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It happened when Michael Jackson died. It happened shortly after Whitney Houston’s death. It happened to Prince after he died suddenly. It has since happened to Muhammad Ali. I fear it will be a fate met one day by the likes of Beyoncé, Steph Curry, Rihanna, and LeBron James.

“It” is when white media exalts fallen Black public figures for “transcending race” in an attempt to honor them.

“It” will never not be disingenuous. It will always be another superficial attempt to address racism. It will always be a glib statement earning the rightful eyeroll of Black people everywhere.

One problem with the notion of “transcending race” is that it immediately connotes that being Black is some sort of barrier. Why does one need to transcend who they are? This turn of phrase is meant as a compliment, but it is anything but. It is a well-meaning—but no less dishonest—way of describing Black men and women who have accomplished so much in the face of adversity.

Why does one need to “transcend” their Blackness for mainstream a.k.a. white consumption? When I hear well-meaning white folks write or utter this phrase, I can’t help but chuckle at how self-absorbed they’re being. Instead, they should say ,“I got over my own biases” and embraced X Black celebrity.

Be real, beloved, and spare us the bullshit.

All of the aforementioned Black celebrities were unapologetically Black. Moreover, none of them ever escaped the systemically unfair battle against any living, breathing, and especially thriving Black person.

Read the rest at Complex.

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When it comes to the subgenre of punditry best described as “crotchety, delusional conservative white man,” Pat Buchanan has long been its shining star. To Buchanan’s credit, he’s been consistently curmudgeonly about America’s shifting demographics for decades. In 1992 Buchanan infamously spoke of a “culture war” plaguing the United States during a speech at that year’s Republican convention. In Buchanan’s mind, the Democratic Party represented a bunch of abortion-loving, feminism-peddling, “homosexual rights”-advocating deviants. His answer to the crowd was that “we must take back our cities and take back our culture and take back our country.”

And unlike Ms. Lauryn Hill, Buchanan does not need new arrangements to perform his act. No, his political rhetoric is basically Mary J. Blige’s onstage dancing. To wit, Buchanan recently wrote an unintentionally hilarious essay about “the social disaster of white Middle America.” In the essay, entitled “The Great White Hope,” Buchanan laments a purported crisis among “middle-aged white folks” that, he says, consists of growing numbers of cases of “alcoholic liver disease, overdoses of heroin and opioids, and suicides.”

Buchanan’s explanation for this is twofold. In one instance he discusses white working-class voters being victims of depreciating wages and a lack of available jobs because of globalization. Typically, if Buchanan told me the sky was blue, I’d go outside with my phone to take a shot of the blood-orange moon that’s clearly more than likely to be present, but hey, there is some level of truth there.

Unfortunately, “Project Pat” then attributes the drug use, alcoholism and suicide rates to shrinking numbers of married white men. To Project Pat, “single white men are not only being left behind by the new economy, they are becoming alienated from society.” Moreover, the “world has been turned upside-down for white children.”

In this man’s mind, this is evidenced by select history books saying that America was “‘discovered’ by genocidal white racists, who murdered the native peoples of color, enslaved Africans to do the labor they refused to do, then went out and brutalized and colonized indigenous peoples all over the world.”

So, the crux of his complaints about education policy is that American children are being told the truth about the history of this nation. Whatever will these poor white kids do (well, besides continue to enjoy the perks of being white in a society that caters to white people)? Project Pat proceeds to argue that a call for diversity is meant to marginalize white people. If you really want to laugh, he also complains that “angry white male” is now “an acceptable slur in culture and politics.”

“N–ger” is a slur; “angry white male” is a pretty solid descriptor for the conservative-media-industrial complex that’s made Rush Limbaugh, Bill O’Reilly, Sean Hannity and others millions of dollars.

In any event, Buchanan leaves us with this: “So it is that people of that derided ethnicity, race, and gender see in Donald Trump someone who unapologetically berates and mocks the elites who have dispossessed them, and who despise them. Is it any surprise that militant anti-government groups attract white males? Is it so surprising that the Donald today, like Jess Willard a century ago, is seen by millions as ‘The Great White Hope?’”

Read the rest at The Root.

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Very seldom will you ever find me speaking ill of the legendary Bobby Brown. You’re now reading words from someone who will regularly inform you that if not for the Don’t Be Cruel album, it’s highly unlikely you will have artists like Usher, Trey Songz and Chris Brown. A person, who after finding out “The Kang of R&B” was selling BBQ sauce and fried chicken seasoning, immediately went online to place an order. So, my love of Bobby Brown is pure and everlasting.

However, there is news pouring out from a recent interview that’s troubled me. There are a few things in life I can look past. I pass no judgment on Bobby Brown for recently telling ABC’s Robin Roberts that he once had sex with a ghost is a fine example. Brown’s purported private ghost busting aside, I’m more frustrated that he felt compelled to discuss a long rumored part of his late ex wife’s life.

Speaking with Us Weekly, Brown addressed the outstanding rumor that Whitney Houston had a same-sex relationship with Robyn Crawford. Houston met Crawford as a teen before she ultimately hired Crawford to be her assistant and creative director. Rumors of a romance started in the late 1980s and traveled with the late iconic singer for years. The rumor reached its peak of speculation once Houston went on to join Michael Jackson in the afterlife choir and Crawford spoke with Esquire about their relationship.

In response to stories that Houston was pressured by family members not to see her, Crawford noted, “Nobody kept Whitney from doing anything.” Beyond that, though, there is a subtle gorgeousness to how Crawford speaks of Houston. It is quite clear that whatever their relationship was, it was rooted in love.

Crawford explained: “I have never spoken about her until now. And she knew I wouldn’t. She was a loyal friend and she knew I was never going to be disloyal to her. I was never going to betray her. Now I can’t believe that I’m never going to hug her or hear her laughter again. I loved her laughter and that’s what I miss most, that’s what I miss already.”

And: “I just hope that she wasn’t in pain and that she hadn’t lost hope. She gave so much to so many people; I hope that she felt loved in return. She was the action, for such a long time. She’s out of the action now. I hope she can finally rest.”

This should have been the end of that. No one who was not privy to the intel to confirm the specifics of their relationship deserved nothing more than what Crawford offered. Sadly, Brown has now chimed in, telling Us Weekly that when it comes to Houston and Crawford, “I know. We were married for 14 years. There are some things we talked about that were personal to us.”

Brown, who recently released a memoir, “Every Little Step,” alleges that Houston was bisexual. He told Us, “I’m a man and she was attracted to me!”

Read the rest at VH1.

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“Thots & Thoughts” is a column in which musings on dating, sex, race, religion, and politics all come together—from a bird’s-eye view.

In terms of artistic license, Drake has every right to continue making music about emotional immaturity. He has every right to a whiny outlook on his failed relationships (fictional and otherwise). Likewise, his most ardent fans have every right to keep quoting his songs on social media and pretending that Aubrey Graham is more emotionally intelligent than he actually is. But wouldn’t it be nice if we could all grow up a little?

I am not a Drake hater. Of course, I do question how a Canadian developed a Houston accent as an adult. I also question how said Canadian became West Indian on his latest album. But petty concerns like that haven’t convinced me that he isn’t good at what he does. (I have the receipts of monetary support to prove it.) Still, time has made me wonder how anyone that close to 30 can continue thinking the way he does.

How many more songs can this man make about how he had a “good girl,” went off to do his own thing (and fuck other people freely), and found himself steaming like a hot toddy because that “good girl” lost interest? Even worse, this motherfucker has the audacity to feel a way about someone getting over him. What kind of middle school man-child tripping-over-his-hormones shit is he on? Excuse me, still on.

Gather ‘round, beloveds. I have many examples: 

“All of my ‘let’s just be friends’ are friends I don’t have anymore/Guess that’s why they say you need family for”

Listen, when you do not meet people under platonic circumstances, do not expect them to want to be your platonic friend. I have told many a man to get the hell away from me talking about “let’s just be friends.” Bitch, I got friends. Move around.

“I tried with you/There’s more to life than sleeping in and getting high with you/I had to let go of us to show myself what I could do”

Okay, great. So when they move on, don’t get all pissy about it, newly beardless wonder (more wonderful with a beard, though, tbh).

“Why do I settle for women that force me to pick up the pieces?/Why do I want an independent woman to feel like she needs me?”

Because you’re emotionally manipulative.

“I gave your nickname to someone else.”

You’re also a mean-spirited child at times.

“Chasing women a distraction/They want to be on TV next to me/You cannot be here next to me/Don’t you see Riri here next to me?”

God, shut up.

“I’m way too good to you… You take my love for granted/I just don’t understand it.”

Yo, this man routinely raps about screwing over women, virtually driving them away. Wait, I have another example.

“You hit me like, ‘I know you’re there with someone else’/That pussy knows me better than I know myself”

See that?

Get the hell on somewhere yapping about being too good for anyone. Okay, you are handsome, famous, and rich. There are a bunch of folks like that on Unsung and old episodes of Behind the Music, though. Don’t get too cocky.

And we cannot forget “Hotline Bling,” which is great as a song to bop to in the club, in the car, at the gym, on a sidewalk, or wherever else it’s playing. But as a statement, the song is a prime example that 2016 is the year of our Lemonade.

Read the rest at Complex.

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In 2016, the year of our Lemonade, I have a simple, albeit pointed, question for those purchasing tickets to see Ms. Lauryn Hill in concert: the hell do you expect?

In her now infamous response to online critiques about her perpetual lateness, Ms. Hill took to Facebook to write: “I don’t show up late to shows because I don’t care. And I have nothing but Love and respect for my fans. The challenge is aligning my energy with the time, taking something that isn’t easily classified or contained, and trying to make it available for others.”

This is one of the most comically eloquent ways of trying to spiritualize trifling behavior that I’ve ever read. Kudos to Ms. Hill on that. Nevertheless, to be respectful to is honor the time the people who keep you fed, housed, and in line with the IRS, who spent their money on you. Couple that with a contract and a commitment to a show, that ought to be more than enough to align one’s energy with time.

In any event, a debate ensued underneath the post whether or not Ms. Hill is in the wrong. You can count me in on the side that says she’s more wrong than Azealia Banks most days on Twitter. That said, while I do believe artists have a responsibility to show up on time, when it comes to the case of Ms. Hill, by now, hasn’t everyone picked up a pattern?

Here is what you get when buy a ticket for a Lauryn Hill concert: the potential that she may not appear on stage until the crack of midnight, if at all. If she does decide to actually perform, not only might you experience a shortened set due to her lateness, you will also be subjected to schizophrenic versions of the songs that prompted you to buy tickets to see Ms. Hill almost 20 years after the release of her debut album to begin with.

Or, you may get a surprisingly gorgeous cover of a Sade classic. Who knows? The only certain thing with her is uncertainty about what you will be subjecting yourself to. When it comes to attending a Lauryn Hill concert, you are essentially playing a scratch-off lotto ticket with the hopes of being entertained.

By now, you know, however, the Grammy award winning singer, rapper, and CPT time personifier is not the only act ruffling the feathers of fans.

I love Janet Jackson like I love fried chicken, butts, and my student loan lenders not calling or emailing me; however, mama irked the absolute hell out of me deciding in the middle of a world tour that she wanted to plan a family at the age of 49. Oh, I hear you: “STOP BEING INSENSITIVE.” You know what’s insensitive? Starting a world tour, then stopping it and pushing back the dates only to then decide to delay it again.

Janet Jackson announced this tour in May 2015. It stopped not long after. The show was set to return in 2016 and may not get under way again until 2017. Well, if she keeps her word. We have no reason to conclude she will. Janet Jackson was fortunate enough to refund fans. To her credit, so has Ms. Hill.

Read more at EBONY.

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There are very few conversations I find more cringe-inducing and exhausting than the debate over whether or not it is best for a black student to attend a predominantly white institution of higher learning or one that is historically black.

Everything ain’t for everybody, and not enough people on either side of the issue know to respect that stance. Even so, as much as I try to steer clear of these debates, there is a certain disingenuous argument when it comes to those who choose to attend a black college or university that irritates me. It is this idea that to attend one is to escape from “the real world.” Moreover, it is the idea that being in a majorly black setting means that you are surrounded by sameness.

They are both sentiments seeped in stupid, marinated in fallacy and broiled in the false belief that the white man’s ice is cooler.

The Talk’s Aisha Tyler is the latest example of this, and it’s a pity that she would use her platform to perpetuate falsehoods about what it means to attend a black school. Speaking with Money magazine, Tyler called on black students to be “be brave” and enroll in schools where there have been incidents of racism. Why? Well, to help white students evolve from their racial prejudices.

Tyler argued, “When incidents of discrimination happen, that is the real world. You know, if someone doesn’t write something nasty on your dorm door, that doesn’t mean they are not thinking it.”

Well, anyone black and awake in this country knows that. Besides, if you’re a member of a minority group, you have your entire life to contend with someone’s biases against you and the various ways in which they will manifest. Why is it so important to rush to it sooner rather than later?

Though Tyler notes that you should “decide what you can tolerate,” she goes on to say, “What would we be like if black people didn’t go into the heart and didn’t try to change things? We would have made no progress in the country. Bravery is the engine of change.”

In other words, be the academic equivalent of Viola Davis in The Help. To quote my King Beyoncé, “N–ga, nah.” I am sick of people—especially other black folks—putting the onus to curb white racism on its victims. No black student—particularly those likely going into debt to advance in a society that actively tries to make sure they don’t—ought to be overly concerned with fixing someone else’s stupid.

While you can respect those who decided to do what’s best for themselves—in Tyler’s case, attending the prestigious Dartmouth College—the use of the word “brave” is troubling because it suggests that those who don’t make this choice are behaving in ways that are cowardly.

As for her advice for black high school students, Tyler offered this: “Step out of your comfort zone. Don’t pick a college that replicates what you did in high school. Test yourself in an unfamiliar context so that you can learn to succeed no matter where you are placed, so that you know you can excel.”

This weekend I will celebrate my 10-year college reunion. As I’ve explained to many people, Howard University is the most diverse setting that I’ve ever been in. To limit the definition of “diversity” to race is to belittle and trivialize a term that has always been far broader than the likes of Tyler will ever give it any credit for being.

Read the rest at The Root.

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Piers Morgan is a simpleton fortunate enough that being White, male, and straight makes his success in media nearly impenetrable. Morgan, like many people who wear lens prescribed to only allow them to view the world from their perspective, never misses the chances to complain about minorities who complain about the unfair conditions thrusted upon us. What a joy it must be to be stubbornly selfish and stupid and score profit from it.

When Nicki Minaj complained about the unfair treatment of Black women’s art at the MTV Video Music Awards, Morgan wrote a silly column that completely missed the point. When many were enraged by dashcam footage of Sandra Bland’s arrest was made public, Morgan ignorantly boasted about tweeting “#ALLLivesMatter.” Morgan has also tweeted “I love my Whiteness” in response to Black people celebrating themselves in a world that often loathes our mere existence.

When Black people complained about the lily-White Academy Awards, Morgan wrote an asinine column saying he doesn’t watch the show to be bombarded by issues like gay rights, racism, and sexual assault. You see, Morgan watches for entertainment, failing to realize the rest of us can sit around and be silent when the world is watching. So, it’s not surprising that Morgan has an issue with Beyoncé becoming more overtly political in her art.

In yet another sign that his keyboard should have committed suicide long ago, Morgan has written a new column condemning Beyoncé for not being Beyoncé in his image. However, his angle is to pretend to be care about the mothers of Travyon Martin and Mike Brown.

Writing in The Daily Mail, Piers claims: “I have huge personal sympathy for both women and there is no doubt that African-Americans have been treated appallingly by certain rogue elements within the country’s police forces. But I felt very uneasy watching these women being used in this way to sell an album. It smacks of shameless exploitation.”

Beyoncé created a short film exploring varying aspects of Black womanhood. Do you know what said aspects include? The reality that as a Black mother in America, there is a legitimate reason to worry whether or not you will have to bury your son or daughter due to some racist, trigger happy police officer protected by the law and the White supremacy that has long upheld it in this country? By the way, nothing screams “shameless exploitation” than a blithering idiot continuing to miss the point as a career strategy.

Morgan went on to describe Beyoncé as a “militant activist” and argues, “The new Beyoncé wants to be seen as a Black woman political activist first and foremost, entertainer and musician second.” This sentiment recalls the insulting “compliment” some have paid Prince for purportedly “transcending race.” What they mean by that is Prince’s music got them to see past their own racism. Likewise, what Morgan fails to grasp here is that each of us that are of color are seen as that first and foremost no matter what. The only person who thinks otherwise is one who doesn’t live our experience.

Naturally, Morgan then goes on to see he prefers the “old Beyoncé” who was “less inflammatory” and displayed less “agitation.” He then has the nerve to write, “The one who didn’t play the race card so deliberately and to my mind, unnecessarily. The one who wanted to be judged on her stupendous talent not her skin color, and wanted us all to do the same.”

White people like Piers Morgan love to trot out Martin Luther King quotes as if he was the Santa Claus of Civil Rights and that the invocation of his name and a twisted interpretation of his ideology absolves them from criticism of their inherent bias.

Read more at EBONY.

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Why do some people act as if Beyoncé eats with her feet?

I read Beyoncé’s recent and increasingly rare interview with Elle magazine, in which she discussed her new Ivy Park activewear collection in addition to answering questions about feminism, race and police brutality. I found it rather standard for Beyoncé, or any celebrity of her stardom, for that matter. Others, however, expressed shock and awe that she managed to form short, coherent statements.

About feminism, Beyoncé made comments like, “If you are a man who believes your daughter should have the same opportunities and rights as your son, then you’re a feminist. We need men and women to understand the double standards that still exist in this world, and we need to have a real conversation so we can begin to make changes.”

And when asked about those who protested her “Formation” video, Houston’s finest noted: “I have so much admiration and respect for officers and the families of officers who sacrifice themselves to keep us safe. But let’s be clear: I am against police brutality and injustice. Those are two separate things. If celebrating my roots and culture during Black History Month made anyone uncomfortable, those feelings were there long before a video and long before me.”

It’s not as if she broke down critical race and feminist theories in the Q&A, so why in the hell is anyone surprised by these not especially complicated sentences? I’ve seen some of my writing colleagues insinuate that perhaps her public relations team answered the questions for her. This was an echo of the sentiment expressed two years ago when Beyoncé’s essay “Gender Equality Is a Myth!” was published by the Shriver Report.

In that essay, Beyoncé wrote: “We have to teach our boys the rules of equality and respect, so that as they grow up, gender equality becomes a natural way of life. And we have to teach our girls that they can reach as high as humanly possible.”

Watch out, Toni Morrison, or nah?

Even if Beyoncé did have someone gussy up her essay, she wouldn’t be the first person to do so—celebrity or otherwise. We live in a nation where, if the proper use of “whom” were a choice that could end or life or death, a sizable portion of the U.S. population would immediately drop dead. So if you really want to talk about what is or isn’t dumb, I wouldn’t be aiming my dart in the direction of a pop superstar with a growing empire on which she has relentlessly proved to have a tight grip.

I’ve always found this “Beyoncé is some sort of simpleton” narrative to be painfully ignorant and remarkably dubious. Sure, after LeToya and LaTavia left Destiny’s Child and Beyoncé launched a solo career a few years later, she did noticeably become far more cautious in how she answered questions. That doesn’t necessarily say anything about her level of intelligence.

Read the rest at The Root.

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I try to steer clear of wishing ill on another, but I wish Erykah Badu’s cell phone, iPad, and laptop had forged a suicide pact in order to spare us all of the string of tweets she’s unleashed multiple days this week.

On Monday, Badu, like many others on Twitter, apparently saw New York magazine’s The Cut tweet out a link to a story about a New Zealand school that enforced knee-length skirts for girls in order to “stop boys from getting ideas and create a good work environment for male staff.” Badu’s initial tweet linked to the piece and added: “I agree. We are sexual beings. We should consider everyone. Young girls are attractive. Some males are distracted.”

Oh, those helpless men who can’t manage to avoid sexualizing minors on their damn job of all places. Let us all please consider their special needs. Badu continued, “Men and women both go thru cycles of arousal. Men automatically are attracted to women of child bearing age….” While she did acknowledge “Males should be taught to be responsible for their actions from childhood” and that “It’s not ok to “prey” on young women,” she still said when it comes to a heterosexual [adult] male being attracted to a young woman in a “revealing skirt,” she argued, “No, I think it is his nature.”

Badu continued this debate all through Wednesday, more or less repeating the same logic to the rising depression levels of many of her fans — myself-included.

To some, Badu might have been merely “telling it like it us.” The problem there is just because something sounds pragmatic on its surface doesn’t mean it actually is or even remotely insightful.

Here, Badu is essentially coddling men to the point of infantilization. If an adult man is sexually attracted to a minor and the endpoint is statutory rape, ultimately, the person who bears the greatest burden on that crime is the adult in question. Yes, we are all sexual beings, but this notion that a man cannot control himself because of his nature makes us no better than some wild animal. By the way, if grown men employed to educate school-age girls find themselves sexually attracted to their students, the reality is the length of a skirt will not be that remarkable a factor in thwarting that.

I’m also not totally comfortable with the idea of young girls of “childbearing age.” Exactly what age is that again?  Of course, I am not surprised by Badu’s sentiments. After all, as others have pointed out, this is the same person, who last November as host of the Soul Train Awards, claimed that R. Kelly “has done more for Black people than anyone.”

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Am I a terrible person because I watched Janet Jackson announce her second tour delay due to family planning and thought, “But, baby girl, what about these concert tickets?”

Before Beyoncé and her blond, freestyle braids took control of my life and thigh muscles, there was Janet Jackson, the patron saint of the butterfly, the master of the dookie braid, and the queen of the whisper. Janet Jackson has taught me many things throughout my life, so I was ecstatic to see her perform on the Unbreakable World Tour. That was supposed to happen in February, only she postponed the date until August due to surgery. Now Damita Jo is pulling out another doctor’s note to excuse herself from that tour date and all other dates.

I am so happy that Janet and her billionaire bae of a husband, Wissam Al Mana, are going to start a family—especially considering Janet is 49. I have no idea how this is going to happen, but as NeNe Leakes once said, “They make ’em when you got the coin.” Still, this couldn’t have been the first time the two thought about this, so why touch me, tease me with a tour she seems to not really care all that much about?

The way she’s treated this tour is a lot like how she has treated her latest album, Unbreakable. It was an album seven years in the making and reunited Janet with longtime collaborators, Jimmy Jam and Terry Lewis. Moreover, there was a press release that went out touting Janet’s new label, Rhythm Nation Records, which touted her as “arguably the first female African-American recording artist to form her own record label.”

The album’s first single, “No Sleeep,” went on to become her longest-running No. 1 song on the adult R&B song chart—a reminder that the blacks will hold you down even after a white man pulls off part of your shirt, exposing your breast in front of a billion people and leaving your career and a nipple out in the cold. The album has the nerve to be pretty damn decent, too. Certainly better than the material she recorded with Jermaine Dupri.

And then what happened? The hell if I know. Janet gave us one video and not another peep. Legend has it she shot a video for my favorite track from the release, “Dammn Baby,” but where is it? Probably in the closet with the tour wardrobe she apparently won’t be putting back on anytime soon.

I completely understand why Janet Jackson would be over the music industry. She was wronged after her Super Bowl performance and she struggled for a while to regain footing. If not for the support of her most loyal fans—a smooth millions of folks across the world—her legacy wouldn’t have endured as well as it has. However, it’s that support that helped launch her comeback—a comeback that now seems to ending with, “Never mind. Bye, y’all.”

Read the rest at The Root.

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