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When it comes to Bill Cosby’s legacy—or in this case, preserving what’s left—it would be in his best interest to die.

The sooner, the better, for the legendary comedian whose formally pristine public image crumbled after more than 50 women accused him of sexual assault. Death wouldn’t heal the fatal wound to Cosby’s pioneering career, but it would stop the bleeding. It would force us to focus on what Cosby has already given us an entertainer, rather than speculate what lies in his future.

But Cosby is still alive, which means we must continue to grapple with how to view him, and eventually, remember him.

  1. Kelly—another controversial public figure who was accused of sexual offenses against minors—recently commented on this conflict between Cosby’s contributions to culture and his alleged misconduct.

The singer told GQ in an interview that when his kids were born, “I was Bill Cosby in the house. You know, the good one. You know, let’s be clear there: how we saw Bill Cosby when we were coming up.” Kelly was referring to Cosby as “America’s Dad” and, for many of a certain age, the standard for what fatherhood should look like.

Unsurprisingly, when asked about the allegations against Cosby, he argued:

Well, my opinion on that is, I don’t know what happened. I’m a fan of Bill Cosby’s from the Bill Cosby show, of course—who’s not?—and for me to give my opinion on something that I have no idea if it’s true or not, all I can say is that it was a long time ago. And when I look on TV and I see the 70-, 80-, 90-year-old ladies talking about what happened when they were 17, 18, or 19, there’s something strange about it. That’s my opinion. It’s just strange.

Kelly’s defense of Cosby and the fact that he cited him as a shining example of fatherhood attests to The Cosby Show‘s ongoing impact on generations of TV viewers, both black and white.

Whatever happens to Cosby, he will always be the first black actor to star in a TV drama, 1965’s I Spy. Many continue to watch 1972’s animated series Fat Albert and the Cosby Kids​ with fondness. Likewise, 1984’s The Cosby Show was a pioneering sitcom that portrayed black people in ways the world had never seen before. Heathcliff Huxtable is a great dad, no matter who Bill Cosby may be in real life.

The same can be said for his standup concert film Bill Cosby: Himself, which I stumbled upon as a child, while rummaging through my parents’ VHS collection. Cosby will always be one of the greatest comedians of all time, and there’s a reason why so many other great comedians have spoken so highly of him in the past.

The millions of dollars that he’s given to charity and educational institutions over the decades have helped many black men and women pursue higher learning. The allegations against Cosby also shouldn’t take away from what he did to promote the importance of black art and artists.

Even before the accusations surfaced, I wrestled with what Cosby meant to me. As a black man from a lower-income background, I was angered by his “Conversation with Cosby” speeches of the early 2000s, in which he admonished African-Americans for not “holding up their end of the deal.” I knew then he was not what he claimed to be. Cosby only seemed to like black people of a certain stature; if you didn’t embody his idea of what a black person should be, he didn’t respect you. That’s not the kind of black pride to which I ascribe.

Unfortunately for Cosby, he can no longer control the narrative in an age where social media plays a large part in shaping the news—including his own story, which was actually buried a decade ago. Those who continue to defend him despite gaping logical holes are a testament to troubling patterns in society—including the acceptance of rape culture and celebration of celebrity culture—but mostly, they speak to people’s strong attachment to Cosby and his storied career.

Read the rest at NTRSCTN.

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I was never shielded from anti-black racism, its overt ugliness, its subtle nastiness, its shared intention to make me feel small. Yet, I was cautioned to never allow someone else to define how I felt about myself. In essence, to the white people reading this, I was not raised to care all that much about what you thought of my black ass.

It is a lesson that has stayed with me for my entire life. It is a value instilled in me that has done wonders for my psyche as a black man living in a nation majorly shaped through the lens of white supremacy and governed largely in the practice of institutionalized racism. Knowing there is an ingrained prejudice in society does not make me feel inferior by default nor does it compel me to center whiteness. That is why when it comes to one lingering strain of critique related to “preference,” I find myself frustrated.
In recent months, I have read articles featuring black men complaining about white men on apps like Grindr and Tinder rejecting them. Articles of this nature have been in rotation for some time now. The same goes for white men who claim that their preference to not date black men does not make them racist by default. Moreover, like many minority gay men, I was told about the video in which gay men reacted to racist Grindr profiles.

I understand the frustration. I get that this is a longstanding issue. I know that people should make sure bigots know they cannot cower behind the false pretense of preference. I even accept that preference does not necessarily equate prejudice in some cases.

Nevertheless, I am so sick of reading and watching black men complain about white men not wanting them sexually.

When it comes to tackling the relationships between gay black men and gay white men, to only discuss in the context of sexual attraction is insulting to both and can often have damaging consequences in the narrative. Last fall, The Advocate published a piece titled “Is Gay Dating Racism Creating a Black HIV Crisis?” To his credit, author Daniel Reynolds did ultimately speak to someone from the CDC who denotes other factors play a larger role.

However, why even center the black male HIV crisis on the affections of white men? Especially when you factor in that in December 2013, the New York Times published a report, “Poor Black and Hispanic Men Are the Face of H.I.V.” which examined factors behind higher HIV rates among poorer Black and Latino men. In it, they detail how the failure of health organizations to reach both groups are largely responsible for our higher rates. We are less likely to take drugs before having sex and no more likely to engage in risky behavior, but we do have less access than our white counterparts.

Working within a smaller pool can be problematic, but the issue of racism and how it burdens black men ought to be more focused on institutional issues (poverty, mass incarceration, lack of access to education, health services, etc.) than these hollowed conversations flooding my social media feeds every couple of months. Why be so focused on the “preferences” of an idiot? Why continue to make whiteness the center of world and perpetuate this notion that we have to belong?

Read the rest at NewNowNext.

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Former Secretary of State and current Democratic presidential candidate Hillary Clinton is a 68-year-old white woman from the Midwest. She dances like it. Bless her heart, though, because as she teeters (and in some cases tumbles) towards trying to make history as the first female president, she is proving to be relentlessly willing to do whatever it takes to win – even if that means putting her lack of rhythm on full display.

Earlier this week, Clinton returned to The Ellen DeGeneres Show to try her hand at dancing once more – this time, opting to do “The Dab.” To her credit, she nailed the move that requires only one small portion of movement. I think many of us recall the great Whip, Nae Nae disaster of Fall 2015. Then there wasClinton’s attempt to do “The Wobble,” which reminded me of the time I told some Black people I forgot how to play spades and they ushered me right out of their immediate space.

Still, I think it’s fair to acknowledge growth when you see it. Zoom, girl. Look at you go!

Nonetheless, now that we’ve seen Clinton whip, nae-nae, dab, wobble-wobble (but not shake it, shake it ala the 504 Boyz anthem) and reference Beyoncé on the campaign trail, many voters – notably the Black women who will play a vital role in her fate this election – are expressing exasperation with her ventures into (Black) pop culture.

While I never want to see Hillary Clinton dance again, in this instance, she can’t win for losing. As a candidate, it’s fair to question Clinton in terms of policy i.e. her plans for criminal justice reform and beefing up federal oversight of police. In terms of motive, it’s reasonable to question how someone with her background and fundraising methodology can be expected to challenge the finance industry as advertised. And when it comes to her answers on questions about matters like white privilege for which she stumbled terribly, the skewering feels justified.

However, when it comes to her trying to engage the voters by way of pop culture, I feel the critique is unfair.

Much of Clinton’s career has been fraught with criticisms of her being cold, distant, and fake. Last year, Buzzfeed published a rare, long forgotten interviewwith the woman then known as Hillary Rodham. In it, she is bright, thoughtful, charismatic, and engaging – and that has often been a problem for many women of that time in the public arena. She had to become Hillary Rodham Clinton and then Hillary Clinton because who she was had been considered threatening to the electorate. Even in 1993, the New York Times published a piece on which way to refer to her – Hillary Rodham, Hillary Rodham Clinton, or Hillary Clinton – complete with referencing a poll on how Americans felt she should choose to identify herself.

This week, Slate published a piece entitled “Hillary Clinton Isn’t a Lesbian—but She Dresses Like One.”

What’s always struck me as interesting about Hillary Clinton being perceived as insincere is the reality that she is nothing but a product of her environment. She’s done what’s been asked of her only to then be told that she is trying too hard. As far as pop culture goes, the pandering says more about us than it does Hillary.

No matter what happens in the GOP presidential primary, the reality is for six months now, the frontrunner has been a reality star. Our current president has recently appeared on reality television. There has been debate on whether or not President Obama is too tied into pop culture, but I think that is a testament to his political skill of realizing where the general public is and meeting them halfway. Meanwhile, Jeb Bush is shouting out DJ Khaled. In response, Khaled is referring to Bush as a “leader.”

Read the rest at VH1.

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When I saw the preview of The Real Housewives of Potomac, I had a feeling that I would not be into High Saddity Housewives. For those not familiar with the phrasing, you can replace “high saddity” with highfalutin; it’s close enough. After watching the series premiere of the show, it is confirmed: I hate this damn show. I hate this damn show so much. I may hate it less if I make it to a second or third episode, but the chances of that happening at present moment appear about as likely as President Obama making a sex tape directed by Donald Trump.

There is a haughtiness by default with many of the shows from Real Housewives franchise. However, there is a specific strain of elitism among Black people like this. I struggle with how to deal with folks like this who boast about lineage and legacy as if they grew up on Downton Abbey. They tend to be far too impressed with themselves, have an addiction to snobbery, and don’t recognize how their perceived pedigree doesn’t really amount to much given American history for Black folks then or now.

They also typically focus a wee bit too much on complexion and features typically associated with white people. These women were all those stereotypes to a tee. Let’s recap many of the awful things viewers heard during last night’s episode, shall we?

“Two light skinned Black girls with green eyes.”

Oh, you’re one of those who think you’re special, huh? Full disclosure, though: Whenever, Gizelle Bryant spoke, I had to stop myself from singing “Hit ’Em Up Style” because she looks like a wealthy version of Blu Cantrell. She also looks like Vanessa Williams in “The Right Stuff” video if you squint every seven seconds. Gizelle ultimately proved to be the least irritating cast member, but that’s like saying you prefer a stomach virus to constipation.

“I guess that’s what happens when you marry someone in the NBA instead of someone with an MBA.”

Who knew an advanced degree-holding dicks had magical non-cheating powers? Answer: no one because that doesn’t make a difference.

Robyn Dixon thought she was being clever. Access denied. Meanwhile, she’s divorced from her husband but sleeps in the same bed with him as they co-parent. I didn’t think divorce worked that way. The more you know. Insert rainbow here.

“He is the Black Bill Gates.”

Karen Huger, who looks like a stuck up version of Tina Knowles Lawson, kept repeating this about her husband, who gives us a chubbier version of Peter Thomas. First of all, if your husband runs an IT company, that doesn’t make him Bill Gates. That makes him the head of an IT company, which is awesome given it ain’t exactly an industry flooding with Black people. I don’t particularly care for Black people associating themselves as the Black version of someone white. There is no need to center whiteness nor does one need to tout their accomplishments by way of ill-advised comparisons.

“Hi, I’m Karen. Wife of the Black Bill Gates.”

This is apparently how Karen introduces herself to people. Girl. Are you for real? By the way, she’s a neck-and-neck favorite to hold the title for snootiest of the bunch, but as irony would have it, Karen grew up on a farm. She needs to stop acting like an annoying version of Charlotte York if her real give is a woman who came up from Charlotte’s Web. Hate.

“What if they’re gay?”

Katie Rost made this joke after discussing with Not Blu Cantrell about Robyn selling her wedding dress on eBay. You see, Robyn doesn’t have any daughters, hence Katie saying what if her sons are gay because you know, ALL GAY MEN LIKE TO WEAR DRESSES OR SOMETHING. Pardon my caps lock. Simpletons who confuse stupid views on gender and human sexuality do that to me. Katie is also the one who boasted about loving white boys, particularly Jewish ones. She’s got one more time to talk slick about the gays before I wish the next white man she has in her bed falls asleep on top of her.

Oh, she also considers being a socialite a full-time job. She needs to really learn to think before she speaks.

“Maybe in the ghetto, but not in the Potomac.”

You know, The Real Housewives of Atlanta may be full of New Money or No Money But Willing To Pretend, but when you look at woman like Charrisse Jackson Jordan, you don’t realize how good we have it in Atlanta. I am curious that someone named Charrisse Jackson Jordan has the nerve to be so quick to reference “the ghetto” pejoratively to put down others less annoying than her.

Read the rest at VH1.

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NeNe Leakes returned to The Real Housewives of Atlanta exactly how I expected her to. With audaciousness: “Yes, bitches. I am back.” With bravado: “The Queen is back.” With contempt for the cast mates that she never truly meshed with: “I can see Kandi face now: face stuck.”

With additional disdain for whoever might else not fancy her: “Pick your faces off the floor. She’s back.” Still, one wonders why did she choose to return?

Last June, when she announced that she would not return for the show’s eighth season, she told People: “This was definitely a hard decision for me. Me and my husband have been going back and forth on it for weeks now. But my contract is up and I just think this is the right time. This is my opportunity to spread my wings and do different things.”

A month after that announcement, she was already rumored to remain on the show in some capacity. Four months after it, she was confirmed to be shooting with the ladies who round out the cast. All that thinking and eight weeks later, it’s, “Oh, well, never mind. I’m back.”

One assumes Leakes was offered a lot of money to go back, but it’s not like she didn’t have other things going on. She recently she ended her four-week run in the Broadway production of Chicago as Matron “Mama” Morton. This marked the second time she’s starred in a musical following her role in Cinderella. Leakes has also signed on to join the E! Network show Fashion Police.

Immediately after announcing that she would be leaving the reality franchise that made her a breakout star, it was reported that she would join Betty White andBlack-ish actor Anderson Anderson on a reboot of the 1960s game show To Tell The Truth.

She’s not Bethenny Frankel, who went back to The Real Housewives of New York after her talk show tanked. Leakes made it all too clear that she didn’t necessarily need The Real Housewives of Atlanta anymore. Everything she’s done since leaving the show proved that point. For someone who made a big deal about leaving the show, and for quite some time, expressed exasperation with the show that made her popular, it’s interesting to see her back already. She didn’t give much time for us to miss her.

That said, while I’m not so sure Leakes needed to be back on the show this soon, the show definitely needs her. When NeNe Leakes decided she was ready to leave, my immediate reaction was, “Bye, girl.” Now I’m finding myself saying “Thank God.”

I’ve always felt with these kind of shows, most folks are replaceable. However, while this season of RHOA hasn’t been a complete dud, there are some obvious problems here. One, the addition of Kim Fields has not done wonders. Yes, she offers balance to the ridiculousness of the other women, but she only talks about her children and her husband to the point that she bursts into tears at the sight of her cast mates having fun at a day party. Social anxiety is not that entertaining.

Then there is the matter of Kenya Moore, who I used to think was doing performance art and paying tribute to Valerie Cherish from HBO’s The Comeback. Unfortunately, Kenya is just being a pity week after week as she recycles past women’s storylines. Don’t believe me? Let’s run it down: a song, a fitness video, and now, a new home. I’m surprised she didn’t go out and buy new TV just to compete with NeNe.

Read the rest at VH1.

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I am a Black man in the beginning of my 30s who cannot shake the constant desire to consume chicken wings and copious amounts of fried catfish. I need to be stingy with my stress levels. With that in mind, I will not allow the Oscar nominations and the sea of whiteness in which it sailed on to give me high blood pressure.

Once again, there are no people of color nominated in any of the major acting categories. Once again, Black film directors like Ryan Coogler and F. Gary Gray find themselves shut out of nominations in the Best Director category. You know, like Ava DuVernay last year, Spike Lee many years, or [insert Black director’s name here] in your year of choosing.

Once again, there is no film with a majority Black cast nominated for Best Picture.

Once again, some Black people find themselves enraged; some White people are tapping into said rage; some Black people are denoting we should not give that great a damn about White people; some White people are trying to play down the role racism and sexism and homophobia and transphobia—be it subconscious or otherwise—all plays into this lily White set of nominees.

I am so bored with this cyclical debate that I had to slap myself with caffeine to stay awake long enough to finish this sentence. However, it’s a debate that should be had and will be had until it no longer has to. That’s not so much a wink to wanting White approval as it is making clear that those who claim to be the judge of all of us actually live up to such a standard as opposed to continuing to make whiteness serve as the American default.

To be fair, it is the general consensus that the Best Picture category (minus the film “Carol” being snubbed) is a pretty strong group of films. For those of you who want to insert Straight Outta Compton securing a nomination for Best Original Screenplay, don’t bother. That film was written by White people, and the screenplay—including some glaring omissions about the women who played vital roles in N.W.A’s ascension and suffered from violent acts at the hands of its members—is probably the worst part of the movie.

I am not shocked by any of this happening, but no less disappointed. Though I will not personally give up too much of my energy to the Academy, I do understand those who choose to. What I will argue, however, is that when it comes to this ongoing debate, the focus should be clear.

Read the rest at EBONY.

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The State of the Union is theater, first and foremost. It is a chance for the commander-in-chief to stand before all of Congress, and more importantly, the entire nation, and effectively talk yo’ sh–. Enter former President George W. Bush and phrases like “Axis of Evil.” President Obama, one of the most gifted orators of my lifetime, understands the importance of these moments more than the majority of his predecessors. So, on the final State of the Union address, when I read that Obama may reportedly set aside convention, I was curious as to what kind of speech this might be.

Obama himself teased the address on Twitter, sounding like he was promoting his final rap album where he claimed: “I’m treating this last State of the Union just like my first – because I’m still just as hungry. I hope you tune in, because it’s for you.”

I, and Black people like me hurting in this country, are apart of that “you,” and yet, there was no mention of race and the racism still ravaging this country — notably with respect to policing. As the Washington Post’s Wesley Lowery notes, Obama did make some reference to race and policing in last year’s State of the Union, saying, “We may have different takes on the events of Ferguson and New York, but surely we can understand a father who fears his son can’t walk home without being harassed.”

However, many Black Americans rightfully still fear that we our sisters, mothers, nieces, uncles, sons, fathers, brothers may die unjustly at the hands of a police officer and there will be no consequence. These officers can kill Black children holding toy guns and nothing will happen to them. So, I’m not especially hopeful for the state of our union if the first Black president can’t explicitly detail the racism hurting Blacks in this country.

When I shared this sentiment on social media, I was met with criticism that Obama is not the “Messiah of Black people.” This is a dim viewpoint prepared by and served to people who ought to know the problem. Black people played in an integral role in Obama’s political ascension. Had Black people not switched allegiance to him during the 2008 presidential primary, we would have been watching Hillary Clinton’s last State of the Union. Had Black people – namely Black women – not voted at the levels we did in 2008 and 2012, he would not have won. Google can guide you to the data.

Another sentiment expressed was this idea that it does not matter if President Obama did not say the words “Black Lives Matter” last night. This, despite Alicia Garza, who helped found Black LIves Matter, being in attendance. Again, the SOTU is about theater and talking points, so yes, it’s perfectly reasonable to wonder why some things are ignored over others. No other constituency is told that the president is not their savior or that what’s important to them is deservingly played down. Even if some people choose to diminish us, I will never elect to do so.

Funny enough, Obama expressed disappointment over not being able to solve the rise of partisanship in Washington. What’s interesting about that is he is so bothered by his inability to fix the partisanship in DC, though a lot of that is rooted in the racism he doesn’t address directly.

What Obama did make references to with respect to bigotry, though, is the current Islamophobia spearheaded by Republican presidential frontrunner, Donald Trump. “When politicians insult Muslims, when a mosque is vandalized, or a kid bullied, that doesn’t make us safer,” Obama said.

Obama went on to add, “That’s not telling it like it is. It’s just wrong. It diminishes us in the eyes of the world. It makes it harder to achieve our goals. And it betrays who we are as a country.”

In the Republican response to Obama’s remarks, South Carolina Governor Nikki Haley also took shots at Trump, “There’s a tendency to falsely equate noise with results. Some people think that you have to be the loudest voice in the room to make a difference. That is just not true. Often, the best thing we can do is turn down the volume.”

However, when you look at her comparing the reaction to the Charleston massacre to the civil unrest in cities like Ferguson and Baltimore, it’s clear Haley is advocating that people put their megaphones down in favor of dog whistles.

Read the rest at VH1.

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During the first commercial break of the new NBC drama, Shades of Blue, I received the following text message: “When the f**k did J.Lo get to be a good actress?”

There are two types of critiques about Jennifer Lopez the actress that I often feel are unfair. The first being that she is not a solid actress. I’ve never held that belief, only I do believe for every Selena or Out of Sight, there are the majority of other film roles. Most of them lack complexity, which makes it not totally surprising to notice some see Lopez display depth and range and wonder if she’s been possessed by the spirit of a more gifted talent.

I’m not sure whether that’s a symptom of Lopez’s choice in roles or the roles Hollywood has offered her over the years. I assume it’s the latter so it makes sense that Lopez, like many other minority actresses, have turned to television for better opportunities to show what she can do. Though it remains to be seen if
Shades of Blue will prove to be that, based on the pilot, Lopez appears to be in good hands.

Lopez plays Detective Harlee Santos,a single-mother and right hand to Lt. Bill Wozniak, played by Ray Liotta. They are crooked cops full of righteous indignation. In their minds, their bribe-taking and other law-evading activities are just because they’re doing what’s necessary to keep their precinct safe. Similarly, their paltry pay rate makes their supplemental income a necessity. Unfortunately, Lopez finds herself caught and subsequently forced to work in the FBI’s anti-corruption task force for no other reason than she can’t bear to go jail and leave her teenage daughter behind.

When I saw Det. Santos get placed in handcuffs and hauled away, all I could think was yet another white man is ruining Jennifer Lopez’s career. I immediately flashbacked to Jenny’s time with Ben Affleck. Forgive me for being very Flashback Friday right now, but that was a very dark period in my life.

That said, while I do think the plot twist makes for an interesting show premise, I do wonder exactly how long Shades of Blue can work as a show. There are so many shows on television now with strong premises that seemingly have short shelf lives. When they become hits, the networks stretch them out far longer than they should — typically ruining what should’ve been a short and sweet yet enjoyable run.

I’m curious to see how the writers make this show work beyond a single season, but in the meantime, I’ll enjoy the good acting from each cast member that spares Shades of Blue from being yet another cop show that we don’t need.

Admittedly, though, my immediate reaction to the show within its first few minutes was that Jennifer Lopez is the most glamorous police officer that I’ve ever seen. That leads me to the other critique about Lopez that wears me: the focus on how pretty she is and how it’s purportedly distracting when she’s playing roles like a maid or police officer. I may be caught up in Lopez’s beauty, but not to the point where I ever feel it makes her roles implausible.

To be fair to the Bronx’s greatest creation (sorry, everyone else) I don’t think it’s possible for Jennifer Lopez to look bad. She literally cannot help it. Some people need to suck that truth up and let that boring line of criticism go already.

Read the rest at VH1.

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There are certain conversations between straight people online that make me want to throw my computer and phone into a sea of hot sauce. Of those topics, by far the most grating to the nerve is one centered on child support and all related custodial matters. Here’s how it goes: Some famous man – typically Black – expresses some grievance about the amount of child support he has to pay and/or purportedly not being able to see his child as much as he feels he should. In turn, men on social media – many of whom who will never, ever have a rich man’s problems – suffocates many folks’ timelines with complaints, most of which only exist within the confines of their imagination.

On the first Monday of 2016, Future took to the Twitter to be the latest famous man to engage in this practice, and like all of the other men before him, I wish the Negro would’ve turned to a diary instead.

Rap’s Karen Walker began his online complaining with “This bitch got control problems…”

Problem number one: Future is calling Ciara, the mother of his son a “bitch.” Trust me when I tell you that more often than not, when a son sees his dad refer to his mama this way, the only “bitch” to that child is the one with the penis. That’s not how you refer to the woman who gave one of your kids life, no matter how feisty you’re feeling in that moment.

Future then followed with: “I gotta go through lawyers to see babyfuture…the fuckery for 15k a month.”

Problem number two: This is none of the public’s business. Now, I don’t know a whole lot about Future and Ciara’s relationship, but I do know he cheated on her, thus ending their engagement. To that end, you reap what your wayward sexual appetite has sown, beloved. Meanwhile, as far as the 15k goes, you’re Future. You can afford it. Hell, I’ve chipped in by way of plenty of sales. You’re welcome, Black man.

After that $15,000 a month in child support reference came the complaints of mere commoners (and that’s no shade as I’m not famous either). For some reason, they, too, want to complain about child support. However, child support is based on income, so if you can afford it, that’s on you. Don’t want to pay child support? Buy condoms, it’s cheaper. Even so, a lot of these men fancy themselves as being rich, hence, their irritation with the child support figure Ciara and other women who have had babies by wealthy men get. Here’s how to solve that: realize your ass isn’t rich.

See that? I just saved you so much stress. I can give you my PayPal if you want to throw something in my tip car.

Next came Future’s declaration: “I jus want babyfuture that’s all.”

Tell the judge, not the world, my dude.

Followed by the claim: “I been silent for a year & a half..I ran outta patience.”

This, this right here, this is a damn lie.

Read the rest at VH1.

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I say this with a sober mind and honest heart: I do not think Beyoncé is a bad actress.

Yes, I will allow you a moment to sit in awe of my bravery. No, you cannot claim that I am only saying this because I worship at the altar of Beyoncé Giselle Knowles-Carter. I don’t like everything she does. For instance, half of I Am … Sasha Fierce has not been played in any speaker I own since 2008. Also, I hope to never, ever see Carmen: A Hip Hopera on purpose again. Now, don’t be a snitch and tell Beyoncé I said any of this, but I just want to let it be known that I can play detractor when pushed enough.

So, again, I do not think Beyoncé is a bad actress, and I am delighted to know that she is reportedly taking her future career as an actress more seriously. According to an “insider”—who, I assume, was allowed to break his or her blood-oath allegiance to Beyoncé and Parkwood Entertainment for this cause—Beyoncé has been hard at work trying to get her acting chops together.

“She wants to land leading roles in movies and has been taking classes in New York and L.A. for the past year,” the insider told Us Weekly. This person went on to add, “Bey’s looking for an iconic dramatic role. She wants to make a film that’s socially relevant to African American rights.”

In other words, she’s both “woke” and ready for something substantial. I, for one, am ecstatic to read this, because again, I do not think Beyoncé is a bad actress. I know what some of you are thinking: “Have you seen a Beyoncé movie?” Shut up. I’ve seen them all.

My thing about Beyoncé, actress, is that we’ve yet to see Beyoncé in anything remotely challenging. I’ve already conceded that Carmen: A Hip Hopera was terrible, so let’s move on and pretend that never happened. That said, Austin Powers in Goldmember wasn’t exactly a stretch for anyone involved to play. The Fighting Temptations was good in that everyone, from an Oscar winner to Faith Evans, was terrible in a terrible and forgettable film. To be fair, Beyoncé was no less terrible than those two.

Beyoncé was adequate in Dreamgirls, but many might rightly point out that she was playing herself: the favorite. Many laughed when Beyoncé did not win an Oscar but Jennifer Hudson did. Cute for you, but I have five words for you on J. Hud’s perceived acting prowess: “My vury own Louis Vuitton!!

I know you hear me, Sex and the City first-movie fans.

I rest my case.

When it comes to the thriller Obsessed, I’ve always felt that people were unfair to Beyoncé. She did a fine job in that fake-ass Fatal Attraction. If there’s anyone who was stinking up that already musty movie, it was Idris Elba and that god-awful, piss-poor impersonation of an American accent he used. Yeah, I said it. Run up, get done up.

So, here, the subject of Yoncé’s performance in Cadillac Records is where it gets divisive. I think Beyoncé was good, but the movie tried to cram too much into a really small amount of time. That said, it was something different for Beyoncé, and she was not terrible in it.

Read the rest at The Root.

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