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There are many things about Omarosa Manigault that are befuddling. Like, say, why she enters every interview as if she’s Sensational Queen Sherri and everyone else is Miss Elizabeth or Sweet Sapphire.

Indeed, very few ordained ministers maneuver like Omarosa, who seemingly resides in a constant state of “Who the fuck want war?”

The fact that Jesus hasn’t tapped her on the shoulder and enjoined her to partake in a tall glass of chill still confuses me, but other matters pertaining to her are much more clear. Like, when it comes to her work with the Colby Jack Führer, it’s a no-brainer: She’s an opportunist. Of course, she is loyal to the man who gave her the platform to become famous, but for all the criticism lodged at her, she is many things, though fool has never been one of them. That’s why I’ve found the articles centered on black Republicans’ frustration with her wonderfully comical. The latest comes from the Washington Post with the article, “Omarosa Manigault Is in Trump’s White House Because of Her Loyalty. But What Is She Doing There?

The same thing as everyone else, Pinky: not a damn thing.

Vanessa Williams (one assumes not the one who had the legendary performance on The Arsenio Hall Show) writes:

Some African American political insiders already have concluded that she is ineffective, and she is routinely derided on social media as simply providing cover for a president deeply unpopular with African Americans. Some black Republicans were particularly critical of the Trump administration’s handling of the HBCU initiative, which included a White House meeting with the school officials that some viewed as little more than a photo op for the president.

“She raised expectations too high, and now it’s turned into a negative,” said Raynard Jackson, a longtime Republican strategist. “This shows a lack of political understanding. This is Politics 101.”

Do any of the people in the White House know what they’re doing? Between those executive orders, the half-assed shot at dismantling Obamacare and the Twitter-egg prez shooting various conspiracy theories from the hip, Omarosa fits right in.

For months now, there have been multiple stories about Omarosa’s role in the administration—how she is useless or how she angers black Republicans.

Last month, Joy-Ann Reid wrote, “Why Does Everybody Seem to Hate Omarosa Manigault?” for the Daily Beast. In sum, the second verse is same as the first.

Reid notes:

This lifelong black Republican likened bringing in Omarosa to a Democratic president putting ’90s-era anti-affirmative action crusader Ward Connerly in their administration. “He’s got a black Democrat who hasn’t produced a single [Congressional Black Caucus] member to support any nominee that has been appointed,” this person continued. “She hasn’t produced anybody on the Democratic side who is willing to be supportive of anything that Trump has done. So what is her role?”

They added: “She has no mission or goal other than to make Omarosa the head sister in charge.”

First off, Omarosa isn’t a magician, and even if she were, there’s no spell in the world that would spare a black Democrat from the wrath of Rep. Maxine Waters, who, like the legendary Kimberly Jones, has no time for fake ones. As far as “the head sister in charge” goes: 1) I’m offended a black Republican would talk like this; 2) aren’t most of the people in the White House operating from self-interest?

Ivanka Trump is trying to do her spin of Hillary Clinton’s guide to using her time as first lady to launch a future political career. Her husband, Jared Kushner, is operating both like a fake-ass Karl Rove and a shadow secretary of state. Grand Wizard Steve Bannon has never made it a secret that he sees 45 as a vessel to help promote his agenda.

Omarosa isn’t all that different, though Reid does pinpoint the real grievance:

The real source of consternation among her detractors is what they view as her role as gatekeeper; slamming the White House doors on them. Many black GOPers opposed Trump during the Republican primaries, and some continued to do so right through Election Day. But they say that while some white “never Trumpers” and Trump critics have been forgiven, and some have even been rewarded—Kellyanne Conway used to slam Trump on TV on a regular basis when she was a Ted Cruz supporter, and is now counselor to the president—most black Republicans with policy and political histories dating back to the first Bush administration have been cut out. And they laid the blame at Omarosa’s designer shoe-clad feet.

BuzzFeed’s Darren Sands has offered similar findings in his reporting in two separate pieces for Buzzfeed.

In “Omarosa Angers Black Republicans With Invite-Only Meeting,” Sands writes:

“The root issue is black Republicans have no leverage in the party outside of personal relationships,” Charles Badger, a former Jeb Bush campaign staffer with ties to prominent black Republicans, who supported Hillary Clinton during the campaign, said in an email to BuzzFeed News. “It’s because everyone knows black Republicans aren’t representative of most black folks. So the assumption—often true, but sometimes not—is that there’s not the depth of relationships there. So if you want to talk to black folks, are you going to go to black Republicans or through the NAACP, Urban League, black Greek letter organizations, clergy, etc., groups with wider reach?”

In other words, as dense as the man who sits in the Oval Office is, even he isn’t dumb enough to believe that black Republicans have any real sway. Granted, it’s hard to envision 45 having a sincere concern about the plight of black people based on his longtime history of racism, but nonetheless, black Republicans don’t have much in the way of capital, not even among actual Republicans.

While I have written critically of Omarosa aligning herself with a bigoted campaign, she did not do so with naivete. She is keenly aware of the tokenism at hand, but she did so for the sake of a lofty White House title—director of communications for the Office of Public Liaison—and all that comes with it. Omarosa would never have gotten this in a Clinton White House, so she got on the team that could afford her what used to come across as the implausible. Many of us would never sacrifice our morals in this manner, but at the very least, Omarosa knows exactly what’s going on.

So when I read black conservatives blasting her, again, it reads comically. The problem isn’t her; the GOP hasn’t taken black people seriously for decades. For these black conservatives to pretend otherwise is silly.

Read the rest at The Root.

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There are times in life when one must check a bitch. In the age of social media, when people from all walks of life share can anonymously say something slick to a stranger, those times have become far more common—especially if you’re a celebrity. It happens so often that the Shade Room has an ongoing series on its Instagram account highlighting celebrity-themed clapbacks. I tend to laugh like hell at them. People can be so vile and those types deserve to reap what they sow, be it a Rihanna-style dragging or a Tina Lawson, classic Black mama dressing down.

Still, there’s something that needs to be said to those celebrities who actively look for trouble: find something better to do with your time.

That life hack would certainly benefit French Montana, who last week lashed out at a Twitter user by calling her a “musty crusty dusty rusty ass hoe” before inviting the user to “take your cum drinking Dick banging ass somewhere n be humble.” Let’s dissect exactly how much French Montana fucked up here. For one, as someone who does not identify as Black, where does he get off using “nappy” as a pejorative? French has since shared that he didn’t know “‘nappy’ was a “racist word”—but he also thinks “everybody should say ‘nigga.’” In other words, he surrounds himself with Black people who refuse to tell him that being the Ashanti of hip-hop does not, in fact, make him Black.

Beyond his inflammatory public display of idiocy, though, is the overall problem: the person he attacked did not directly address him. She did not include his Twitter handle, which means French went out of his way by searching his own name. Many celebrities do this and then lash out at anyone criticizing them. This has happened so many times, and in every single instance I hear Joseline Hernandez asking, “Ho, why is you here?”

I think people enjoy the Shade Room’s clapback series (and similar segments) because it’s famous folks replying to rude-ass people who jump into their Instagram comments to say dumb shit. In those cases, the clapback often comes across as warranted. Famous people are still people, so they have every right to directly respond to people directly entering their space to be disrespectful (or just flat-out wrong).

However, in the case of French Montana and other name-searching-on-social media stars, there’s a stench of the pathetic. The reality is, anyone who maintains any form of notoriety will be subject to criticism. The inconvenient truth is that it is largely unavoidable unless you avoid social media altogether. So, if you are aware that people will criticize you and may even insult you, why chase that sort of attention? Why give people who don’t like you that much attention—especially if they didn’t even aim their contempt at you directly?

French Montana could have easily spent his Twitter time engaging with his fans. You know, the people who spend their time trying to reach him. Instead, he made himself look like a jackass. He dragged himself in ways the person he was responding to never could have.

Read the rest at Complex.

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By now, you would think brands would know not to tackle issues that they don’t fully understand or want to tangle with—particularly when they involve race and politics. And that, if they did delve into the political realm, they would do so with the knowledge and the involvement of an inclusive staff who could provide diversity of thought. Yet, this week, two major, well-known companies created their own PR nightmares, failing to realize that white isn’t always right—much less the lone standard for all.

This week, we questioned just who believed that a resistance-themed ad in which Kendall Jenner hands a cop a Pepsi to the joy of cheering protesters was a good idea. Whoever those poor, unfortunate souls are, they’re probably now licking their wounds in response to the rightful condemnation over a commercial that never should have been made, let alone released.

In a statement, Pepsi said the intent of the ad was to “project a global message of unity, peace and understanding.” Noting that the company “clearly…missed the mark” and had no intention to “make light of any serious issue,” representatives did apologize. But only one person got a more personalized mea culpa. “We also apologize for putting Kendall Jenner in this position,” the statement concluded.

Therein lies the problem: Even in the ad’s aftermath, so much attention is being placed on the thin, famous, rich white woman rather than the Black women behind some of the very movements Pepsi’s ad trivialized—and whose lives are affected by the serious problems that a Pepsi commercial probably won’t actually fix. The only Black woman prominently featured in the ad, which has now been taken down, is the one Jenner hands her blond wig to. But it’s these women, not Kendall Jenner, who deserve an apology from the brand.

“In defense” explanations are trickling through: Jenner is “devastated” over the responses to the ad; she had no creative involvement in the ad; the ad itself was not a reimagining of the now famous image of Ieshia Evans, a Black woman protesting police brutality in Baton Rouge, but of the ’60s “flower power” movement.

The narratives of Jenner’s victimization further contribute to the underlying problems behind the commercial. She is not necessarily a villain for not understanding the message she helped to convey in what for her was essentially a gig, albeit likely an extremely well-paid one. Still, anyone involved with this ad must deal with the consequences of their actions and truly grasp why people were so bothered by what they had seen. She’s received an apology; now she owes one, too.

Pepsi made the classic mistake of trying to be apolitical in a commercial that invoked the politically charged climate. By now, brands should know that’s close to unachievable. Without the required nuance, Pepsi instead centered whiteness in an ad that co-opted the efforts of movements trying to fight and dismantle white supremacy.

If I had to guess, I’d say it’s unlikely any racial minorities—more specifically, Black folks—were involved in the conception of this ad. What’s most clear is that while Pepsi had no problem co-opting political struggle, they had no concern about those actually struggling until social media provided the focus group they should have hired in the first go-round.

Read the rest at ELLE.

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Whenever I watch The Real Housewives of Jack and Jill Potomac, I have to ask myself if I really like this show or if I merely hate myself. Between their racial politics, color complexes and obsession with pretending that Potomac is the Washington, D.C., metropolitan area’s equivalent of St. Barts (select dictators certainly think so), even hate-watching can feel draining. Yes, Potomac is a very affluent area and, of course, the Real Housewives franchise is all about hamming up one’s wealth, but bougie black people are some of the most exhausting people on this increasingly less-green earth.

RHOP is like watching the after-hours of an HBCU (think Howard, Hampton or SpelHouse) alumni gala in real time. Like, you’re watching stuck-up black folks feign the kind of pedigree typically flexed by white people only. Why subject yourself to that torture? Well, you wait around ’cause you know brown liquor and “Blow the Whistle” will eventually loosen their tight asses the hell up already, and they’ll entertain you.

That’s basically how I feel about this show: Get them drunk already so they can stop faking like they belong on The Royals. That critique aside, I’m sitting here reviewing the season premiere, so congratulations, ladies. Y’all got me watching no matter how much shit I talk.

Now, let’s discuss these new taglines.


Word on the street is I’m still the word on the street.

Girl, you can’t do better than that? Anyone who looks like Vanessa Williams should try harder. (If that doesn’t make sense to you, you’ve never seen Vanessa Williams’ performance of “Running Back to You” on The Arsenio Hall Show.)


Potomac put me on a pedestal and the view is spectacular.

What I appreciate about Karen, who favors Tina Knowles if Tina Knowles were a villain in a live-action adaptation of some Disney classic, is that she knows what this franchise is supposed to be like, so she gives it her best shot each and every time. Salute, Whitney Houston.


Don’t let the green eyes fool you: I’m as real as they come.

Robyn always seems to be going through a lot, so maybe she didn’t have enough time to think of something better than a reference to her green eyes. Bless her heart.


Why cry over spoiled milk when you can laugh over champagne?

This is Junior Varsity Karen, but she made an effort.


I’ve played by Potomac rules, but now it’s time to play by my own.

Unlike Ashley.

As for what these women have been up to, I’m mostly interested in how much Gizelle and Charrisse now hate each other. Gizelle and Charrisse are like Kim and Whitley if they remained frenemies and kept a toxic relationship going well into their 40s. Gizelle is mad at Charrisse for insinuating that she was a whore during the RHOP reunion. Charrisse is vexed at Gizelle because during Gizelle’s appearance on Watch What Happens Live, Gizelle revealed that Charrisse had a lil’ boyfriend (a fireman, to be exact) at the same time her soon-to-be ex-husband was out thotting in New Jersey.

So, for much of the episode, we see these two go at each other through other people. When they finally do have direct confrontation, it lasts for mere minutes, with neither one of them bothering to say, “My bad for putting your business on the street.” Instead, we got Gizelle claiming that Charrisse’s line, “Don’t let this zip code fool you,” was borrowed from a song that doesn’t exist.

Their beef is dumb. Charrisse, if that’s your girl, don’t insinuate that she’s out here laying it low and spreading it wide. I mean, if she is, that’s her business. Gizelle, you know you were retaliating, so own it, own it, own it, like Lisa Rinna, and repair the friendship. Or hate each other and entertain us. Whatever floats y’all’s dinghy.

Meanwhile, Gizelle has moved to a new house but would like a man with money and a big dick.

Read the rest at The Root.

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The commercial and critical success of Frank Ocean is not just a testament to his talent but to how music fans and the industry at large have become more progressive in their thinking. Hooray to all parties involved. But as a firm believer in the Black Proverb, “It ain’t that deep,” I increasingly question whether criticism surrounding his work reflects a sincere impact of it or an overcompensation for the lack of artists like Ocean in the mainstream. This is not an insult to Ocean, whose talent is undeniable and whose symbolism is not easily swept under the rug. But it is worth asking: do his songs — especially those that directly engage his sexual identity, which has yet to come into full view — warrant such ample amounts of praise and, in the most extreme cases, deification?

Consider “Chanel,” the magnetic libation Ocean released in mid-March during his Beats 1 Radio show. Almost instantly, the Jarami-produced track was hailed as a “bisexual anthem” and christened “the most important song in the world right now.” Both sentiments were rooted in how Ocean begins the song, crooning over a canopy of piano keys: “My guy pretty like a girl and he got fight stories to tell.” This was not the first or the only time that Ocean has publicly addressed his sexuality. In July 2012, he shared on Tumblr that his first love was someone of the same gender.

Although Ocean has acknowledged same-sex attraction, he’s never taken on the labels gay, bisexual, or queer — if anything, he has purposely refuted them. Artists like Young M.A, Le1f, Syd the Kyd and iLoveMakonnen have been more forthright about how they identify, and in some cases, have been more detailed about it in their work. Yet, none of them seem to command the sort of critical and commercial acclaim Ocean does, and subsequently, not anywhere close to the praise.

So what was it about the opening of “Chanel” that made the song feel so vital?

Writing at The Undefeated, Austin Williams argued how “the boastful first few bars of Ocean’s new song might be the coldest, gayest, and most securely masculine flex in the history of rap.” There are LGBTQ rappers who would likely disagree with that assessment. Williams went on to declare that “the song’s lyrics read as a deliberate ode to duality and non-heteronormative binaries — an ambition, that since the death of Prince Rogers Nelson, is sorely missed in black music.”

Duality, sure, but Prince was someone who openly sang about the public questioning his sexuality as a result of how he presented himself aesthetically. Ocean does wear makeup in the video for “Nikes,” but what does singing about a pretty boy who can fight have to do with Prince? If we’re going by Prince and the androgyny metric, one could just as easily look back to Cee-Lo and André 3000 at their peak, or contemporary artists like Young Thug. You could also scroll through August Alsina’s Instagram where he sometimes draws style inspiration from the Street Fighter character Chun-Li and veteran pro-wrestler Koko B. Ware.

This mode of exaggerated praise was also bestowed upon the release of Ocean’s last album, 2016’s Blond. Headlines boasted of its “radical queerness,” argued that it “redefines pop queerness,” hailed it as a “queer masterpiece,” and praised the album for how it “asks us to see queerness as the new normal.” But these were all statements from white writers embellishing black sexuality. If the job of a critic is to find greater meaning and purpose in art, their job should also be one of clear sight and equanimity. Ascribing such specific and pointed labels and meaning into the work of an artist who purposely submerges himself in ambiguity only achieves the opposite.

Read the rest at The Fader.

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Ted Koppel performed a great service to his country in telling Sean Hannity to his face that he was “bad for America.” Hannity can simmer in his lingering anger over the widely shared clip that originally aired on CBS Sunday Morning as he sees fit, but it does not absolve him of the sins that led Koppel to make the statement.

Hannity may be a successful cable host, but he is also a proven liar and a man known to make comments that ping-pong back and forth between fatuous and flat-out prejudiced. Considering the offended party’s unusually high level of self-importance, it’s unsurprising that a serious newsman made a pretend one lose it over criticism.

Even so, though Koppel may have been correct in his assessment of Hannity and the damage that political opinion in news media is capable of, the segment itself was rooted in a false equivalence with respect to political opinion shows. Koppel, like many, continues to operate from the unfortunate space that all opinion shows are equal. However, the segment compares sound bites from John Oliver, who hosts a late-night cable political comedy show, and Michael Savage, a conservative radio host who fancies himself an activist—and in doing so, it is helping to perpetuate a false dichotomy.

Oliver is a comedian who opines on politics, but his commentary is often well researched and, by and large, factual. The same goes for Samantha Bee and Trevor Noah. Those are folks whose first job is to be funny, not necessarily to inform. Nonetheless, a decade ago, a study by Pew Research highlighted that viewers of Comedy Central’s The Daily Show (then hosted by Jon Stewart) and The Colbert Report held the “highest knowledge of national and international affairs while Fox News viewers rank nearly dead last.” So even if, seven years later, a separate Pew Research study noted that many people continued to identify those shows as legitimate news sources, other studies have shown that people do actually learn something.

What are people learning from Tomi Lahren or Rush Limbaugh other than that many people miss the days of water fountains with access based on skin pigmentation?

Other studies have shown that outlets such as Fox News and MSNBC have a negative impact on people’s knowledge of current events, but I question anyone who would argue that Rachel Maddow is like Tucker Carlson, that Chris Hayes is anywhere near Bill O’Reilly or that Joy-Ann Reid mirrors Megan Kelly in any way. The only person on Fox News worth listening to in terms of actual news is Shepard Smith. That doesn’t mean Fox’s opinion hosts are incapable of educating their viewers while sharing their respective ideology, but they opt not to.

It’s not so much that opinion programming on news networks is the problem as it is that we are bombarded with uninformed opinions—primarily because of a conservative media that’s much more invested in playing into the racial and gender biases of its viewership than in educating them. When it comes to problems with news media, cries that it’s too opinionated read as an oversimplification.

What’s MSNBC’s problem? It could use far more color and a bit more youth. Oh, and in the case of the 6 p.m. hour on its Monday-to-Friday lineup, stop trying to make fetch happen with Greta Van Susteren. Simply chasing after old Fox News watchers isn’t going to cut it. Soon enough, NBC will learn that with Kelly. Shoutout to Tamron Hall.

As for Fox News, well, drown that network and hand only Smith a life raft. That station is nothing but a dedication to the white establishment and willful ignorance. It is insulting to compare its mythology-peddling with people who bother to actually know about a given issue before commenting on it.

Now, with CNN … first, join me in prayer.

Read the rest at The Root.

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As a lover of the subgenre of R&B I describe as “Eff-that-ninja music,” Keyshia Cole is a pioneer. Keyshia’s entire catalog more or less keeps within this prism, but her first two albums are her strongest efforts. On her debut album, The Way It Is, Keyshia was basically that girl with Kool-Aid-red hair who would literally curse you out in song. In other words, a woman after my own heart.

On her sophomore offering, Just Like You, Keyshia had the same spirit, though she was noticeably a bit more polished—not unlike a ratchet (self included) who has toned it down after a loving black co-worker hits her on the side, like, “Sis, if you want a promotion, you’ve got to switch it up a little.” Or, better yet, she wants to fast-track her career to be like Mary J. Blige after white people discovered her and the word “dancerie.”

Unfortunately, after that, inconsistency took over. Her third album, A Different Me, was OK . Her fourth, Calling All Hearts, was not. The fifth, Woman to Woman, was not the best, but not the worst. No, no, her sixth, Point of No Return, has those bragging rights. After that 2014 release, Keyshia revealed that she had gone independent and she instantly became a punch line in select online social circles. I’m talking about you people who said she was selling fish plates outside the Grammys. I love fish plates, but that wasn’t right, y’all.

Now Keyshia is back on a major label after signing with Epic Records and, seemingly, is due for a big comeback. What will certainly help in those efforts is her decision to join the cast of Love & Hip Hop: Hollywood. Keyshia shared the news via Twitter, and when asked what compelled her to join the show, she explained, “I want to touch bases with the essence of my fans again.”

High-siddity people made light of this quote, but it’s honestly one of the most self-aware things I’ve heard an artist say about the climate and her fan base in a long time. At least she’s not picking up a glow stick and making rave tunes like Usher did a couple of years ago. There are other blacks I could name, but I don’t want to be jumped at a future NAACP Awards.

I like Keyshia Cole most when she is singing about trifling men via songs with catchy hooks, and telling me all of her business courtesy of a reality show. Before K. Michelle used reality TV to resuscitate her fledgling career as a recording artist, there was Keyshia Cole, star of BET’s Keyshia Cole: The Way It Is. By sharing the details of her life—including her drug-addict biological mother, her adopted mother and her strained relationships with her sisters—Keyshia was able to cultivate a fan base. She got people to care about her in ways that her old record label arguably never could have.

There are plenty of artists whose music I enjoy but couldn’t give a decimeter of a damn about when they’re out of the studio. Though I don’t necessarily need to know a lot about an artist’s personal life, in the case of Keyshia Cole, knowing what she’s been through led me to develop an affinity for her that will, if nothing else, always leave me open to hearing her new music.

Now, I didn’t like it when Keyshia Cole tried to come for Beyoncé about “Bow Down/I Been On,” but I’m assuming she’s made penance with Black Jesus.

Whatever the case, Keyshia is smart to realize that the Love & Hip Hop franchise is hugely popular and essentially another opportunity to get folks invested in her life and, by extension, her new music. Her second BET series, Keyshia Cole: All In, didn’t do the trick, but I trust in Monami and Eastern, who produce LHH.

As for the Love & Hip Hop franchise itself, it’s so good to know an artist that I have actually heard of has signed on. In the past, some have been Throwback Thursday or Flashback Friday or, at the bare minimum, someone on the rise. Ever so increasingly, though, it’s been a lot of, “Where in the hell did you come from and why are you here?”

On a recent episode of Love & Hip Hop: Atlanta, quite a few viewers were left bored out of their mind, since we had to watch some woman claiming to be the CEO of a nail salon (insert laugh track here) beef with her assistant and marketing director (insert laugh track here) and some Asian girl from Instagram who thinks she’s the next Cardi B, when she’s likely to end up being a less poppin’ Shekinah.

Read the rest at The Root.

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As all sensible people know, the 45th president of the United States is a stupid, shifty, lying son of a bitch. If you heard “son of a bitch” in Tisha Campbell’s voice when she played Yvonne in Boomerang, congratulations, you’re a real one. However, when it comes to sensible people in public life who are not afraid of Peachy Pol Pot and his pathetic band of white supremacists poorly running the White House, no one tops California Rep. Maxine Waters.

Waters, like most black women, is doing more work on behalf of the resistance—or, hell, basic human decency—than many of her peers. Shoutout to the 53 percent of white women who helped make her life and the rest of our lives much worse than it needed to be. In any event, no matter what racist, extra-loud jackasses who host Fox News shows and likely jerk off to the sound of their own voices thinks, Maxine Waters is a patriot.

As a personal thank-you to Waters, the de facto auntie of Congress, here is a list of her greatest hits thus far in reading that orange, vile, lazy nincompoop of a president for the foolish and perhaps treasonous fraud that he is.

“I don’t believe anything Donald Trump says.”

To be fair to Waters, she tried to give him the benefit of the doubt as much as she could muster. After all, as she points out, he is a lying-ass liar who has given her no reason to believe anything he has to say. Not to mention, he’s disrespectful and a con artist. She left out that he eats well-done steaks with ketchup, but you get it.

What I appreciate most about this clip is that she refused to fall for the okey-doke when asked if President Barack Obama vouched for him; she dismissed that shit for the crock it was. As if Michelle Obama would have ever let that go down.

“I don’t choose to go, I don’t choose to honor him … and that’s that.”

Mariah Carey likes to use “I don’t know her” when dismissing someone. With Auntie Maxine, she will tell you that she indeed knows who you are but she just can’t stand your ass. When Waters, a woman after my own heart, was asked about 45’s fake love of black colleges and universities, she rightly dismissed it for the con it later turned out to be. Why? ’Cause 45 never showed us “where dem dollas at.”

Moreover, when asked if she was attending the president’s joint address of Congress, she told MSNBC’s Katy Tur hell no, and proceeded to remind her and the viewing public that she doesn’t choose to honor him. Tur tried it when she attempted to compare Waters’ decision not to go to to his hourlong gabfest to that time that fool yelled “You lie!” to Obama, but Waters was not having it. If anything, her refusal to go see a sexist, xenophobic racist blab a bunch of nothing for an hour was a nice gesture because she could have yelled out, “Fuck that thot” for his entire speech, and I would’ve done nothing but stand up in my apartment and applaud her.

“This is a bunch of scumbags.”

MSNBC’s Chris Hayes didn’t appear to be used to a praying grandmother who can also curse you smooth out without any curse words, but he learned a valuable lesson during an interview with Waters in February. While discussing 45 and his sect, she declared: “I just think the American people had better understand what’s going on. This is a bunch of scumbags. That’s what they are. Who are all organized around making money.”

Spot the lie.

Waters on Betsy DeVos, a “wannabe billionaire teacher.”

In another February interview, Waters stopped dragging 45 long enough to snatch hairs out of his education secretary, Betsy DeVos. Considering her terrible performances during her confirmation hearings, you can’t blame Waters for dismissing DeVos as an inexperienced ditz.

 Waters said this:

Betsy DeVos has no experience, no background. You know, she, of course, never attended public school herself. Her children never attended public school. She’s never served on a school board, never taught. She’s never done anything except make big donations to Trump and others.

So this billionaire wannabe teacher is now in the position where there’s a big fight going on in the Senate.

No shade.

“I have not called for the impeachment yet. He’s doing it himself.”

Be very clear: When it comes to Tangerine Mussolini and the issue of impeachment, it’s not her fault she’s talking about it. No, no. It’s your raggedy president’s fault for being such a trash box. And she proceeded to read out a laundry list of his offenses less than 75 days into his garbage-grade presidency.

Read the rest at The Root.

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Bill O’Reilly is the crotchety, shouting canker sore of cable news.

For several years now, the FOX News host has made millions off of the vilification of Black bodies, spirits, and political ideologies. Most of us have tried to make peace with the sad reality that we can’t stop his shtick, thus, we try to ignore him as much as possible. However, there are still some instances in which we cannot ignore his bullshit. Say, when the loudmouth comes for the hair that sits on the head of the immaculate and always necessary Maxine Waters.

During a Tuesday appearance on another god-awful FOX News show, Fox & Friends, O’Reilly’s Vigo from Ghostbusters II looking somebody had the unmitigated gall to come for Waters’ wig. Earlier in the week, Waters gave an impassioned speech on the floor of the House of Representatives, condemning the president and arguing that those who are turning a blind eye to the destruction he has wrought lack sincere patriotism.

When questioned about her remarks, O’Reilly said, “I didn’t hear a word she said. I was looking at the James Brown wig.” Fox & Friends co-host Ainsley Earnhardt cut in to note, “You can’t go after a woman’s looks. I think she’s very attractive.” In response, O’Reilly said, “I didn’t say she wasn’t attractive… I love James Brown, but it’s the same hair.”

It’s actually not the same hair, but his confusion isn’t surprising.

After all, O’Reilly is the same man, who in 2007, went to Sylvia’s, a soul food restaurant in Harlem, with Al Sharpton and later said he was shocked that “There wasn’t one person in Sylvia’s who was screaming, ‘Motherfu*ker, I want more iced tea.'”

For the record, O’Reilly, that is not a James Brown wig. I happen to love Maxine Waters’ wig. That wig is very First Lady of the megachurch or Head Deaconess hair. In other words, the hair, like everything else with Maxine Waters, is anointed.

In that same segment, O’Reilly went on to say: “She’s a sincere individual. Whatever she says, she believes. She’s not a phony, that’s old school. So we’re giving Maxine a break here. I love you, Maxine. I want to see you on ‘the Factor’ and, when hell freezes over, I’m sure that’ll happen.”

O’Reilly would later release a statement by Tuesday afternoon, apologizing for his remarks: “As I have said many times, I respect Congresswoman Maxine Waters for being sincere in her beliefs,” he said in a statement. “I said that again today on Fox & Friends calling her ‘old school.’ Unfortunately, I also made a jest about her hair which was dumb. I apologize.” However, considering his penchant for being a jackass with a deluded sense of moral authority, O’Reilly reminded everyone exactly who he really is by Tuesday evening’s airing of The O’Reilly Factor. While repeating his apology, O’Reilly snickered and would go on to lecture Waters about “demagoguery.” O’Reilly questioned her patriotism and argued that she and others on the left need to “stop the ideological nonsense and really focus on what America offers.”

Bill O’Reilly works on a conservative cable news station that serves as de facto state TV so it’s mighty rich that he, a man who routinely advocates for the “white establishment” while pretending white privilege is nonexistent, wants to lament about how ideology and demagoguery hurt the nation. Meanwhile, Waters made a stirring speech about a buffoonish president with dubious ties to a hostile foreign government that deserved real addressing, but O’Reilly opted instead to focus on her hair.

Read the rest at Essence.

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A couple of weeks ago, June’s Diary, an R&B girl group formed last year on the Kelly Rowland-hosted BET series Chasing Destiny, released a cover of Jodeci’s “Stay.” In the past, the group has released other covers, from Drake’s “Hotline Bling” to Xscape’s “Tonight.” Couple those gorgeous spins with their spectacular rendition of the Negro National Anthem, “Lift Every Voice and Sing,” and the quintet has proven itself to be one of the most vocally talented groups to enter the music scene in years.

These covers have been widely shared across social media. But neither they, nor the group’s various buzz singles, like “All of Us” and “L.A.N.C.E.”, have led to a longer release. Without an album, it seems unlikely that the group will garner bigger recognition or success. Or perhaps it’s the other way around; a few months ago, their manager and former Chasing Destiny judge Frank Gatson explained why the group hasn’t released so much as an EP. “We must find a hit song,” he commented wryly on Instagram. “Send one if you have it.” But something else he wrote hit closer to the point: “A lot of people don’t know who @junesdiary is.”

It’s not surprising that June’s Diary hasn’t been able to make a mark. When you think about it, it’s been a while since any R&B girl group has done so. This is disappointing to those of us who grew up with a plethora of R&B girl groups to choose from; gone are the days in which you needed multiple hands to count them all. A couple of decades ago, TLC, Destiny’s Child, SWV, and En Vogue all but defined a musical era, selling millions of albums and releasing huge crossover singles. Other groups, like Jade, Brownstone, and Kut Klose, also achieved success in the ’90s.

Only one girl group has truly risen to fame in recent years. But Fifth Harmony’s success only reaffirms the challenges that directly impact girl groups, particularly those made up predominantly of Black women, in finding the support from a label they need to reach audiences. For one thing, Fifth Harmony is a pop-centered group. Sure, they do dabble in Black music, but typically by way of collaborations with rappers like Kid Ink, Fetty Wap, and Ty Dolla $ign. But that’s not R&B; it’s a tried and true way for a pop act to score multi-format airplay.

Television has noticeably been the lone successful means of breaking a girl group in the modern era. Groups haven’t gained success through the traditional route of releasing singles and going on the road; they have been made on reality shows, which helps secure instant name recognition—the kind that makes it much easier to assemble a fan base. See: Danity Kane before they blew it. Like June’s Diary, which earned a record deal with Epic Records on Chasing Destiny, Fifth Harmony was formed on television and scored a record deal thanks to that medium. Even so, Fifth Harmony came to be via Fox’s The X Factor. Fox, being a broadcast channel, has a much larger reach than BET. And BET has since cancelled Chasing Destiny, which makes it all the more difficult for the fledgling June’s Diary to build a following.

Read the rest at Elle.

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