introduces several seminal studies on Black media, the references in the Black Media section emphasize more recent work. The final section of the entry, Areas for Further Research , compiles work that expands the conceptualizations of ethnic media, highlights understudied regions in the world, and begins to fill in these gaps in the literature. Note that this bibliography cites a limited number of specific chapters found in edited volumes that have been included in the reference list in order to avoid double listings as much as possible. Some seminal work is not listed for this reason. We would like to acknowledge the generous support of the Department of Arts, Culture and Media, University of Toronto, through the I.D.E.A.S Grant. We would also like to acknowledge the research assistance provided by Ayla Morland and Leela Ramiengar for compiling and drafting overviews of this expanding literature.

Determining when the first ethnic media were created and when research on ethnic media was first published are two different and difficult questions to answer. Matsaganis, et al. 2011 (cited under Overview Work ) contends that the Gazette de Leyde was likely one of the very first ethnic newspapers to be published, back in the late 1600s. It was produced in Holland for French Protestant audiences who had fled France when it was ruled by a Catholic royal family. Other research confirms that the beginnings of ethnic media date back to the eighteenth century in Europe, while evidence suggests that the first ethnic media were created in Australia and North America in the nineteenth century, as Wilson, et al. 2003 discuss. As the reference to the Gazette de Leyde suggests, historically, many ethnic media were created to serve vital audience needs, including staying in touch with a place of origin one had fled to avoid persecution and/or pursue a better life, and to give a voice to immigrant populations as well as racial, ethnic, linguistic, and religious minority communities who were marginalized by mainstream society, including institutions such as the mainstream media. Naturally, much of the early work on ethnic media has investigated these roles of ethnic media; this is true in the Australian context, but also in Europe and North America (including Canada, Mexico, and the United States). In Europe, scholarship focused on the nineteenth and twentieth centuries emphasized the role of these media in independence movements, such as that of Bulgarians seeking freedom from the Ottoman Empire. In the post–World War II era, in Europe, the focus was on the roles of ethnic media in the social integration (or not) of immigrant workers leaving behind mostly countries of the South to seek better work opportunities in the North, as discussed in Matsaganis, et al. 2011 (under Overview Work ). In North America, the emphasis on ethnic media as advocates for marginalized communities is reflected in the very rich bibliography on Black and Latino media, including Bryan 1969 , Hogan 1984 , Painter 1971 , Pride 1956 , and Wolseley 1990 . In this context, early ethnic media research was preoccupied with capturing the role of ethnic media in the lives of diverse populations across countries, theorizing their role as a democratic institution, and analyzing policy frameworks that enabled and constrained their production. A number of informative case studies, but also conceptual and policy-oriented studies, are included in collections edited by Husband 1994 , Miller 1987 , and Riggins 1992 . In his pioneering and influential monograph Park 1922 specifically argued that ethnic media performed a central role in the social integration of immigrants into their communities of settlement.

Bryan, C. 1969. Negro journalism in America before emancipation. Journalism Monograph 12:1–38.

Bryan surveys the history of Black newspapers in the United States before the Civil War, with particular attention to the individual figures involved in different Black newspapers, including founders, publishers, and well-known editors, such as Frederick Douglass. This study situates the Black press as a vehicle to record Black experiences and support abolition. A list of Black newspapers published before emancipation is provided.

Hogan, L. 1984. A Black national news service: The Associated Negro Press and Claude Barnett, 1919–1945 . Rutherford, NJ: Associated Univ. Presses.

Hogan provides a chronological history of the Associated Negro Press (ANP), founded by Claude Barnett in 1919, during a period of intense racial segregation in the United States. It is noted that despite its financial struggles, the ANP offered superior reporting and maintained high journalistic standards.

Husband, C., ed. 1994. A richer vision: The development of ethnic minority media in Western democracies . Paris: UNESCO/John Libbey.

This edited volume explores ethnic media case studies in six Western democracies: the United States, the Netherlands, Australia, France, Norway, and the United Kingdom. The volume focuses on the lack of ethnic minority groups employed in the media industry, and the effects of different policies on national media. The case study approach allows for comparison between the different countries covered.

Miller, S. M. 1987. The ethnic press in the United States: A historical analysis and handbook . New York: Greenwood Press.

This edited anthology covers twenty-eight ethnic communities and includes the origins of the press for these groups, along with immigration information and demographics.

Painter, N. 1971. Black journalism: The first hundred years . Harvard Journal of Afro-American Affairs 2.2: 30–42.

Painter divides the first hundred years of the Black press in the United States into four distinct periods: 1827–1847, 1847–1865, 1865–1890, and 1890– c . 1927. The focus is on the importance of self-representation, a wider international Black community that was covered in the African American press, and the racial orientation of the Black press. These roles positioned Black newspapers as outlets to challenge injustices and oppression.

Park, R. E. 1922. The immigrant press and its control . New York: Harper & Bros.

This pioneering work on ethnic journalism considers the ethnic press in the United States as a factor in assimilation. The volume is divided into four distinct parts that cover the origins of ethnic journalism, its contents, further historical background, and political and social control elements.

Pride, A. 1956. The Negro newspaper in the United States. Gazette 2.3: 141–149.

DOI: 10.1177/001654925600200302

Pride offers a summary of the Black press during the mid-twentieth century. The focus is on the motivations, content, and future of Black newspapers in the United States, with particular attention to the role of the Black press in exposing inequality and discrimination. Useful statistics, as well as demographic and newspaper-related data on different geographic levels, are included.

Riggins, R. H., ed. 1992. Ethnic minority media: An international perspective . Thousand Oaks, CA: Sage.

This edited collection of case studies explores both Indigenous media and the media of minority groups in various countries around the world, such as Greenland, Chile, Israel, Algeria, Canada, France, and the United States. Overarching themes include empowerment for ethnic communities and the contributions that media make to this empowerment and to shaping identity. Different models of external state support as well as internal and external structural supports are discussed.

Wilson, C. C., F. Guttierez, and L. M. Chao. 2003. Racism, sexism, and the media: The rise of class communication in multicultural America . Thousand Oaks, CA: Sage.

This book provides an extensive account of the depiction of racialized minorities in the popular media in the United States, focusing on Native, Black, Latino, and Asian Pacific American communities. Issues covered include audience segmentation, racial stereotyping in the media, including in advertising, and the place of racialized women in the media.

Wolseley, R. E. 1990. The Black press USA . 2d ed. Ames: Iowa State Univ. Press.

Wolseley outlines the Black press in the United States, with an emphasis on its attempts to represent Black communities. After defining the Black press, providing historical context, and identifying major newspapers and magazines, the book includes sections on journalism education and training, as well as issues in publication and business operations.

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Ethnic Media in the Digital Age

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Ethnic media are media produced for, and frequently by, immigrants, ethnic and linguistic minority groups, and indigenous populations. These media represent a sector of the broader media industry that has seen considerable growth globally, even while many mainstream, legacy media have struggled to survive or have ceased to exist, largely due to the emergence of new communication technologies. What is missing in the literature is a careful examination of ethnic media in the digital age. The original research, including case studies, in this book provides insight into (1) what new trends are emerging in ethnic media production and consumption; (2) how ethnic media are adapting to changing technologies in the media landscape of our times; and (3) what enduring roles ethnic media perform in local communities and in an increasingly globalized world. The ethnic media that contributors discuss in this book are produced for and distributed across a variety of platforms, ranging from broadcasting and print to online platforms. Additionally, these media serve numerous immigrant, ethnic, and indigenous communities who live in and trace their origins back to a variety of regions of the world, including Africa, Asia, Europe, North America, and Oceania.

Table of Contents

Matthew D. Matsaganis, Ph.D. is Associate Professor in the School of Communication and Information at Rutgers University, U.S.A. He is first author of Understanding Ethnic Media: Producers, Consumers and Societies (Sage, 2011; with Vikki Katz and Sandra Ball-Rokeach). His research addresses issues of ethnic media consumption, production and sustainability, the role of communication in building community capacity, health disparities and the social determinants of health, as well as the social impact of technology. Sherry S. Yu , Ph.D. is Assistant Professor in the Department of Arts, Culture and Media and the Faculty of Information at the University of Toronto, Canada. She is the author of Diasporic Media beyond the Diaspora: Korean Media in Vancouver and Los Angeles (UBC Press, 2018). Her research explores media, culture, and technology in communication, with a special interest in diasporic media in relation to cultural literacy, intercultural dialogue, and civic engagement in a multicultural society. 　

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"A useful overview of ethnic media. Recommended for scholars and students of International and Global Media and for those interested in migration and internationalization." -- Cinzia Padovani, Southern Illinois University Carbondale, USA

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• DOI: 10.1207/S15327825MCS0323_04
• Corpus ID: 143170285

How Ethnic Are U.S. Ethnic Media: The Case of Latina Magazines

• Melissa A. Johnson
• Published 1 August 2000
• Mass Communication and Society

98 Citations

Ethnic media and identity construction: content analysis of the visual portrayals of women in latina and glamour magazines, framing latinas: hispanic women through the lenses of spanish-language and english-language news media, contested language use in ethnic media: a case study of new zealand’s pacific media, latina magazine and the invocation of a panethnic family: latino identity as it is informed by celebrities and papis chulos, spanish-language immigrant media in miami-dade county, florida: discursive arenas for transnational civil societies, ethnic media technologies enhance chinese english as second language learners' intercultural identities 1, the latina/o problematic: categories and questions in media communication research, the influence of spanish‐language media on latino public opinion and group consciousness, geo-ethnic storytelling, sociocultural analysis of the commodification of ethnic media and asian consumers in canada, 64 references, diversity in the ethnic media audience: a study of spanish language broadcast preference in the u.s., spanish-language print media use as an indicator of acculturation, ethnic minority media : an international perspective.

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Article contents

Race and ethnic stereotypes in the media.

• Srividya Ramasubramanian , Srividya Ramasubramanian Public Communications, Syracuse University
• Emily Riewestahl Emily Riewestahl Public Communications, Syracuse University
•  and  Anthony Ramirez Anthony Ramirez Texas A&M University
• https://doi.org/10.1093/acrefore/9780190228613.013.1262
• Published online: 31 January 2023

There is a long history of scholarship documenting the prevalence of racial and ethnic stereotypes in media and popular culture. This body of literature demonstrates that media stereotypes have changed over time across specific racial/ethnic groups, media formats, and genres. Historically, the bulk of this research has focused on representations in the U.S. mainstream media and on representations of African Americans in popular media. In the last few decades, media scholars have also examined media stereotypes associated with Indigenous groups, Latino/a/x populations, Arabs, Asians, and Pacific Islanders. Recent work has gone beyond traditional media such as television and films to also examine other types of media content such as video games, microblogging sites such as Twitter, and media sharing sites such as YouTube. Emerging research addresses racial biases in AI, algorithms, and media technologies through computational methods and data sciences.

Despite individual variations across groups and media types, the underlying social psychological mechanisms of how, why, and under what circumstances these stereotypes influence audiences has been theorized more broadly. Cultivation, social identity theory, priming, framing, social cognitive theory, and exemplification are popular theoretical perspectives used within media stereotyping literature. Several experimental studies have examined the effects of mediated racial/ethnic stereotypes on individual users’ attitudes, beliefs, feelings, and behaviors. The lion’s share of these studies has demonstrated that negative stereotypes shape majority audiences’ real-world stereotypical perceptions, social judgments, intergroup emotions, and even public policy opinions. More important, media stereotypes can have negative effects on communities of color by affecting their self-concept, self-esteem, and collective identity in adverse ways. Recent studies have also parsed out the differences between positive and negative stereotypes. They demonstrate that even so-called positive stereotypes often have harmful effects on marginalized groups.

Media scholars are increasingly interested in practical solutions to address media stereotypes. For instance, one content-based strategy has been to study the effects of counter-stereotypic portrayals that challenge stereotypes by presenting stereotype-disconfirming information. Other related measures are encouraging positive role models, implementing media literacy education, and supporting alternative media spaces that are more racially inclusive. The recent scholarship suggests that it is important to be intentional about centering social change, amplifying the voices of marginalized groups, and working toward reducing systemic racism in the media industry and research.

• stereotypes
• discrimination
• stereotyping
• race and ethnicity communication

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A Quest for Ethnic Media: Form and Content in the Case of Muvhango

• First Online: 04 April 2024

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• Kealeboga Aiseng 2  

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This chapter studies elements of ethnic media in Muvhango against dominant language ideologies in South African television. This chapter aims to show that Muvhango , through form and content, has offered low-status languages linguistic justice using elements of ethnic media. The intersection of form and content within ethnic media productions offers a unique lens to explore the complexities of representation, cultural preservation, and societal transformation.

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Aiseng, K. (2024). A Quest for Ethnic Media: Form and Content in the Case of Muvhango . In: The Sociolinguistics of South African Television. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-54915-1_6

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Contested language use in ethnic media: A case study of New Zealand’s Pacific media

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New Zealand’s Pacific communities face significant generational language loss and their media are increasingly produced in English, raising questions about the centrality of language for ethnic media and their audiences. By drawing on semi-structured interviews with 23 media producers, this study finds tensions within and between Pacific-language and English-language media over the use of Pacific languages. It suggests that language is a strategic resource of identity in Pacific media that is shaped by a dialectic of internal and external identification. Rather than viewing ethnic media language practices as simply about language preservation or translating information for migrants, this paper suggests we examine language as a way that media producers intentionally perform their identity and legitimate Pacific media production.

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Did the algorithm kill the pop star? What Chappell Roan, Charli XCX and 'Brat' tell us.

Streaming platforms like spotify and apple music have become the primary ways people consume music. what does that mean for artists.

One day my roommate at the time barged into my room and began performing some version of a line dance. Confused, I asked her what she was doing and she informed me that she was doing a dance that had been all over her TikTok For You page.

When she showed me videos of girls donning cowboy boots and "Daisy Duke" shorts , stomping along to “ Austin (Boots Stop Workin’) ” by Dasha, I was shocked to be so out of the know.

Ten years ago this interaction would look completely different. We probably would have been listening to the same music and engaging with the same media. But now, it’s like the internet has placed us in separate worlds.

The advent of streaming and social media has fundamentally altered the way we consume and engage with music. Moments of cultural ubiquity seem to be few and far between. We are now beholden to internet algorithms that force us into echo chambers. The culture has been fractured – arguably beyond repair. And the schisms created often prevent the large cultural moments that we can all take part in and share from happening.

This presents a conundrum for the music industry, which has struggled to find footing in the streaming and digital age. With the internet bridging the gap between artist and fan, the hallmarks of the past used to define a “pop star” – or any type of musician in the upper echelons of the industry – are eroding. So much of the artists’ success now is based on measures too fickle and sporadic to replicate, and the definition of mass success itself is getting even murkier.

It’s clear that record label executives are stuck on how to retake the reins in an industry that doesn’t seem to know where it’s heading.

TikTok killed the MTV star?

Monoculture is a “culture dominated by a single element : a prevailing culture marked by homogeneity,” per Merriam-Webster. Think of the pop stars who were once ‒ and still are ‒ cultural icons: Beyoncé, Lady Gaga, Britney Spears, Michael Jackson, The Beatles, etc. They were pillars of cultural hegemony who were larger than life in an era where the limited venues we had (MTV, VH1, BET, " 106 & Park ") made our world seem smaller. 

Now, monoculture has seemingly flown the coop; the digital age has hatched its eggs. Streaming platforms like Spotify and Apple Music have become the primary ways people consume music . Their algorithm-driven models create hyperpersonalized user experiences from uberspecific Daylists to song and artist recommendations based on data collected from user behavior.

“Spotify knows you in and out. It can present to you a whole bunch of stuff just automatically that they think that you might like that you would not have sought out yourself,” said Rolling Stone reporter Mankaprr Conteh . “What they present to you might be completely different than what they present to your best friend.”

'Rise and Fall of a Midwest Princess': Chappell Roan speaking out on mistreatment she experiences doesn’t make her unfit for fame

This specificity, though beneficial for music discovery, makes it harder to grab consumer attention en masse. There's so much being created, yet very little reaches the commercial and cultural peaks of the past.

This oversaturation is a result of how the internet has democratized music. Anyone from anywhere can post a song online and promote it through social media. The success of that, though, is based on opaque algorithms that propel things into virality almost randomly. This is a new frontier for an industry that relies on formulaic paths to success for artists and their music, such as radio, televised performances and daytime/nighttime talk show appearances.

“The industry for a long time has tried to work in the realm of predictability. So that's why they look at social media analytics, streaming numbers, etc.” Conteh said. “What’s popular on the internet changes all the time. The thing that you can’t really predict is what might resonate with people because of pure taste.”

What do Kamala Harris and Charli XCX have in common? 'BRAT.'

When things become popular in certain spheres of the internet, they rarely reach the point of cultural ubiquity. Take, for example, Charli XCX’s album “BRAT.” Since its release, its signature lime-green cover with its slightly blurred typography have taken over my corner of the internet. The album has spawned countless memes and injected phrases into our pop culture lexicon (“brat summer,” “work it out on the remix,” “bumpin’ that”).

When Vice President Kamala Harris replaced President Joe Biden in the presidential race last month, Charli XCX fatefully posted “ kamala IS brat ” on X, formerly Twitter. Harris’ campaign took advantage of this tongue-in-cheek co-sign to stay relevant with the youths; this led to segments on CNN, CBS and other major news outlets decoding what this whole “brat” thing means for people with mortgages and healthy relationships with social media.

'kamala IS brat': Harris' 'brat summer' has captured Gen Z's attention. It only works if they vote for her.

Even though “BRAT” had entered the public consciousness through mass media platforms, there’s still a certain unknowableness to it. Only those who exist in a specific corner of the internet will be able to fully grasp it. 

“Virality now tends to happen in these very intense silos and very rarely do we get a moment or a person or a song on the album or a piece of work that cuts through every single silo and is waking everybody up,” said Billboard writer Kyle Denis . “Some things make it, but it's so hard to stay at that zenith of pop culture for longer than a week or two at a time – no matter how big you are.”

Chappell Roan is a case study in internet virality

Regardless, successful artists are still breaking through. Chappell Roan is the name on everyone’s lips right now – and rightfully so. A Missouri native, Roan signed with Atlantic Records and released her first single in 2017, but she was dropped in 2020 due to “underperforming” music, according to Vox .

Three years later, she would release her debut record, “The Rise and Fall of a Midwest Princess.” The album would fail to appear on the charts initially but would prove to be a sleeper hit.

Opening on tour for Olivia Rodrigo and attention garnered through online chatter and viral performance clips would catapult her into the star we recognize now. “Midwest Princess” is sitting at No. 2 on the Billboard 200 Albums Chart , just behind Taylor Swift.

Roan has seven songs on the Billboard Hot 100 , including her latest single, “Good Luck, Babe!” at No. 7. 

Roan’s slow burn to success reveals an inconvenient truth about the industry’s refusal to see songs through – that a song is a failure if it doesn’t top the charts immediately . The internet at large has given consumers the power to lift virtually anyone into superstardom as long as they feel connected to the music and the artist, and feel compelled to buy into an artist's rise.

“We're moving past this era where we wanted to relate to the artist. We want to at least feel like we have had a hand in their come-up story, and when people don't come up with their story we can smell the fishiness,” Denis said.

This need for authenticity makes attempts at manufacturing virality – artists creating TikTok dances or songs made specifically for the internet – feel so painfully contrived. The more time we spend online, the more aware we become of tactics artists use to promote their songs. There's no greater crime on the internet than being seen trying.

Want to go be a pop star in 2024? Good luck, babe.

The closing gap between the artist and the public isn’t a net negative, but it goes against the elusive nature of our traditional understandings of pop stardom. Stars are supposed to be larger than life. Social media brings them back to earth a bit. The freedom and power that we as consumers have now to name who can be a pop star has shifted what the term means and all it entails, Denis said. 

In the past," he said, "a label or the industry would tell you who the stars of tomorrow are – and we buy in or they’d flop so badly they put someone else up. But right now, we can kind of make anybody a pop star.”

The model has turned on its head. Instead of labels spending time and money developing artists, they keep their ears to the internet streets, pluck out artists who have built a following online but discard them if their success isn’t immediate enough. The charts seem like a revolving door of hot internet moments – sans the songs boosted by radio play – not a time capsule of stars’ lasting legacies. 

Opinion alerts: Get columns from your favorite columnists + expert analysis on top issues, delivered straight to your device through the USA TODAY app. Don't have the app? Download it for free from your app store .

Simply put, the way we engage with music in the present isn't conducive to creating pop stars like those of the past. The industry, and the world, has changed too much. The music industry’s future, and the way we engage with it, can’t be fueled by nostalgia and archaic strictures. Regardless, great music will always be made.

To be a pop star in 2024 is to be connected to audiences in ways we haven’t seen before. And just as consumers have the power to lift people from the internet into stardom, we have the power to bring them back down. 

Kofi Mframa is a columnist and digital producer for USA TODAY and the USA TODAY Network.

You can read diverse opinions from our USA TODAY columnists and other writers on the Opinion front page , on X, formerly Twitter, @usatodayopinion and in our Opinion newsletter .

New study reveals high risk of overdose deaths in Cuyahoga County among those using drugs when they’re alone

In Cuyahoga County, the stark reality of the opioid crisis is that most drug overdose victims die alone, with no one nearby to help.

A recent study , done in partnership with Case Western Reserve University and Cuyahoga County, highlights the critical need for “targeted harm-reduction strategies” in Northeast Ohio, where the opioid epidemic continues to claim lives at nearly twice the national average.

Those strategies include the distribution of Naloxone (an opioid antagonist that can reverse the effects of an overdose), and increasing the availability of medication-assisted treatment options and fentanyl test strips.

The research, using data from the  Cuyahoga County Medical Examiner’s Office , examined overdose deaths between 2016 and 2020, focusing on people using drugs when they were alone.

The study revealed that a staggering 75% of overdose victims were using drugs alone, a behavior strongly associated with increased mortality. Key findings indicate that individuals using drugs alone were more likely to be at home and less likely to receive life-saving interventions like naloxone, said  Daniel Flannery , the Dr. Semi J. and Ruth Begun Professor and director of the  Begun Center for Violence Prevention Research and Education .

“Being informed is crucial—knowledge equips you to take action,”  Flannery  said. “It’s about reviving someone in need, and if that’s not possible, contacting emergency services immediately. The chances of a fatal outcome significantly increase when there’s no one around to help.”

New policies and community efforts must prioritize reaching individuals at risk of using alone to curb the devastating impact of the opioid crisis, said  Vaishali Deo , research associate at the Begun Center and co-principal investigator in the research.

“Our findings underscore the urgent need for innovative harm-reduction strategies aimed at those most vulnerable—those using drugs alone,” Deo said. “Interventions must focus on reducing isolation and improving access to emergency medical care to prevent further loss of life.”

The research findings were published by the National Institutes of Health’s  National Library of Medicine .

Additional insights

• In Cuyahoga County, from 2016 through 2020, there were 2,944 unintentional overdose deaths for those over 18 years old. That’s 54 deaths per 100,000 residents. The national average is 28 overdose deaths per 100,000 residents.
• The study further details the demographics and circumstances surrounding overdose deaths in Cuyahoga County from 2016 to 2020. Most were non-Hispanic (94.9%), white (72.2%) and male (71.3%), with a significant portion 35 to 64 years old. Most lived in the City of Cleveland. Over half attained at least a high school diploma.
• Toxicology reports revealed that synthetic opioids, specifically illicitly manufactured fentanyl, was present in 72.7% of the deaths. Cocaine and heroin were also significant contributors, found in 41.6% and 29.6% of cases, respectively. Nearly 80% of overdose deaths involved the use of multiple substances.
• Despite the presence of bystanders in more than half the cases, most victims (74.9%) were using drugs alone at the time of their fatal overdose, mainly at home. Emergency medical services responded to most of the incidents, yet over 60% of victims were pronounced dead at the scene—highlighting the critical timing needed for interventions like naloxone, which was administered in just 28.6% of the cases.

Deo and Flannery were joined in the research by Sarah Fulton, a research associate at the Begun Center, and Manreet K. Bhullar, a senior forensic epidemiologist at the Cuyahoga County Medical Examiner’s Office, and Thomas P. Gilson, chief medical examiner of Cuyahoga County.

“These findings paint a stark picture of the opioid crisis in our community,” Gilson said. “The tragic reality is that too many people are dying alone, and we must act swiftly to implement lifesaving measures that can prevent these unnecessary deaths.”

For more information, contact Colin McEwen .

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Title: tc-rag:turing-complete rag's case study on medical llm systems.

Abstract: In the pursuit of enhancing domain-specific Large Language Models (LLMs), Retrieval-Augmented Generation (RAG) emerges as a promising solution to mitigate issues such as hallucinations, outdated knowledge, and limited expertise in highly specialized queries. However, existing approaches to RAG fall short by neglecting system state variables, which are crucial for ensuring adaptive control, retrieval halting, and system convergence. In this paper, we introduce the TC-RAG through rigorous proof, a novel framework that addresses these challenges by incorporating a Turing Complete System to manage state variables, thereby enabling more efficient and accurate knowledge retrieval. By leveraging a memory stack system with adaptive retrieval, reasoning, and planning capabilities, TC-RAG not only ensures the controlled halting of retrieval processes but also mitigates the accumulation of erroneous knowledge via Push and Pop actions. In the case study of the medical domain, our extensive experiments on real-world healthcare datasets demonstrate the superiority of TC-RAG over existing methods in accuracy by over 7.20\%. Our dataset and code have been available at https://https://github.com/Artessay/SAMA.git.

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Watches of switzerland group.

How Watches of Switzerland achieved an 84% lower CPC and a 16x ROAS on tROAS campaigns with Microsoft.

August 27, 2024

How Chewsy, a tasty vitamin company, achieved healthy returns from an OTT (over the top) video campaign with Microsoft Advertising

August 16, 2024

How InnoGames increased ROAS by more than 2.5x with Audience ads

August 12, 2024