Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

I had no idea Gillian Laub’s new HBO documentary, Southern Rites, would be as challenging for me to watch as it was. On Monday, I attended a screening at the Sunshine Cinema where Laub appeared in a panel moderated by Ta-Nehisi Coates.

The film’s executive producer, John Legend, made a brief appearance at the beginning of the film. In a very well fitting suit. Whew. Okay, focus, Michael. Chrissy Teigen could be reading this. As he mentions here, it’s very painful to see a woman have to deal with the loss of her son, particularly in this fashion.

And as someone from the South, there were some parts of the film immediately familiar to me.

Say, a white southerner dawning the confederate flag on her back explaining, “It’s not racist. It’s just the southern way.” That’s kind like saying, “You say cross burning, I say light show” but if you say so (actually: stop saying so). And there are other parts in the film which you hear Mount Vernon, Georgia white residents complain of mixed race children by making quips like “it had a read head and a blue ass.” Country folk are amazing.

Racism rarely makes sense, but when it comes to Julian Patterson’s death, which largely dominates the narrative of the film, Laub illustrated just how complicated it can be. Patterson’s killer, Norman Neesmith, is unique in that he raised his half-Black niece as his own daughter. Norman was alienated by many of his family members and neighbors as a result of this selfless choice, so to count him among the unabashed racists of the world feels unfair. Even so, as you watch the film and hear Norman’s story in his own words, you understand that even someone of good intentions can harbor ignorance.

As the story goes, Jason Patterson along with his brother, were invited by Norman’s daughter and another friend to come over – unbeknownst to Norman. There is a confrontation and the end result is Jason Patterson died far too early. Norman expresses both grief over his role in that and anger in response to the condemnation he’s received as a result of his actions. As much as we hear stories of older white men shooting and killing young Black men and women, very rarely do we hear from someone who conveys even a nominal level of remorse.

Also, I did wince when I heard the excuse “kids will be kids” over the idea of an 18-year-old (not Patterson) sneaking over to a 14-year-old’s house to smoke, drink, and have sex. It in no way excuses Neesmith’s behavior. The same goes for it not altering certain realities. Norman Neesmith wouldn’t have gotten as light a sentence as he did had he shot and killed a young white man. Meanwhile, for all his talk of not thinking of color, we hear Norma say on the 911 call about shooting Jason Patterson, “It’s just a Black boy.”

During the conversation, Laub said she initially thought to name the movie It’s Just A Black Boy, only she feared that as a white woman, such a title may come across as offensive to some. I appreciate her sensitivity there and throughout Southern Rites. She makes no one a devil on either side and whoever manages to look bad, it is of their own doing.

The racial politics are pronounced throughout the movie in the bluntest of terms. Case in point, the separate story of one Black man’s quest to be the first Black Sherriff of Montgomery town. And yes, the first desegregated prom, which I noted in a previous post.

What I enjoyed most during the conversation was Laub’s own thoughts about Norman Neesmith. Was Patterson’s shooting Patterson a racist act? Like many in the audience, Laub suspected his perception of two Black men did play some role in his behavior that tragic night. That is a racist act, but even in his anger, Norman Neesmith is a complicated figure.

That said, I’m so tired of seeing Black mothers in tears feel defeated over a system that devalues the life they brought into this world. But I did enjoy this documentary greatly. It truly is a stunning piece of work, and if nothing else, made me think.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

There’s an obnoxious Twitter feed called Shady Music Facts, which does a wonderful job of feeding material to stans of various pop stars who like to slander each other’s favorite artists with the fun facts provided. The practice itself is not new. Before social media, people engaged in this habit by way of Internet message boards. Blame my mama for introducing me to this pastime as a teenager by way of not letting me go party in middle and high school.

In any event, I see these tweets inserted into my timeline damn near every single day, only I will say it reminds me of something I had already known: Though she might be a pop cultural deity, and continues to be wildly successful and influential, Beyoncé has not had a major solo pop hit all decade. Yes, “Drunk in Love” made it No. 2 on the Hot 100, but Jay Z hopped on the coattails of that obvious hit, thus meaning she didn’t go it alone.

Sample tweets from this feed about such reality include, “Despite not reaching #1, ‘FourFiveSeconds’ peaked higher than Beyoncé’s last FIVE singles.”

And: “BEYONCÉ era: 1 Top 3 single. 1989 era…so far: 2 #1 singles + a top 10 single.”

Also: “Thanks to Lady Gaga, ‘Telephone’ is the best selling song thatBeyoncé has featured on this decade.”

Plus: “Rihanna has managed to achieve six #1 singles since Beyoncé last had her #1 single in 2008.”

Although these facts are irrefutable, context is key, and once you’re clued in on that, you realize how much more remarkable Beyoncé’ssuccess this decade is. Taylor Swift is an industry unto herself, but the same can be said of Beyoncé—and really, Beyoncé’s stature overall still arguably overrides hers. Swift may as well be the Team Captain of the celebrity wing of the Beyhive.

As for Lady Gaga, well, you remember ARTPOP, don’t you?

Read the rest at Complex.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

As it stands now, Tyga’s biggest consequence from dating the still very much a minor Kylie Jenner will be really bad casting on a future episode of Law & Order: SVU chronicling their relationship.

Seemingly aware of this reality, Tyga is reportedly gloating about it. The 25-year-old rapper is said to be “defiant” about his relationship with the youngest Jenner sister. Per TMZ, Tyga “doesn’t care about the laws prohibiting adults from having sex with minors.” So we’ve noticed.

In his mind, Tyga apparently feels that Kylie is “more mature than most adults.” Tyga must not know many people his age group and up. His rationale, though, is that she is a millionaire who runs a business and owns her home. Considering Tyga’s upper middle class background, the taxes his parents paid in year’s past should’ve made sure he went to good schools who taught students how to think critically.

Sure, Kylie has a business, but it’s a business run majorly through her mother and secured through the popularity of her older sister, Kim Kardashian. Such is the point of New York Times magazine profile of the Kardashian matriarch, aptly entitled “Where Would the Kardashians Be Without Kris Jenner?” As writerTaffy Brodesser-Akner notes with respect to the family’s very long list of successes, “The thing is, no one in her family knew what they were doing until Kris took charge.”

Tyga may genuinely like Kylie albeit illegally, but basing that allure on “maturation” is a joke. She’s not running the show; she’s merely a part of it. Now he’s enjoying the perks of jumping on the bandwagon. This is what Kanye West was alluding to in an interview with Power 105.1’s The Breakfast Club/ “I think he got in early, I think he was smart,” he disgustingly said. “They’re closer in age than a lot of relationships I know. I knew Tyga was smart, you know.”

Considering Kanye West has a thing for molding the women in his life, I imagine he would think Tyga “getting in early” would be “smart.” I’d love to see how “smart” he finds the man who may one day try this on his own daughter.

Regardless of what Tyga is said to feel about Kylie’s “maturity,” he has known her since she was a child. There is footage from the show of a then 14-year-old Kylie Jenner flirting with Tyga. That family can try to spin this all they’d like, but there’s something wrong with an adult man dating a teenager that he got closer to because his baby mama used to be BFFs with her older sister.

Unfortunately, none of this matters because TMZ highlights exactly why Tyga “doesn’t give a f*** about what the law says”: the police cannot do anything about it. They won’t investigate a statutory rape claim unless someone complains, and thus far, no one has. I wouldn’t expect Kylie’s mother to say anything ever. In her NYT mag profile, it is explained that Kris Jenner met her first husband, Robert Kardashian, when she was 17 while he was “a lawyer 11 years her senior.” This is probably the part in which people will counter, “See! See! It’s common.” What’s common and what’s right are not always intertwined.

Even so, as far as them being a couple, that is settled. That cannot be changed. What can and should, however, is how we collectively discuss their relationship.

Read the rest at VH1.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

Should a camera crew be following someone in rehab? My instinct says, “fuck no,” but if we’re being fair to all parties involved with Love & Hip Hop: Atlanta, I’d rather watch Stevie J recite Instagram inspirational word memes he learned in group therapy than deal with most of the other men on this show. So would you.

The episode launched with the sight of Stevie J strumming his guitar as he awaited a visit from Joseline. Stevie J informs the Puerto Rican Princess that he has to dedicate his next year to sobriety, which means she can’t be smoking weed anymore. Joseline astutely noted that she shouldn’t have to give up her love of the grass cause his piss in a cup keeps setting off alarms within law enforcement. I know that when you love someone, you’re supposed to sacrifice for them because that’s what people in a relationship do, blah, blah, bullshit, but no weed? No thank you.

Joseline would go on to inform Stevie J that her and Mimi won’t be braiding Ava’s hair together, so he can kindly stop asking him to make amends with that broken woman still upset that he no longer wants a relationship with her. Speaking of people who won’t be kicking it anytime soon, Karlie Redd and Rasheeda had a confrontation over the confrontation at Karlie’s store opening that took place a week ago. You know, I don’t really feel any strong way about Rasheeda on this show besides her looking like the female version of Superfly Jimmy Snucka, but I will say she was dead wrong last night.

Listen, Rasheeda, you did not have good intentions when you brought Erica to Karlie’s store opening. You did not want them to make amends because if you did, you would’ve organized a dinner with no food at a later date like a real neutral ass reality show cast member would have. What you did was go to fuck shit up. So be it, but own it. 

Rasheeda did not, opting instead to bash Karlie Redd. At one point, Karlie said, “K. Michelle was right about you.” Well, she did not tell a lie there based on that scene. The two then had a Sheree and NeNe type verbal exchange. I’m going to go with Karlie for this round given she told Rasheeda, “CNN was at my motherfucking event. Name the last time CNN been at yo’ shit.” And outside, Karlie yelled, “Get in the fucking car cause you ain’t shit.”

All Rasheeda did was call Karlie messy, lame, and made an AARP reference. Girl, you’re messy for what you did last week; you’re still married to Kirk Frost and you bite Shawty Lo’s flow so how’s all that for lame; as for age, umm, you’re not exactly the freshest peach in the pile either, beloved.

In related delusional lame news, Nikko is back despite my prayers that all footage with him will be lost in the editing bay. Nikko’s estranged wife, Margeaux, has moved to Atlanta—in the same building as Nikko. During a conversation, Nikko claims he made a “blood pact” with Mimi to lie about the origins of their porn. Margeaux believes him because she seems gullible as hell. Lift that sucker in prayer, y’all.

Read the rest at Complex.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

I wish I could share John Legend’s shock when he says, “I was so mystified how this could be happening in the 21st century” in the trailer for the HBO documentary Southern RitesThis being the story of segregated proms being held in Southeast Georgia’s Montgomery County nearly every year since its schools were integrated in 1971. One thing I learned about racism in the South is that though it may be overt in its expression, it is a disease rotting every other region in the country. We are more segregated than most acknowledge, but in this respect, it is at least interesting to see how blunt bigotry can still be.

I recall reading about this story in the New York Times years ago, which featured a photo essay by celebrated photographer Gillian Laub. After that, Laub traveled to Georgia to examine the story of the segregated prom as well as race relations in the area — including the killing of an unarmed Black man by a white resident that binds the residents of two small towns together. The film is executive produced by John Legend, who looks like bae in the trailer (respect to Mrs. Legend, Chrissy Teigen, though), Troy Carter (who managed Lady Gaga at her peak), and Mike Jackson, no relation to Randy or Jermaine. 

In a press release for the filmLucinda Martinez, SVP of Multicultural Marketing at HBO, said, “With a film as provocative as Southern Rites, creating a platform that inspires dialogue is integral to our promotion of the film. The film is not only the story of the residents in Southeast Georgia but in many towns all over the country. Laub is a compelling storyteller and we’re proud to support her work.”

Taub herself explained, “This is a story that needs to be told. This film is about giving a voice to the people of Montgomery and Toombs counties. This is their narrative. I’m grateful to HBO for their support and the opportunity.”

I’ll be frank and acknowledge that for a minute, I had become mentally exhausted with having to hear how bad things are and how stagnated so many of us can be. It makes me feel like the equivalent of the saddest Sade song ever, chopped and screwed. It is a lot to process, especially when you’re in the business of processing such news and the politics behind it all of the time.

At the same time, when a project about race and racism is done thoughtfully and tackled in nuance, I am all about supporting it. This is not “Who don’t said the N-Word now?” but rather, this is what it looks like on both sides and this is how we might actually have meaningful dialogue.

That not only makes me intrigued to see this film, but excited to do so. John Legend speaks of a story that seems sad on the surface with hope. Not to be all Mariah Carey, early 1990s ballad about it, but hope is all we have to deal. I’m looking forward to Southern Rites instilling some of that in me.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

There are some public figures who make you wonder why you ever bothered learning how to read.

I let out an audible sigh when I read the New York Post’s Page Six report that ABC executives were “desperate” to sign actress-turned-foot-in-mouth-disease-victim Raven-Symoné as a co-host for The View before their up-front presentation. A described “ABC source” explained, “She was interesting and provocative. Raven would be great as a regular host.” I imagine similar logic was employed to justify giving Don Lemon and Stacey Dash cushy positions at CNN and Fox News, respectively. How well is that going for anyone who doesn’t benefit from the ratings their asininity generates?

Frankly, a spare brick on the sidewalk can be just as “interesting” and “provocative”—except a brick has more to contribute to meaningful conversation than any of the aforementioned three.

Raven-Symoné is talented, but if the last couple of months have taught us anything, it is that she is not remotely thoughtful. Our first glimpse into that reality took place last fall on an episode of OWN’s Oprah: Where Are They Now? where she decried labels and described herself, not as gay but, rather, as a “human who loves humans” (which could also be described as pansexual, but I read books, so pardon me) as well as a  “colorless person.”

Months later she would declare, “I am from every continent in Africa except for one. and I’m from every continent in Europe except for one. We are a melting pot of beauty.”

My eyes are rolling harder than a Prancing Elite at a parade.

Sure, she misspoke, but the problem isn’t so much the phrasing as it is the overall sheer lack of intellectual curiosity. She, like Lemon and Dash, is simply loud and wrong. Naturally, she is being rewarded for it and, of course, is clueless as to why some aren’t pleased about it.

In a new Daily Beast profile titled “The Reinvention of Raven-Symoné,” Raven-Symoné touches on the backlash she’s received on occasion, saying, “I’ve gotten anger from other people because I’m not taking one side or the other, or I’m not taking the side they think I should take. Or that I’m being someone I’m not. But I’m just trying my best to look at it objectively before I bash someone.”

I don’t have a problem with a difference of opinion. However, there is something grating about an uninformed opinion. For all her talents as an actress and singer, Raven-Symoné could use some prep in this new role she finds herself in.

Read the rest at The Root.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

urlCiara’s inconsistency fascinates me. On one end, you want to cheer any artist willing to forgo formula for the sake of innovation. However, sometimes trying new things feels more rooted in cynicism than creativity. Like they’re simply trying whatever, hoping something sticks. Whatever the case, where you land on Ciara’s sixth new album, Jackie, likely depends on what kind of artist you think Ciara should be at this stage in her career.

For some, her very well done but commercially underappreciatedeponymous fifth album is her sweet spot. I quite enjoy that album, which was led by the fantastic “Body Party” but perhaps fizzled under the better-seen-on-stage-than-heard-on-the-radio “I’m On” with Nicki Minaj. That was the Georgia peach I remember from the days she kept her goodies locked in the jar. Sonically, that is the Ciara I prefer to hear.

If you are in agreement with me, then you may not enjoy Jackie as much as other fans since it doesn’t offer much of that Ciara. The album gives a mishmash of sounds found on a So So Def Bass All-Stars compilation album, hints of electro, and one too many slower numbers to my liking. Some songs somewhat harken back to the Ciara of yore. There is the track “Fly,” which is like the offspring of “1, 2 Step” and one of those inspirational songs R. Kelly used to do in the 1990s. It’s a track for the club, only not the kind I’d go to.

Read the rest at Complex.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

There will never, ever be another Janet Jackson.

Mega stardom of her kind is increasingly hard to reach, especially if you are a black woman. There is Beyoncé, but even she can no longer claim to have the sort of radio dominance Janet once commanded—though that’s more so a testament to the diminished influence of “urban” music than Yoncé’s catalog. She’s also more an amalgamation of several pop stars of yore—Diana Ross, Tina Turner, Michael and Janet Jackson, respectively—than a singular artist. There is also Rihanna, but she’s long noted that she desires to be more of a “Black Madonna.”

Both dance (one way more energetically than the other), but neither offer the sort of choreography that made Janet Jackson the iconic pop star she is today.

I’m sure some people would now like to interject Ciara, who I’ve jokingly said in the past could’ve been some country-fried-steak version of Damita Jo. I wish Ciara the best in all her future endeavors, but she lacks vision, cohesion, and for all intents and purposes, blew whatever chance she had at becoming a behemoth in music. At this stage of her career, she’s more like a Kardashian who can dance.

Nonetheless, there is hope of an artist who can at least encompass some of Janet’s best qualities for a new generation.

If there’s anyone who might be able to muster what Janet Jackson meant to me growing up, it is the 22-year-old singer Tinashe. Whenever I say this to someone, I’m often met with one or two response: “Who?” or “That ‘2 On’​ girl?” These are fair reactions, but not necessarily credible ones.

For starters, Tinashe has made her love of Janet Jackson very clear. In an interview with The Cut, Tinashe was asked about “How Many Times,” a track that features Future and is a sample of the Janet classic “Funny How Time Flies When You’re Having Fun.” Tinasheexplained, “I listened to her all the time growing up, and she was definitely one of the people I idolized from a dance perspective, to performance, to music videos, to the music, just all around.”

If you listen to her very well done debut album, Aquarius, the previous mixtapes she released prior (which she wrote and produced on her own), you can tell The Velvet Rope is likely Tinashe’s favorite Janet album. She confirmed that last summer with theGrio, noting, “I would tell my future kids that if they wanted to know what artist represented R&B, it would be Janet. The Velvet Rope-era Janet was my favorite.”

I’ve seen complaints that perhaps Janet influences Tinashe a wee bit too much in terms of both style and vocal arrangement. Younger acts tend to draw heavily from those who inspire them, but for a woman who has been the dominant force of her own creative direction, one imagines those are more kinks needed to be worked out in her own development. If you listen to Tinashe’s excellent new EP, Amethyst, one thing should be certain: She has a distinct point of view.

Read the rest at Complex.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

Last night’s episode of Love & Hip Hop: Atlanta was basically the equivalent of a watered down well drink. You don’t love it and know you deserve better, but it’s right there in front of you so you may as well finish it since another round’s coming. A whole lot did happen, but only some of it was worth discussing.

Let’s begin with Erica and Lil’ Scrappy and their reminder of why it’s very, very important you plan ahead when it comes to procreation. As we’ve learned in the last two episodes, Scrappy has not been paying child support. According to Erica, Scrappy owes her close to $50,000 in back child support. Fed up, Erica spoke with an attorney who made it be known that if he doesn’t pay his fair share, he’ll be appearing on another reality show: Lockdown.

Unfortunately, Scrappy’s legal counsel is Momma Dee, Not Esquire who approached Erica to complain about her son being served while they were at the strip club. Let’s pause right here. You’ve heard that your son isn’t paying child support. You speak to your son about the mother of you granddaughter’s claims. You join your son at the strip club—no judgment, they do live in Atlanta—and he is served papers over back child support. You’ve been given a back-story, you’ve tried to step in and help rectify the situation only to discover that the problem has not been solved. And yet, you’re mad at the person asking for back child support versus the motherfucker allegedly not paying it?

Momma Dee, I like you and your trap Anita Baker musical leanings, but you’ve got to get the fuck on with that bullshit. Remove your nipple from Scrappy’s mouth and tell him to stop tipping strippers and put some of that money in the hand of the woman who birthed his child.

Meanwhile, Erica finds herself at odds with Karlie Redd after she finds out that Karlie Reddwent behind her back and started a clothing store without her despite them planning to open one together for months. Rasheeda was the one who shared the news to Erica and the two rolled up toKarlie Redd’s store opening to shade her. That’s where Erica and Rasheeda—who wore matching coats for some reason—met Jessica Dimepiece, who obviously watches the show and was ready to pounce. On Love & Hip Hop Afterparty, Dimepiecesays her issues with them are rooted in their disdain for fellow Memphis native K. Michelle.

No offense to Dimepiece, but I just met you and you’re already trying to beef with people who’ve been here longer than you and you don’t even know them? Girl, have a sip of water and settle your ass down. You’ve got all season to argue for no good reason for our amusement.

By the way, only in Atlanta will a store in the mall have a red carpet with its opening. It’s probably next to a Panda’s Express, too.

Oh, and since I brought her up, I should note that K. Michelle made an appearance on the show. Remember when that used to be a big deal? It’s not so much now because she has no real attachment to anyone on the show. Sure, she has her industry friendship with Joseline and her seemingly forced good rapport with Karlie Redd, but eh. I’d love to see K. Michelle and Mimi Faust have a conversation, though.

Mimi, who continues to be the fly that needs swatting, met up with Deb Antney to discuss her stupid business arrangement with Nikko. Deb, who is hilariously the spiritual advisor of this show, told her exactly what to do: write some bullshit ass sentences and tell Nikko that’s their book deal and to fuck off. However, once Deb learned that Mimi is now in business with Stevie J, she shook her head with the rest of us. Deb asked if Mimi was still in love with Stevie J and she refused to answer. So that means yes, which means hell no, fool, to those of us watching who know better.

Read the rest at Complex.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone
Share on FacebookTweet about this on TwitterShare on Google+Email this to someone

As the city of Baltimore deals with what many have considered inevitable – conflict between the community and law enforcement boiling over onto the streets – its mayor, Stephanie Rawlings-Blake, finds herself rushing to clarify controversial comments she made about the protesters.

Over the weekend, Mayor Rawlings-Blake said of protests on Saturday, “It’s a very delicate balancing act because while we tried to make sure they were protected from the cars and the other things that were going on, we gave those who wished to destroy space to do that, as well.”

In response to criticism, Rawlings-Blake took to Facebook to write:

“I did not instruct police to give space to protesters who were seeking to create violence or destruction of property. Taken in context, I explained that, in giving peaceful demonstrators room to share their message, unfortunately, those who were seeking to incite violence also had space to operate.”

Unfortunately, this is not the comment that’s most troubling. Even if Rawlings-Blake meant she allowed some people to act out their rage for the sake of possibly preventing more, so be it. Rawlings-Blake noticing anger is not the problem. Her lack of regard for those who are angry and why – i.e. her constituents – is the real disappointment.

During a press conference on Monday night, Rawlings-Blake said:

 “I’m a lifelong resident of Baltimore and too many people have spent generations building up this city for it to be destroyed by thugs who in a very senseless way are trying to tear down what so many have fought for. Tearing down businesses.

Tearing down and destroying property, things that we know will impact our community for years. We are deploying every resource possible to gain control of the situation and to ensure peace moving forward.”

As a life-long resident turned mayor of Baltimore, Rawlings-Blake should know better than anyone that the frustration turned into rage that gave way to rioting was decades in the making. It is the result of jobs fleeing the city in favor of cheaper labor abroad; a war on drugs that was only successful in taking Black men off the streets to the delight of the now booming private prison industry; a police department that has such an extensive history of brutality that it has spent millions upon millions to pay victims off. Many ofthose payoffs are just a few years old.

As a politician, Rawlings-Blake ought to also be keenly aware of how “thug” is often employed by critics of Black people in thinly veiled racist rhetoric. More often than not, “thug” is a substitute for “nigger” and while I’m not surprised to see a Black face echo a white supremacist sentiment, it is no less disappointing.

How dare she bear witness and preside over a police department that has long been known to harass Black people and find the nerve to call them “thugs” without also acknowledging that they’re pissed over the thuggery of the Baltimore Police Department? It’s like the Baltimore Police Commissioner calling on parents to “take control of your kids” as he fails to control his police department.

Then there is President Obama, who in a press conference on Tuesday afternoon, once again called on the nation to “do some soul-searching.” Obama then joined Rawlings-Blake in condemning the “criminals and thugs who tore up” Baltimore Monday night, arguing, “They’re not making a statement.” I certainly think a statement was made, though it seems Obama, Rawlings-Blake, and Maryland Governor Hogan have stuck their fingers in their eyes and proceeded to chant, “La-la-la-la.”

By the way, Obama lamented over “communities where there are no fathers who can provide guidance to young men.” It’s a feeling echoed by Kentucky senator and Republican presidential hopeful Rand Paul. How patriarchal. How hallow. How boring. I’d rather Obama lecture Hogan given he’s the one proposing to cut $35 million to Baltimore City schools.

To hell with all of their moralizing. This country was stolen from its original inhabitants and built on the backs of African slaves held in captivity. It presently oppresses descendants of those people both socially and economically. So when it comes to Obama’s call for America to “do some soul-searching,” one wonders what soul America has ever proven to have?

Read the rest at NewsOne.

Share on FacebookTweet about this on TwitterShare on Google+Email this to someone