Can ‘grown-ish’ avoid the chaste, safe reality of ‘A Different World’? ‘black-ish’ spinoff a fresh start for actress Yara Shahidi, and a world of uncertainty for her character, Zoey

For better or worse, A Different World, the Cosby Show spinoff that began airing in 1987, following Denise Huxtable (Lisa Bonet) to Hillman College, has provided the blueprint for sitcom depictions of black middle-class college existence.

That blueprint now extends to grown-ish, the offshoot of black-ish starring Yara Shahidi as college freshman Zoey Johnson, which premieres at 8 p.m. Wednesday on Freeform. It’s one in which an attractive, personable, well-behaved girl learns the basics of adulthood, such as the perils of taking classes that start at midnight and the importance of sticking by your friends, even when the cost may be broader social suicide.

Girls modeled on Denise are smart, but their intellect isn’t necessarily reflected in their grades. They’re sheltered, and they move through college under ideal, manageable circumstances. And they’re presented as typical, pleasant girls who should be completely relatable for white America.

There are some key differences between Zoey and Denise. Zoey is a student at the fictional, predominantly white Southern California University. Setting A Different World at a historically black college or university (HBCU) allowed the show to elide a backdrop of subterranean racism that comes as part of the package of being a person of color attending a predominantly white institution (PWI). And grown-ish exists in an America 30 years older (though arguably not much wiser) than the idyllic cocoon of Hillman, one squarely in the age of the internet and social media. What does it mean to be transitioning into adulthood in a country that’s using these new tools to reveal all its identity-based hostilities?

It’s worth asking how grown-ish, created by Kenya Barris and Larry Wilmore, the two men behind black-ish, will address that question, given that black-ish has made a place for itself by addressing race and identity head-on. The show’s hallmark is Andre Johnson (Anthony Anderson) narrating his life as an upper-middle-class family man in Southern California. Andre navigates the audience through conversations about race as he and his wife, Rainbow (Tracee Ellis Ross), grapple with what it means to be black, well-off and existing in a world where they’re largely surrounded by white people. One answer? Their high-school-age son Junior (Marcus Scribner) quotes Ta-Nehisi Coates.

Zoey’s interactions with sticky topics such as systemic racism have been less overt. In one episode of black-ish that addressed police shootings of unarmed black people and the civil unrest that followed, Zoey had to assure Rainbow that just because she wasn’t saying much didn’t mean she wasn’t taking it all in. She just processes things differently.

With grown-ish, Zoey joins a cross-network sorority of sitcom upper-middle-class black co-eds: Whitley Gilbert (A Different World), Denise Huxtable (A Different World), Samantha White (Dear White People), Moesha (Moesha), and even Tia Landry and Tamera Campbell (Sister, Sister). All these shows gave us a safe environment for black people dwelling in the world of higher education — perhaps so safe that they ignored the harsher realities, especially for those who are the first in their families to attend college. No one had to worry that Denise, Moesha, Tia or Tamera might drop out because their parents couldn’t afford tuition, or that their optimism might be tainted by sexual assault.

Which prompts another question facing this new show: Is it possible for grown-ish to exist without becoming too Denise-ish?

Freeform

A Different World began as a show primarily about the sweet-natured, poofy-haired bohemian of the Huxtable clan, but she quickly was upstaged by the tart-mouthed Whitley (Jasmine Guy). Once Debbie Allen, a Howard alumnus, stepped in after a lackluster first season to make Hillman actually feel like an HBCU, A Different World became far more interesting. That difference was reflected in just about every aspect of A Different World, including the second season title sequence, which featured vignettes of the multiple facets of HBCU life, from ROTC to black sororities and fraternities to marching band to sports. Season two introduced the naive Freddie (Cree Summer) and the pragmatic, focused Kim (Charnele Brown) and dispatched Denise and Marisa Tomei’s character, Maggie. Whitley, who was always the most magnetic character, became more of a centerpiece.

No one had to worry that Denise, Moesha, Tia or Tamera might drop out because their parents couldn’t afford tuition, or that their optimism might be tainted by sexual assault.

But one thing remained the same: the largely chaste atmosphere. A Different World avoided sex and gender politics in a way that’s not especially realistic now. And it made a conscious decision to do so, which is part of the reason that Bonet didn’t return after its first season. She was basically banished to A Different World from The Cosby Show because of rifts with creator Bill Cosby. Bonet and Cosby disagreed about her decision to do the film Angel Heart, in which Bonet appeared nude and covered in blood. She appeared topless in an April 1987 issue of Interview magazine. Bonet married Lenny Kravitz in 1987 and gave birth to their daughter, Zoë, in 1988. In her real life, Bonet was pushing back against Cosby’s prescribed vision of respectable, good-girl wholesomeness.

I hope grown-ish will offer a corrective to this and delve headlong into all the things that come with being a female college student in 2018. It should include not just the usual coming-of-age topics, such as learning to do laundry, but also an awareness of campus sexual assault, racism and the Trump administration. Such awareness means dealing with mental illness, pregnancy and sexually transmitted infections, discovering and questioning your sexuality, having fair-to-middling to just plain bad sex as you awkwardly figure what you’re into, grappling with internet porn and the way it warps boys’ expectations surrounding sex, and finding out exactly what it means to chart your independence before you finally cut the tether to the mothership and get your own cellphone plan.

Both Barris and Wilmore have established themselves as skilled writers in crafting black male characters who break the fourth wall to tell us about their lives, from Andre Johnson to Bernie Mac. I don’t doubt that this is possible with grown-ish — one of my favorite episodes of The Nightly Show included a boisterous discussion of menstruation. And Wilmore was instrumental in the creation of Insecure, which is about as genuine a depiction of young, black, middle-class adulthood as one could ask for. Barris’ writing has only gotten more ambitious on black-ish. Its fourth season saw Rainbow suffer through postpartum depression before seeking professional help, without any stigma for doing so. Still, the audience experienced Rainbow’s depression through Andre’s perspective. He narrated her trauma, because he narrates every episode of the show.

Grown-ish is built on the same model of storytelling via voiceover narration, but the voice we hear is Zoey’s, not her father’s. For the show to succeed, especially with Freeform’s young, female audience, Zoey has to sound and feel like an 18-year-old girl. It needs to be timely like black-ish, but with less of black-ish’s didacticism and ornery middle-aged-black-man speechifying.

Freeform/Eric Liebowitz

Thanks to the bounty of Peak TV, there are now multiple shows centered on black college life: The Quad on BET answers the question “What if Scandal took place at an HBCU?”; Netflix’s Dear White People captures the slow-boiling rage (and absurdity) of becoming woke at a PWI; and now grown-ish.

All of these shows are serving two audiences. If you’re an adult, the appeal is in watching stories about people who are unformed, who are making decisions about which way their lives are going to go, and then reflecting on the same period in your own life. If you’re in high school or younger, they provide a way to imagine how your future life might play out, similar to the way tweens of an earlier era used to leaf through YM or Seventeen or even the dELiA’s catalog. These were the media that gave you an idea of what it was like to be, well, grown-ish. Nowadays, it’s Teen Vogue.

Shahidi is basically the Teen Vogue It Girl as conceived by its editor-in-chief, Elaine Welteroth. She’s energetic, engaged with the world around her and unabashedly woke. She wears her natural curls and embraces her multiethnic background. She feels like a real person, not a celebrity cipher. Capitalizing on the relationship, black-ish featured Welteroth in a storyline in which Zoey did an internship at the magazine.

grown-ish needs to be timely like black-ish, but with less of black-ish’s didacticism and ornery middle-aged-black-man speechifying.

Shahidi is a charming, sparkly joy to watch, and grown-ish feels like a reset button for Zoey. As the senior sibling of black-ish, Zoey radiated confidence, coolness and, when necessary, withering retorts. She inherited her father’s up-to-the-minute fashion sense, which she set off with poppin’ lip gloss and an array of funky-fresh hairstyles. College Zoey is just as stylish, but she’s unsure of herself and her surroundings. She gets into scrapes such as beginning (and then quickly ending) an Adderall habit. She parties too much and falls behind on her class assignments. She falls into a humiliating texting shame spiral with an oh-so-dreamy rattail-sporting crush played by Trevor Jackson.

Zoey represents the new reality for younger millennials and Generation Z. It’s one where adolescence ends somewhere around 26, when you finally have to get your own health insurance.

Freeform/Eric Liebowitz

Grown-ish isn’t dependent upon black-ish, which airs on ABC, as a lead-in. Freeform, the channel formerly known as ABC Family, has fashioned itself into a purveyor of shows tailor-made for Teen Vogue’s readership. Pretty Little Liars, The Fosters and The Bold Type are notable for their refusal to condescend to the young women who make up large portions of their viewership. Grown-ish isn’t gunning so much for black-ish viewers as it is other Freeform ones, and it’s worth considering how that will affect its focus.

Shahidi has everything she needs to carry a show that could see Zoey inheriting her father’s penchant for addressing challenging social issues with aplomb. What ultimately doomed the first season of A Different World was that it was too polite. On television, there’s still an instinct to be protective of the image of black middle-class girls, one that stems from Denise and the worries of her creator. The result is a string of mostly perfect young women who rarely get the chance to screw up in the way that all girls screw up, to be just as irreverent, mistake-prone and horny as, say, the teens of Gossip Girl.

Here’s hoping that with grown-ish, Zoey gets to be a little bit of everything, a trait that would make her blessedly real, and completely appropriate for our modern age.

 

Russell Simmons revolutionized the culture, but now it doesn’t matter Recent sexual assault charges reveal the damage that can be done to women under the cover of fame

To date, more than 10 women have accused Russell Simmons of sexual misconduct. The accusations range from harassment to rape. Simmons says, “I vehemently deny all these allegations.

The accusers include model Keri Claussen Khalighi. She says she begged for help as Simmons coerced her to have oral sex. Musician Sherri Hines accuses the author and Def Jam Recordings founder of throwing her on a couch and raping her. Tina Baker, a lawyer, says that Simmons, who managed her career at the time, invited her to his apartment, where he held her down and raped her. Screenwriter Jenny Lumet says that Simmons coerced her into sex after having his driver take them to Simmons’ place without her consent. Drew Dixon, a former Def Jam A&R executive and daughter of former D.C. Mayor Sharon Pratt Dixon, accused Simmons of sexual abuse and also says former Epic Records chairman L.A. Reid sexually harassed her. (Reid stepped down from his position at Epic in May amid sexual misconduct allegations.)

The allegations against Simmons span from 1983 to 2016. “These horrific accusations have shocked me to my core,” he wrote to The New York Times, “and all of my relations have been consensual.”

Since the initial allegations were made public at the end of November, Simmons has stepped down from all of his companies. HBO comedy series has removed him from All Def Comedy. The New York Police Department is now opening an investigation, as seven of the alleged incidents occurred in New York City.

The question shouldn’t be what would the world look like without the art these men provide.

Any stories about Simmons up to two weeks ago would have had a totally different first paragraph. Before the allegations of sexual misconduct and assault, Simmons’ story would have started with his immeasurable contributions to black culture and, by proxy, American culture. With Def Jam, Simmons helped take hip-hop from street corners to Wall Street. His visionary approach to the music business is largely responsible for making rap music the pop culture juggernaut it is today.

Beyond that, his Def Comedy Jam launched the careers of comedians such as Martin Lawrence, Chris Rock and Dave Chappelle, who are of course now household names. The debacle of his RushCard debit card, in which thousands of customers were locked out of their accounts over a weekend and unable to access funds, was a stain on his otherwise good reputation. All of these accomplishments, and more, used to be Simmons’ resounding legacy.

Used to be, because none of that matters anymore. While the fruits of Simmons’ cultural labor are spread across global pop culture to this day and beyond, none of those contributions would be equal to the cost from the painful toll he’s accused of inflicting on women over the course of the past three decades. The road to greatness isn’t worth a damn if that road is paved with pain and violence toward women.

So we’re left with the idea that one of the main architects of the current musical landscape — in September, Nielsen reported that the combined genre of hip-hop and rhythm and blues is No. 1, for the first time, in overall consumption — has allegedly victimized women along the way. These women were managers, artists, journalists, all who — who knows, but — could perhaps have made even larger impact on the culture.

Simmons has always been a role model for what creativity, business acumen and hard work can do, how one person’s brilliance can transform the world. Now, he may be another example of the damage that can be done to women under the cover of fame.

There will be a push — as always, and especially when black female victims are involved — to litigate just how much sexual assault is acceptable in relation to a particular artist’s contribution to popular culture. R. Kelly defenders love bringing up that his music is just too iconic to discard. Bill Cosby defenders protest that their love for The Cosby Show is just too much to sacrifice, no matter his charges. The same goes for less-discussed accused transgressors: We revere Martin despite the allegations that the titular star sexually harassed Tisha Campbell. What about Dr. Dre? Floyd Mayweather? Mike Tyson?

Where is the line, and what will be left if every man who abuses a woman is exiled from his respective level of achievement? The fact is, art will survive. Brilliance is an infinitely replenishable resource that women who are free from the anxiety and trauma of violence are more than capable of providing. The question shouldn’t be what would the world look like without the art these men provide. The question should be how much better would the world be if everyone were free to create in a world where sexual assault and violence didn’t exist. Isn’t that more valuable than a few great albums and TV shows?

Daily Dose: 12/11/17 NYC avoids terrorist attack

What’s up, kiddos? Hope your weekends went well. I’m coming to you live from Florida, where I’m at Major League Baseball’s winter meetings. It’s quite the experience, to say the least. We’ll see if any real news happens.

New York is again under attack. Happening at an-ever alarming clip, another attempted terrorist incident hit the city on Monday, this time near Times Square. Someone tried to detonate an explosive device inside the subway, which instantly caused a massive panic, understandably. The thing about New York is that ever since 9/11 you’ve sort of always got to assume you could potentially be in a dangerous situation. But then again, you’ve also got to live your life, so it is what it is. Thankfully, only a few people were hurt.

Hannibal Buress is a very funny dude. He’s also good because his regular-guy appeal is something that draws a whole lot of fans. When he first broke Bill Cosby off about his rapey ways, it resonated with a lot of people because of Buress’ casual delivery. So when I heard that he was arrested in Miami during Art Basel, I assumed it would be a case of mistaken identity. Instead, it was just a case of police being jerks because a famous person was drunk and doing too much.

The president’s job is a pretty intense one. He’s responsible for public policy for one of the most powerful nations in the world and therefore must always be on point to handle pressing issues. Meetings with important advisers, large decision-making sessions, etc. Surely he’s constantly studying documents and statistics, doing what he can to make the world a better place. Right? Nope, homey is basically sitting around watching television and drinking Diet Cokes nonstop. His eating habits are legit gross for someone who has a choice in the matter.

Speaking of baseball, being here in Orlando has been an experience. All sorts of characters are milling around, trying to get closer to players, execs or whoever wants to act like they’ve got some inside skinny on baseball news. It’s quite a scene. A perfect example of this kind of thing just happened Sunday. Someone paid over $100K for the original scouting report of Derek Jeter. Why on earth anyone would want that to begin with, never mind pay a healthy yearly salary for it, is beyond me.

Free Food

Coffee Break: I’ve been hesitant to write about the story of Daniel Shaver because it’s so scary. You’ve seen it by now. A man begging for his life in front of an officer who is literally toying with a person suspected of carrying a gun. In the end, he kills him. He also ends up walking free. The whole thing is truly despicable.

Snack Time: J Dilla never has and probably never will get enough credit for his work in hip-hop. Dude is a legend whom we lost way too early. Check out this mini-doc about him and his MPC.

Dessert: The Pentagon ain’t playing. Even if the president is talking trash.

Five new TV shows worth watching this fall Last year’s bonanza of blackness hasn’t repeated itself, but you should still plug these shows into your DVR

What’s new in TV this season? Worth checking out? Honestly, the pickings this fall are slimmer than last year’s bonanza of blackness. Both The Carmichael Show and Pitch have been canceled. Atlanta’s second season was delayed so creator and star Donald Glover could go be Lando Calrissian, and Insecure became the most celebrated and discussed show — of the summer.

Empire, black-ish and ABC’s Shondaland lineup have been around long enough that they’ve morphed into reliable fall standards: This Is Us, though still young in television years, has clearly captured the country’s imagination — along with its appetite for Kleenex. And the OWN juggernaut and prestige drama Queen Sugar returns this week for the second half of its second season. We’ll finally get to see those episodes directed by Julie Dash!

[‘Queen Sugar’s’ second season explores a fraught mix of family and historical legacy]

So what’s left? Allow me to walk you through the best of the rest.

Big Mouth (Netflix)

Netflix’s oddball animated show about puberty is currently streaming. It features Jordan Peele as the ghost of Duke Ellington (he lives in one of the character’s attics) and Maya Rudolph as a hormone monstress. Yes, she’s a hairy, horny, imaginary monstress who puts bad ideas in the head of a 12-year-old girl named Diane.

Big Mouth follows the lives of a group of 12-year-olds navigating the hellacious road map of wet dreams, peer pressure, unfortunately timed boners, first periods and, yes, hormone monsters. Big Mouth also contains its share of meta TV and Hollywood jokes — there’s a shocking stinger about director Bryan Singer that I didn’t see coming — but mainly it really gets just how awkward, fraught, miserable — and, in hindsight, quite funny — puberty can be. It is not a show for 12-year-olds, but it is fun for anyone who felt like a mess as their hormones went bonkers for several years.

The Good Place (NBC)

If it feels like all of your favorite smart internet people are talking about The Good Place on Twitter, it’s because they are.

The Good Place, which recently began its second season on NBC, is a sitcom about ethics and philosophy — yes, the stuff Immanuel Kant spent so much time noodling in his brain about. It’s smart, funny, fresh, inventive and quite good at anticipating the questions viewers will form in their own minds. It’s also like The Good Wife in that it excels at finding ways to circumvent and poke fun at profanity restrictions on prime-time network television (and The Undefeated). You can’t curse in The Good Place, and so “f—” has been replaced by “fork.”

The show stars Ted Danson as Michael, the architect of what he hopes will be The Worst Place in the Afterlife. His grand plans for reinventing hell — or The Bad Place, as it’s known — keep getting upended by his wards, Eleanor Shellstrop (Kristen Bell), Chidi Anagonye (William Jackson Harper), Tahani Al-Jamil (Jameela Jamil) and Jason Mendoza (Manny Jacinto). Eleanor, Chidi, Tahani and Jason are all dead and have been sentenced to spend eternity in The Bad Place, though they don’t know it. They think they’re in The Good Place, although they all (except for Tahani) have a sneaking suspicion that they’re not supposed to be there.

By the end of season one, Eleanor, Tahani, Chidi and Jason have figured out that they’re in The Bad Place and that Michael is using them to experiment with a new form of torture. Rather than subjecting folks to lakes of fire — you know, your run-of-the-mill hellish unpleasantries — he’s created an elaborate scheme of psychological torture and gaslighting, mostly by making an environment that’s supposedly perfect a bit of a drag. To Michael, hell is the suburbs.

Now that we’re at season two, there’s just one problem with Michael’s scheme: Eleanor, Chidi, Jason and Tahani keep figuring out what he’s doing and Michael constantly has to erase their memories so he can start over with his experiment. Being middle management in hell is tough, man. Michael’s problems just keep compounding: Even though Eleanor and Chidi are deliberately mismatched as soul mates, Eleanor’s begun to fall for him anyway. Even Jason, the dumbest of the bunch, has independently figured out what Michael’s up to. There’s also a very helpful android named Janet (D’Arcy Carden). Every time Michael has to wipe the memories of Eleanor, Chidi, Tahani and Jason, he has to reboot Janet too.

There’s a lot to like about The Good Place, from its critique of our conceptions of utopia to its interrogation of what it means to be truly “good” or “bad.” The show follows four characters who are kind of terrible, but not genocidal maniac terrible. They’re terrible in an everyday, narcissistic, common sort of way — and they’re capable of change.

The Good Place also works in diversity in a way that doesn’t feel forced or like an afterthought, or as though it came from a network on a cookie-seeking mission. It just feels natural. Anagonye is one of the few African characters on television. (While both Issa Rae and Yvonne Orji are kids of African immigrants in real life, their ethnicity hasn’t come up in Insecure.) There’s such a dearth of characters who are Africans living in America, which is why I was disappointed to hear that HBO would not be developing the K’naan Warsame pilot Mogadishu, Minnesota.

Loosely Exactly Nicole (Facebook)

After garnering less-than-impressive ratings in its first season as an MTV comedy, Loosely Exactly Nicole, starring Nicole Byer, has moved to Facebook for its second season.

Given the return of Curb Your Enthusiasm, there’s obviously still an audience for shows about people who are awful and also unaware of (or maybe simply don’t care about) their awfulness, and the comedy that ensues as a result.

[The temerity to be terrible]

Byer is quietly daring in that the Nicole of Loosely Exactly Nicole is sexual, nervy and self-obsessed in a way that’s generally reserved for Beckys. Like Gabourey Sidibe’s Empire character (actually named Becky), Nicole hooks up with cute guys (white guys, at that). She’s not consumed with hatred of her body or her hair or her blackness, and she’s not an irritated government employee in the way that fat, dark-skinned black women often show up on television.

I want to see success for Byer, for Yvette Nicole Brown, for Retta, for Amber Riley, for Leslie Jones and for all the funny black women who don’t necessarily look like Yara Shahidi or Tracee Ellis Ross but are still bawdy, dangerous and funny. What’s more, their youth and sexuality deserve acknowledgment, and I don’t just mean in the predatory, Leslie-Jones-is-obsessed-with-Colin-Jost sort of way either.

That’s part of the reason that the summer show Claws was such a hit. In many ways, Niecy Nash is a precursor for a lot of these younger women. It’s taken years for her talents to be acknowledged, although playing Nurse Didi in Getting On may have been what it took for her to be taken seriously — she was nominated for Emmys twice for the role. Octavia Spencer is a terrific comic actress (see: Spencer as Harriet Tubman in Drunk History). There’s no doubt her career has blossomed since The Help, but I hate seeing her typecast as dowdy, matronly figures, and the more women like Byer insist on playing otherwise, the more that will hopefully change.

The Mayor (ABC)

From creator Jeremy Bronson and executive producer Daveed Diggs, The Mayor (which debuts Tuesday on ABC) stars Brandon Micheal Hall as Courtney Rose, a rapper who just wants to get some shine — so he decides to run for mayor of his hometown of Fort Grey, California. And, as you might have guessed from the title, he wins. So now you’ve got a person with zero experience or qualifications, who really just wanted a bit more fame, in public service as the head of the executive branch of a city.

I know — impossible to imagine something like that happening, right?

The Mayor reminds me of the 2003 Chris Rock movie Head of State, in which Rock stars as alderman Mays Gilliam, who is engaged in a long-shot bid for president (mostly for the publicity) with Bernie Mac as his take-no-prisoners, blackity-black hype man and brother. Head of State found comedy in the process of running for office, and the movie ends just as the awesome, weighty reality of being president is falling on Gilliam’s shoulders.

The premise of The Mayor is certainly interesting, but what I’ve seen so far doesn’t necessarily make me excited about where the show will go once Courtney has to actually start governing. It’s hard to avoid cynicism there, but maybe as the mayor, Courtney will grow into something a little more like Leslie Knope. Otherwise, there’s a scenario that’s so serious, there’s little to laugh at. Yvette Nicole Brown, who was such a treasure in Community, stars as Dina Rose, Courtney’s mother. It’s a bit of a waste to see Brown, who in real life is young and vivacious in the role of churchy, kinda sexless (though quite funny) mom. Which again, says something about the type of woman Hollywood sees as plausibly forkable.

White Famous (Showtime)

White Famous, the new comedy from creator Tom Kapinos starring former Saturday Night Live actor Jay Pharoah, joins the ranks of shows that expose, comment on and make fun of the artifice of Hollywood, such as BoJack Horseman, Episodes and Entourage.

In terms of the callouts that raise eyebrows for torching real-life relationships, White Famous, which premieres Oct. 15 on Showtime, does not disappoint. Pharoah plays an up-and-coming comic named Floyd Mooney who’s a bona fide star with black people but still gets mistaken for a restaurant valet by white Hollywood producers. Within the first 15 minutes of the show, Pharaoh has already thrown two symbolic middle fingers at director, producer and vocal Bill Cosby critic Judd Apatow.

It’s a tricky jump. Mooney has a meeting with the thinly veiled Apatow character named Jason Gold (Steve Zissis), who is directing a movie about an imaginary attorney who was the first woman Cosby assaulted. Gold wants Mooney to play the woman, a la Eddie Murphy or Tyler Perry. Mooney tells Gold that focusing solely on Cosby’s lechery is racist, although he makes the unfortunate misstep of downplaying the accusations against Cosby of drugging and sexual assault from more than 50 women.

[Why the hot black bodies on ‘Insecure’ are more revolutionary than you think]

White Famous engages in a practice I find annoying about premium cable shows: It treats naked women as mostly silent pets that can be sent to another room when their nude bodies are no longer useful to a scene. Sometimes that works as a reflection of the actual sexism that pervades Hollywood and makes pretty women disposable. For example, there’s a scene in which Mooney and Gold walk in on Jamie Foxx going to town on some unnamed woman in his trailer, and he just keeps going while continuing to hold a conversation. But sometimes, like the moment we’re introduced to a clothed Gold sleeping next to a naked woman, it’s not saying much of anything except, “Hey, I too have the power to put naked women on TV for no reason except to show boobs and butt.”

How novel.

Despite its sexist deficiencies, White Famous is still engaging. It confronts race and success in Hollywood head-on, raising questions about when and why artists end up compromising their own principles.

Hispanic Heritage Month: Felipe Esparza laughs at his life in first HBO special ‘Translate This’ is the result of studying the comedy greats

Actor and comedian Felipe Esparza describes himself as raw with a real comic sensibility. His new HBO special, Felipe Esparza: Translate This, airing Saturday during Hispanic Heritage Month, captures today’s climate for Latinos in America, and it’s delivered in a manner that would make the most unassuming person laugh.

There are no real pauses in a conversation with the comedian, because he takes any available second to insert an anecdote that rings so true that you have to say, “I almost thought you were serious.”

Esparza finds humor in his life experiences, discussing topics such as immigration, his difficulty translating for his parents, being a once-not-so-great single dad while dating single moms, his current challenges in raising his blond-haired, blue-eyed stepson, and more. He knows his past was part of his journey that would lead him to this point, where he is able to share his story in a way that fills hearts with laughter.

The winner of Last Comic Standing in 2010, Esparza has appeared on numerous TV shows, including Superstore, The Tonight Show, Lopez Tonight, Premium Blend, The Eric Andre Show, Comic View and Galavisión’s Que Locos, where he made more appearances than any other comedian. His film credits include The Deported and I’m Not Like That No More, a feature based on his stand-up comedy, as well as his first stand-up special, They’re Not Gonna Laugh at You. Esparza is also the host of the What’s Up Fool? podcast that he launched in 2014.

Just ahead of his HBO special, he spoke to The Undefeated.


How did your project with HBO come to fruition?

I’ve always wanted to be a comedian and I’ve always wanted an HBO special because I saw Paul Rodriguez, George Carlin, Robin Williams, Howie Mandel — you know, all the greats — and I thought, like, I need to be one of those guys on HBO so I could be considered one day a great, or somebody to say, ‘Oh, man, he’s a great comedian.’ The verification of being on HBO, because HBO is part of my generation. The comedians before me wanted to be on Johnny Carson, you know? They wanted to be on The Tonight Show, and the people would be on The Tonight Show, then they’d be a little famous and that’s it. My dream was to be on HBO. I did my special with my wife. We produced it ourselves, and once HBO found out about me doing my own special, they got 100 percent behind it, and they wanted to show it on HBO, so we’re very happy about that.

Why did you decide to infuse your upbringing into your comedy?

I grew up in a gated community. The windows were gated, the back door was gated. No, I’m only kidding. That’s part of my jokes. A lot of my jokes come from my upbringing, because I grew up in the housing projects, so it was a very tough neighborhood. A lot of my jokes come from there. Once when a burglar broke into our house and they couldn’t find nothing to steal, they woke us up to make fun of us.

When did you know you wanted to be a comedian?

When I was a little boy, my friends played an album of Bill Cosby, and I fell in love with Bill Cosby stand-up comedy, and I wanted to be a comedian right there and then.

How did you overcome your addiction?

Along the way, I got into a lot of trouble. I was in a gang. I was into drugs, and I got into a lot of trouble and Father Greg Boyle from Humble Industries, he came to my house and he offered to help me, and he put me in a rehab for drug addicts for drug rehabilitation. I was there with a bunch of men. It was more like it was open for all religions, they were, like, nondenominational.

It was funny because on Sundays we would all go to different churches. Then at dinnertime, we would all be together again, a lot of drug addicts. It’s like, heroin addicts, I mean, people who just came out of prison, people who were out of prison from doing 20 years, and these are young men. Me, I was in my 20s, hanging around with these old guys. I’ve never been in prison. I’ve never been in jail. The only crime I committed was bringing videos back late.

He said, ‘Hey, guys, write down five things you want to do in your life and accomplish.’ I didn’t know what to write, so I wrote I want to be a comedian No. 1, of course, because that was my dream. No. 2, I like Olive Garden, so I want to go to Italy. No. 3 was to be happy. Four and five, I couldn’t think of anything else. I really thought that he was going to read these in front of everybody and judge us, but he didn’t. I just put it in my pocket and he said to bring it out whenever you’re feeling sad, or feeling down, or you have a lot to do, pick up your five goals and try to see if you can do at least one. I chose the easier one, to be a comedian, because I wanted to be a comedian.

How did you get started?

Back then there was no social media, so I had to do everything like a caveman. I had to go to the library. Remember the library? That place with books. I went to the L.A. County library on Fifth and Grant in downtown L.A. It’s huge! I went there when it opened, and I asked the librarian to help me find books on comedy writing. She introduced me to a lot of comedy writers, people I never heard of, like Steve Allen. I started learning from those guys, and then I started like checking out books of comedians like George Carlin, Richard Pryor, and checking out those videos and taking them home and watching them and bringing them back and picking up another one. One day I picked up a magazine called the L.A. Weekly, and it said open mic for young comedians, and I went over there and I did my comedy show. One of the first comedians I met was Jamie Kennedy, and then from knowing him, I started to know other spots to perform. I met other comedians.

What were your reservations about getting into comedy?

At that time I was worried, like … are only Latino people gonna laugh at my jokes? I was only performing in coffeehouses. Then I went to like other places, but mostly like, Latino people were gravitating to me. They were really laughing.

What was the best piece of advice you’ve received?

I asked Paul Rodriguez, ‘How did you cross over to mainstream America?’ Then we started talking about mainstream America and crossing over and being funny. He said, ‘If you’re funny enough, you don’t have to worry about that stuff. They’re going to cross over to you.’ So I took that with a grain of salt and I stuck to it, and here we are, Sept. 30, HBO special. That kind of advice helped me out a lot.

How do you feel about where you are in your life?

I think I started at the right time, you know? I was born at the right time where social media got big, and I was there when hip-hop started. I was there when the podcast world began. I have a podcast. Now I’m doing a sports show with a woman interviewing me. You know what I mean? I’m in the beginning of the best times. I’m at the cusp, man.

What’s been the hardest part of your journey?

The hardest part of my journey, in my opinion, is staying focused, because as comedians, we have a lot of time to kill. Like right now, if I wasn’t doing this interview with you, I don’t know what I would do. I would probably play Madden for the next four hours. A lot of comedians, they fall off the track. They start worrying about, ‘I’m not famous yet. I don’t have enough followers on Twitter; 12 people showed up to my show. My girlfriend showed up, my ex-girlfriend showed up with her new boyfriend and sat in the first row when I was performing.’ So much stuff goes through my head to be a better comedian.

What advice would you give to other comedians?

My advice to anybody who wants to be a comedian is if you really want to make it in this business, start your family at 39 years old, because this is a very selfish business. This business is all about me, you know? Staying focused and writing every day is one of the main things that I’ve done. I try to force myself to write at least one sentence every day, whether it’s funny or not.

Jon Jones tested positive for drugs (again) and other news of the week The Week That Was Aug. 21-25

Monday 08.21.17

The Secret Service has already run out of money to protect President Donald Trump and his family. While the University of Texas removed four Confederate statues from its Austin campus, a dissenting protester claimed that “white supremacy is over because of Obama, pro athletes and Jay-Z.” Comedian Bill Cosby, like a job announcement, tweeted that he is “pleased to announce his new legal team for his criminal retrial.” @daM00N_ blocked the @sun. R&B singer Chris Brown solved racism through the gift of dance. Trump stared directly at the sun. Wile E. Coyote A Texas man was charged with attempting to blow up a Confederate statue. Louise Linton, the wife of Treasury Secretary Steven Mnuchin, called an Instagram user “adorably out of touch” after the user criticized Linton for posting a photo of her expensive wardrobe while disembarking a U.S. military jet. A Florida man involved in the white supremacist rally in Charlottesville, Virginia, two weeks ago and who once killed a goat and drank its blood is running for U.S. Senate. Rep. Steve King (R-Iowa), who once referred to nonwhite people as “sub-groups,” posted a photo of a solar eclipse with a superimposed photo of Harambe, who was born in Texas, because King was in Tanzania at the time. Former Trump campaign spokeswoman Katrina Pierson, surprisingly not a member of the current administration, said slavery is “good history.” Boxing legend George Foreman, who voiced support for Hulk Hogan the same day a tape in which the wrestler called a black man a “n—–” was leaked, called LeBron James and Kevin Durant “sore losers” for refusing to visit the White House.

Tuesday 08.22.17

Country musician Kid Rock, while singing a song with the lyrics And I will vow to the shining seas/And celebrate God’s Grace on me, yelled, “F— Colin Kaepernick” to an Iowa State Fair crowd. A former Ku Klux Klan member once indicted by a federal grand jury for threatening to kill Coretta Scott King is taking a temporary leave of absence as a Roman Catholic priest. Ben Carson, the head of the Department of Housing and Urban Development, doesn’t understand how lead-paint reduction works. UFC champion Jon Jones was popped for reportedly using an anabolic steroid one month after tweeting, “Daniel [Cormier] says the only reason I defeated him the first time is because I must have been on steroids, wonder what his excuse will be this time.” Proving definitively that you can’t fix stupid, physicians across the country treated “sprains, strains, lacerations,” fractures and eye damage after Monday’s solar eclipse. The Girl Scouts of the USA and Boy Scouts of America are beefing. The organizer of the white supremacist rally in Charlottesville is back from self-exile, telling all the “Commies, conspiracy wackos & nazi optics cucks” to “pucker up.” Rep. Robert Pittenger (R-North Carolina) said the Black Lives Matter movement is “just as engaged in hate” as white supremacist groups like the KKK and neo-Nazis. Despite military drafts being banned in 1973, an Ohio Supreme Court Justice called members of the Cleveland Browns who kneeled for the national anthem “draft dodging millionaire athletes.”

Wednesday 08.23.17

An anonymous NFL executive said quarterbacks “Tom Brady or Philip Rivers would never consider making a stand … while they’re at work” like Kaepernick; Brady once prominently displayed a Make America Great Again hat in his locker. After 18 piglets were saved from a barn fire in England earlier this year, the farmer who owned the litter served them up as sausage to the rescuing firefighters. Less than 12 hours after agreeing to not publicly feud with Arizona’s two senators, Trump tweeted, “I love the Great State of Arizona. Not a fan of Jeff Flake, weak on crime & border!” Jon Jones, a white New York game developer and not the black MMA fighter, was inundated with Twitter messages after the announcement of the other Jones’ failed drug test, with one user writing, “Oh s— u just a white dude my bad nig lmao.” A 77-year-old Pennsylvania woman with a hearing impairment was severely beaten by her daughter and granddaughter because the volume of the Pittsburgh Steelers game she was listening to was too high. Disproving the theory that teenagers don’t follow the news, six students at a private Atlanta school were suspended or expelled for playing a drinking game called “Jews vs. Nazis.” Joanie Loves Chachi actor Scott Baio, stretching the definition of “successful,” responded to criticism of Trump by stating, “I don’t give a s— if I ever work again. … I guess I’m just an old, angry, successful white guy who stole everything he has from someone else.” Even the United Nations, which famously played the “my name is Bennett” routine during the Rwandan genocide, is “alarmed by the racist demonstrations” in the U.S.

Thursday 08.24.17

Floyd Mayweather plans to visit the Las Vegas strip club he owns every night before his fight on Saturday. A Twitter user whom Trump retweeted in the morning once posted, “We have enough Jews where I live.” A South Carolina man, seconds after pleading that Confederate statues are not a “symbol of racism,” called a statue of Martin Luther King Jr. “Martin Luther Coon.” The Baltimore Ravens played themselves. A year after Trump tweeted, “Mexico will pay for the wall!” the White House can’t confirm whether Mexico will indeed pay for the wall. Buffalo Bills running back LeSean McCoy, who got into a fight at a nightclub in 2016, said teams don’t want to sign Kaepernick because of the “chaos that comes along with it.” More baseball players don’t know how to properly scrap. A 21-year-old New York man was arrested after having his driver’s license suspended 81 times. San Antonio Spurs guard Manu Ginobili, still old, has decided to continue playing basketball. In the ongoing war against Skynet, Apple’s latest phones will use facial recognition to unlock the device. Famed director James “Draw Me Like One of Your French Girls” Cameron said blockbuster film Wonder Woman was “a step backwards” for lead female characters. Durant, the 2017 NBA Finals MVP, said he would still drink actress Scarlett Johansson’s bathwater. The St. Louis Cardinals are feuding with a nonprofit over a stray cat.

Friday 08.25.17

A Washington, D.C.-based agriculture lawyer says Department of Agriculture chief scientist nominee Sam Clovis has “iron testicles.” Clemson football coach Dabo Swinney, who once said paying college players would make him “do something else, because there’s enough entitlement in this world as it is,” will now make $7.5 million this season. Another team that will not sign Kaepernick said it would “absolutely” sign Kaepernick. UPS’s stock suddenly dropped 500 percent. San Francisco residents, including one named Tuffy Tuffington, plan to leave dog poop in a local park ahead of a planned right-wing rally in the same park. For dangerous investigative work that will surely win it a Pulitzer Prize, The Atlanta Journal-Constitution ate at Arby’s. Hall of Fame football player Jim Brown, accused multiple times of domestic abuse, said, “I’m not gonna do anything against the flag and national anthem.” Metta World Peace is back playing basketball … for Master P.

Pots & pans: From Sally Hemings to Jane Doe, ‘throwaway’ women demand their places in history and in court Accusations against Pete Rose show a view of women that is toxic

In the wake of allegations that decades ago Pete Rose had sex with an underage girl, this week’s planned celebration of Rose by the Philadelphia Phillies, his team from 1979 through 1983, has been shelved.

Thus, Rose becomes the latest male celebrity to have his past tainted and his future shrouded by allegations of sexual abuse. Rose was barred from participating in major league baseball because he gambled on the game while managing the Cincinnati Reds, and the sex scandal puts another bolt on the door that stands between Rose and baseball’s Hall of Fame.

Of course, Rose, major league baseball’s all-time career hits leader, denies doing anything criminal. He says his accuser was 16, or that he thought she was 16, and at the age of consent in Ohio when the teenager and the then-married Cincinnati Reds star began their sexual relationship. I don’t seek to convict Rose of a crime. He deserves a full exploration of the events that prompted the allegations, just as does his accuser, who has been identified only as Jane Doe.

Whatever happens with the allegations against Rose, or Bill Cosby or any number of men accused of abusing women, the significance of privileged men being accused of abusing women can’t be denied.

For too long we’ve focused upon what sex scandals would mean to the accused men, their careers, reputations and legacies. But when we change our focus, we see that when men stand accused of abusing women it underscores grudging changes in our society. After all, powerful, prominent and popular men have always been able to sexually exploit and abuse women without fear of being held accountable for their actions: It’s not the abuse but the potential consequences that are new.

Indeed, from Sally Hemings to Jane Doe, our society continues to struggle with women maintaining sovereignty over their bodies.

For decades, Hemings was Thomas Jefferson’s slave and nothing more, at least outside her family. Family stories about her relationship with Jefferson, America’s third president, were just tall tales about one of the nation’s most towering figures.

But today, the family stands vindicated as academic inquiry and DNA evidence have built a consensus that Jefferson probably fathered Hemings’ children.

Now a woman seeks to hold Rose accountable for a relationship that began when she was a teenager and he was a married baseball star twice her age. A few months here and there could add up to the difference between Rose having done something criminal and exploitative in the 1970s and his doing something merely exploitative.

But no matter how old his teenage lover was, Rose behaved like a man who sought to use a young woman and then ball her up and throw her away. The inconvenient truth for Rose and for others of his generation and ilk is that there are no disposable women. Indeed, the notion of disposable women is toxic and unsustainable and must not be recycled.

Women will have sovereignty over their bodies. They will say yes or no, when and how, and with whom. And men who can’t understand or respect that could find themselves in a world of hurt, as they should.

As women assert sovereignty over their bodies and control of their futures, they will be met with opposition from the bedroom to the boardroom.

But if American society is to climb toward higher ground, women must walk beside men, and sometimes take the lead, just as the nation’s female athletes did during the 2016 Summer Olympics.

Since its beginnings, America has been defined by white men. Its history has been framed and interpreted through what white men said or did, thought or imagined. But it is likely that 21st-century America will be significantly defined by the actions and decisions that women of all races make for themselves, the nation and the world.

One of the telling decisions modern American women have made is that they will not be defined by the tastes and whims of men. They will not be disposable. Instead, old notions about the value of women and the men who hold them will be.

Somewhere, a teenage Sally Hemings, with her life and body her own, says no to Thomas Jefferson, and, broom in hand, chases him away.

R. Kelly story makes us realize that no one cares about black women The evidence is clear: In this country, some women don’t matter

For far too long, I’ve been arguing about the basic worth of black women and girls. It’s tiresome, and frankly, at this point my face should really look like I belong with these guys:

Members of the Blue Man Group.

AP Photo/Ariel Schalit

And as long as I’ve been arguing, both in my personal life and in my professional one, that black women and girls matter, Robert Kelly, better known as rhythm and blues singer R. Kelly, has been a central and contested point of that discussion.

Fifteen years ago, when I was a freshman at Howard University, I got into a heated argument with the boy I was seeing and his friends. The now-notorious video of Kelly urinating on a 14-year-old girl was available for consumption on the internet, to satisfy either a sick curiosity or darker urges. (It later became the central piece of evidence in his 2008 criminal trial for making child pornography in which he was acquitted of all charges.) It was widely referred to as the “R. Kelly sex tape.”

The boy, who was 19 at the time, and his friends argued that Kelly was not guilty of rape and certainly should not be held responsible for engaging in sex with an underage girl.

“Did you see what she was doing in that tape?” he asked. “She didn’t look 14.”

“It doesn’t matter!” I remember screaming, my words echoing through the halls of Howard’s architecture studio. “SHE’S STILL 14! SHE’S A CHILD!”

The boys’ opinion was so commonplace that it didn’t even register as scandal, let alone as the sort of sentiment you kept to yourself if you didn’t want to be seen as a rape apologist. This wasn’t an idea he was too ashamed to share. Quite the contrary.

I was furious and hurt. I was supposed to be at a place surrounded by men and boys who loved and respected black women. But we had differing opinions, not only about how respect was defined but also who was deserving of it. It was clear that they’d learned that some black women simply didn’t matter.

Rather than interrogating why a 14-year-old would have this sort of sexual knowledge (someone “older and wiser” must have taught her), and whether the sharing of such knowledge was remotely ethical, the boys had immediately identified the girl as a slut. This wasn’t just a moral judgment, it was one that absolved them, and other men, of any obligation to see this girl as just that — a girl, on the short end of a screwed-up power dynamic.

Her worth was tied to her morality, which was tied to her sexual experience. And since she appeared to be experienced, and inappropriately so, she was disposable. She certainly wasn’t worth bringing down the musical empire of someone as famous and important as Kelly, they thought.

This is a message women hear over and over again, from the trial of Stanford swimmer Brock Turner to the high-profile rape cases out of Steubenville, Ohio, and Maryville, Missouri.

And it’s one that carries a special resonance for black women and girls. We make conscious and unconscious decisions about who matters and who does not. As Zora Neale Hurston put it in Their Eyes Were Watching God: “De nigger woman is de mule uh de world so fur as Ah can see.”

In November 2013, Mikki Kendall created the hashtag #FastTailedGirls to discuss the premature sexualization of black girls and how we punish and blame them for it rather than hold black men and boys responsible for their actions.

Even when they realize something’s wrong, black women and girls are continually pressured to keep their mouths shut to protect black men who commit violence, sexual or otherwise, against them because of some warped definition of racial solidarity. Every once in a while, that pressure bubbles over and into the news, as it did in the 2016 Buzzfeed News story about the way accusations of rape are scuttled at Spelman, Morehouse and other historically black colleges and universities. It sprang up further when another anonymous Spelman freshman, driven to leave the school, started a Twitter feed, @RapedatSpelman.

“Spelman has taught me to be a free thinking woman and also to be a woman who has to keep her mouths closed to protect her ‘brothers,’ ” she tweeted.

In 2015, Jewel Allison, a writer and music educator who accused Bill Cosby of sexual assault, revealed that she’d kept the assault a secret “because [she] didn’t want to let black America down.”

And now we’re talking about R. Kelly again.

We were talking about Kelly in 1994 when he married Aaliyah when she was 15.

We were talking about Kelly in 2002 when a video appeared to show him sexually assaulting a 14-year-old girl.

We were talking about Kelly again in 2013 when The Village Voice revisited the accusations against Kelly.

And yet he’s still free, he’s still rich and, according to a new Buzzfeed News story from former Chicago Sun-Times reporter Jim DeRogatis, who broke the original stories, Kelly allegedly has been brainwashing young women and holding them inside a “cult.” Kelly issued a statement denying the new allegations.

Hats off to DeRogatis. But it only takes a cursory glance at the news and events of the past few years to see the fuller context of how black women and girls are dismissed in America:

  • Black girls are perceived as less innocent and less in need of protection than white girls, according to a new study from the Georgetown Center on Poverty and Inequality. The study’s authors call this phenomenon “adultification.” Little wonder then that state legislatures across the country send the message that the bodily autonomy of young women and girls doesn’t matter, in the form of laws that still allow adult men to marry girls as young as 12.
  • Black women suffer from higher rates of death from domestic violence, and yet the Mississippi Legislature refuses to make domestic violence grounds for divorce, essentially throwing women away to be battered. “Mississippi Goddam,” indeed.
  • The then-president of the United States created a program called My Brother’s Keeper that targets boys of color. But girls of color, specifically black girls, are suspended from school at higher rates and endure systematic criminalization designed to push them out of school.
  • When black girls and women are fired from their jobs or suspended from school for having “inappropriate” or distracting hair.
  • When Marissa Alexander doesn’t enjoy the same protections offered by Florida’s Stand Your Ground law when attempting to protect herself from domestic violence as George Zimmerman was.
  • When the “Grim Sleeper” is able to kill at least 10 black women, and possibly as many as 25, over the course of two decades because no one bothered to engage in meaningful detective work when they went missing.

The parents of the women Kelly is allegedly holding will soon hold a news conference about their accusations, DeRogatis has said. It’s noteworthy that these parents refuse to be cowed by Kelly’s money and social standing.

But beyond that, a public event like this serves another purpose: It says that for once, when it comes to black women, someone gives a damn.

JAY-Z responds to Beyoncé and other news of the week The Week That Was June 26-30

Monday 06.26.17

The 2017 BET Awards finally ended at midnight ET. Following a dust-up between rappers Migos and Joe Budden at the awards show, adult film star Brian Pumper tweeted he “woulda smacked fire outta all 3 of the migos.” After meeting Boston Celtics guard Isaiah Thomas two years ago, NBA Hall of Famer Allen Iverson told Thomas he loved his game and then went to a spades tournament. Despite being rated the worst point guard defender in the NBA, Thomas received a vote for the All-Defensive teams. For the first time in Pew Research Center history, a majority of Republicans do not oppose same-sex marriage. White House adviser Ivanka Trump, who holds a political position, said she tries “to stay out of politics.” In “of course it was Mississippi” news, a historical marker commemorating teenager Emmett Till, who was kidnapped and lynched, was vandalized. The White House Twitter account sent out a graphic stating that Obamacare was supposed to cover over 23 million Americans by 2017 but has only reached 10 million, saying the Obama administration was “off by 100%.” Tiger blood enthusiast Charlie Sheen is auctioning off Babe Ruth’s championship ring; the bidding has surpassed $600,000. A group that opposes the GOP-authored health care reform bill flew a banner over the West Virginia state capitol targeting Sen. Dean Heller, the only problem being that Heller is a senator from Nevada. Taylor Swift sent a congratulatory video message to NBA MVP Russell Westbrook, jokingly acknowledging that she taught Westbrook how to play basketball, dribble, and “shoot hoops.” The father of loudmouth parent LaVar Ball agrees with his son that he could’ve beaten Michael Jordan one-on-one. Later that day, LaVar Ball appeared on WWE’s Monday Night Raw with his sons, 15-year-old LaMelo and 19-year-old Lonzo; LaMelo yelled “beat that n—-s a–” twice into a live microphone.

Tuesday 06.27.17

The fiance of Grammy award-winning singer Jennifer Hudson wants to wrestle LaVar Ball. Rep. Jason Chaffetz (R-Utah), who three months ago said Americans would have to choose between the new iPhone or health care, believes members of Congress should be given a $2,500 housing allowance. Seven-time Grand Slam winner John McEnroe kept his foot in his mouth by refusing to apologize for comments made about 23-time Grand Slam winner Serena Williams. A state-run news agency in North Korea has deemed President Donald Trump’s “America First” initiative “Nazism in the 21st Century.” Elsewhere in Asia, Netflix comedy BoJack Horseman has been pulled from a Chinese streaming service due to violating a government regulation surrounding TV content. Former NFL quarterback Vince Young, upset about not being given another chance in the league, called out Tampa Bay Buccaneers quarterback Ryan Fitzpatrick: “He leads the league in interceptions, and he’s still f—ing getting paid? I mean, what the f— is going on?” Two South Carolina inmates serving life sentences said they killed four of their blockmates, hoping to be put on death row; the duo lured the four inmates into their cell with promises of coffee, cookies and drugs. Women dressed as characters from Hulu’s The Handmaid’s Tale — based on a 1985 book about a totalitarian U.S. government — protested the GOP health care bill outside the U.S. Capitol building. Despite his spokesman saying otherwise just one week ago, comedian Bill Cosby denied that he is conducting a speaking tour about sexual assault, stating that “the current propaganda that I am going to conduct a sexual assault tour is false.” A previously recorded song featuring noted feminists Chris Brown, Tyga and R. Kelly was released by a German production team. A Georgetown University study found that Americans view black girls as “less innocent and more adult-like than their white peers”; the researchers said this can lead to harsher punishments and fewer mentorship opportunities. A charity fund for a South Bronx, New York, community, created by the New York Yankees in response to the club taking over 25 acres of parkland for its new stadium, has donated just 30 percent of its funds to charities in the same ZIP code as the stadium. A fake March 2009 Time magazine cover of Trump — with the headline “Donald Trump: The ‘Apprentice’ is a television smash!” — is featured in at least four of the president’s golf courses; the Time television critic at the time tweeted “if I had called The Apprentice’s ratings a “smash” in 2009, I would’ve had to resign in disgrace.”

Wednesday 06.28.17

President Trump accused Amazon or The Washington Post, the latter of which was responsible for unearthing the fake Time cover, of not paying “internet taxes” despite “internet taxes” not being a real thing. New York Knicks president Phil Jackson was fired on his day off. Philadelphia Eagles running back LeGarrette Blount could earn $50,000 for not being fat. Former NFL running back Clinton Portis once considered murdering his former business managers. Despite many reports claiming that NFL quarterback Colin Kaepernick’s national anthem protest last season divided the San Francisco 49ers locker room, former 49ers coach Chip Kelly said “it never was a distraction.” No big deal, but there was a computer systems breach at at least one U.S. nuclear power plant. Former adult film star Jenna Jameson, in response to a Playboy columnist getting into a heated argument with deputy White House press secretary Sarah Huckabee Sanders on Tuesday, said that the notorious magazine “thought it was a good idea to remove the nudity from their failing publication, I have to say they lost credibility”; Jameson added that Playboy should “have a seat.” Cleveland Cavaliers owner Dan Gilbert, for some reason, joined the Chicago Cubs during their visit to the White House; Trump called Gilbert “a great friend of mine. Big supporter and great guy.” Not to be outdone, the Atlanta Hawks announced plans to incorporate a courtside bar in its arena. Two years after barricading themselves in the home of center DeAndre Jordan, the Los Angeles Clippers traded All-Star guard Chris Paul to the Houston Rockets and are now left with just Jordan. At 12:32 p.m. ET, a report came out that one of the reasons Paul left Los Angeles was because of coach Doc Rivers’ relationship with son and Clippers guard Austin; at 2:04 p.m., Austin Rivers tweeted “Dam….cp3 really dipped, was looking forward to lining up with u next year. Learned a lot from u tho bro. One of the best basketball minds.” Rep. Jason Chaffetz of Utah, who proposed the housing stipend for lawmakers, will join Fox News as a contributor once he resigns from congress. Later in the day, Fox News shockingly released a poll that found that 52 percent of voters view the Affordable Care Act “positively.” Danielle Bregoli Peskowitz, the 14-year-old Florida girl responsible for the “Cash me ousside, how bow dah” meme, pleaded guilty to “grand theft, filing a false police report, and possession of marijuana.”

Thursday 06.29.17

President Trump attacked MSNBC’s Mika Brzezinski on Twitter, calling the Morning Joe co-host “low I.Q.,” “crazy,” and accused her of “bleeding badly from a face-lift.” Brzezinski shot back with her own tweet, posting a photo of a Cheerios box with the text “Made for little hands.” First lady Melania Trump, who once said she would take up anti-cyberbullying as an official initiative, had her spokesman release a statement: “As the First Lady has stated publicly in the past, when her husband gets attacked, he will punch back 10 times harder.” Twitter, fresh off of giving its users another update they didn’t ask for, is reportedly working on a prototype that would allow users to flag “fake news”; there was no mention of how CNN, ABC, NBC, and the New York Times and Washington Post might be affected. Proving the old adage that if first you don’t succeed, try again (and again): Trump’s travel plan partially went into effect. A Trump supporter with “Proud American” and “Love my Country” in her Twitter bio mistakenly used the Liberian flag emoji while professing to make America great again. A Fox News commentator quipped “we’re all gonna die” in response to Democrats charging that thousands will die from the GOP health care bill. A Maryland man who worked for the liquor control department, along with another man, stole over $21,000 worth of alcohol from trucks parked at a department of the liquor control warehouse. Recently acquired Minnesota Timberwolves forward Jimmy Butler gave out his phone number to reporters at his introductory press conference. Three Vanderbilt football players were suspended after their roles in an incident earlier this week that resulted in two of the players being shot at a Target; police say the football players brought a pellet gun to a gunfight over a stolen cellphone. Oakland Raiders running back Marshawn Lynch completed a beach workout in pants and boots. The New York Knicks, fresh off of firing president of basketball operations Phil Jackson, misspelled the last name of first-round draft pick Frank Ntilikina, whom Jackson was responsible for drafting. A fitness trainer who has worked with Kim Kardashian put Seattle Seahawks quarterback Russell Wilson on a 4,800-calories-a-day diet to help lose weight. Habitual cultural appropriators Kylie and Kendall Jenner, the latter of woke Pepsi fame, apologized for selling $125 T-shirts with their faces superimposed over late rappers Tupac Shakur and Notorious B.I.G. A Republican opposition researcher who claimed he worked for former Trump national security adviser Michael Flynn contacted Russian hackers about then-candidate Hillary Clinton’s emails.

FRIDAY 06.30.17

Hip-hop star JAY-Z released his 13th studio album, 4:44, with one song mentioning singer Eric Benet’s past infidelity with former wife Halle Berry; Benet, who remarried in 2011, and was in no way forced to by his wife, tweeted back “Hey yo #Jayz! Just so ya know, I got the baddest girl in the world as my wife….like right now!” President Trump, who said in a tweet on Thursday that he didn’t watch MSNBC’s Morning Joe, tweeted that he watched Morning Joe. Sen. Ben Sasse (R-Nebraska) criticized the president’s tweet about Mika Brzezinski on Thursday, and then tweeted that he supports repealing the Affordable Care Act without a readily available replacement. UCLA will receive a $15 million signing bonus on top of its $280 million deal with Under Armour; the school’s student-athletes will receive a zero percent cut. New England Patriots receiver Julian Edelman works on his catching skills by playing with rice. Rapper Nicki Minaj, not content with using only Dwyane Wade for sports references, used rarely known New York Giants punter Brad Wing in one of her lyrics: “I’m land the jump, Yao Ming the dunk/And I’m playing the field, Brad Wing the punt.” The Miami-Dade Public Defender’s office is challenging the constitutionality of a law that makes pointing a finger like a gun at a police officer a crime. In other JAY-Z news, Merriam-Webster dictionary made “fidelity” its word of the day. At least three people were shot at a New York City hospital.

Jamie Foxx is the supreme entertainer of our era, and it’s time to recognize him as such The ‘Baby Driver’ co-star is amazingly unpredictable — as usual

A staple of NBC’s The Tonight Show Starring Jimmy Fallon is a segment called Musical Genre Challenge. Guests perform pop songs, but in the form of unexpected genres. Jamie Foxx appeared on the May 25 episode, and his first act was to perform Baja Men’s 2000 “Who Let The Dogs Out” in the style of a Broadway musical. He followed that up by singing Rihanna’s 2015 “B—- Better Have My Money” — operatically. Foxx absolutely nails both performances, hitting long notes with genius precision while also adding comedic timing. His performance is equal parts entrancing and hilarious.

Foxx — the former Terrell, Texas, high school star quarterback who stars in this week’s already heralded Baby Driver and hosts Fox’s new hit game show Beat Shazam — is 49 years old and has been entertaining for nearly 30 years. He has an unimpeachable catalog of accomplishments. A classic, unendingly quotable 2002 stand-up special, I Might Need Security (HBO). The Jamie Foxx Show (The WB, 1996-2001), which showcased Foxx’s supernatural knack for impersonations, and his brilliant timing. He’s created five studio albums, with millions of copies sold. His 2005 Billboard-topping Unpredictable culminated in a Grammy for the infinitely catchy “Blame it,” featuring T-Pain (and sadly one of the last bastions of auto-tuned R&B radio supremacy).

Finally and most notably, in 2005, Foxx won the Academy Award for best actor for his title role in Ray, bringing Ray Charles to life in one of the most transcendent, pitch-perfect biographical performances in movie history. Along with Sidney Poitier, Denzel Washington and Forest Whitaker, he is one of only four black male actors to win in the lead category. To be great at one of these things — comedy, drama, singing/songwriting — would make Foxx an entertainment powerhouse. To have mastered them all makes him a once-in-a-generation talent. Foxx — not Will Smith, not Dave Chappelle, not even Beyoncé — is the supreme entertainer of our era, and it’s time to recognize him as such.

And it all started with a character called “Wanda.”

When Jamie Foxx made his television debut, on the third season of Keenan Ivory Wayans’ sketch comedy show In Living Color in 1991, it was after years of working his way through the stand-up comedy circuit, most famously at Hollywood’s The Comedy Store, a mecca for comedians such as Cedric The Entertainer and Jim Carrey, who would perform at open mics.

On Color, Foxx appeared alongside future superstars Carrey, Jennifer Lopez, Chris Rock, Kim Coles, Damon Wayans and Larry Wilmore, not to mention Anne-Marie Johnson, David Alan Grier and Tommy Davidson.

He stood out from the pack, especially in black households across the country, for playing Wanda, a homely woman with a large fake butt, humongous lips and a wonky eye. Foxx-as-Wanda would try to pick up men (most frequently played by Davidson as a well-put-together businessman) and made the faux seductive “Heyyyyy” a catchphrase. It was combined with a patented cross-eyed gaze. Foxx’s commitment to the character made Wanda a tentpole for In Living Color.

You would be forgiven for thinking the show showed off the breadth of Foxx’s talent. That is, if you hadn’t seen him on Roc.

Foxx stepped in to portray the iconic Willie Beamen, a confident, young black quarterback who replaces a worn veteran QB.

Roc (Fox, 1991-94) was a family sitcom from the people who created Cheers and Taxi; it starred Charles Dutton, Ella Joyce and Rocky Carroll as a middle-class black family in Baltimore. The show has earned cult status for Dutton’s resonant performances and Joyce’s endearing character work, and it was where it became clear that Foxx was more than Wanda. Foxx appeared for nine episodes in the second and third seasons as a neighbor with special needs: “Crazy George.” This was a three-dimensional Foxx. He still used his over-the-top comedy, but Crazy George was so lovable and full of compassion, it became clear there was more to Foxx than impressions.

Foxx continued his growth in 1993 with the HBO stand-up special Straight From The Foxxhole. The special was full of memorable lines and his mirror-image impressions. But that was to be expected. What caught audiences off guard was when, toward the end, he took to his piano (with his grandmother’s encouragement, he studied classical piano from the age of 5) and blended his stand-up act with musical compositions — and even went into straight-up, no-laughs R&B. There was a smattering of uncomfortable laughter as Foxx sang his serious music. The segment became an entry into his musical career.

“My whole plan was do the comedy however you do the comedy,” he said in 1994 on KPIX’s Bay Sunday. “Get your name out there. Get the HBO special and you control what’s going on. So I did 50 minutes of comedy, and then I take it into the music real smooth.”

The Bay Area interview, however, demonstrates the challenges Foxx faced with regard to being taken seriously as a musical artist. The Q&A segment is painfully awkward. Host Barbara Rodgers spends the first minutes pressing him to perform as Wanda, and Foxx, frustrated, refuses to resurrect his character.

The interview was to promote Foxx’s 1994 debut album Peep This (Fox Records), which was mostly written by Foxx in the vein of Jodeci and R. Kelly. It showed Foxx could hang with the greats vocally; however, the music itself was subpar, with lackluster production and clichéd lyrics. As a result, the album performed poorly on the charts. He didn’t release another album for 11 years.

Foxx couldn’t quite shake the idea that he was “just” Wanda, even as he entered his first prime of the mid-’90s. He had to face a derailment that redefined his career. Foxx had auditioned for the role of Jerry Maguire’s Rod Tidwell, the dynamic football star who played opposite Tom Cruise. But Foxx struggled in the audition.

Foxx couldn’t quite shake the idea that he was “just” Wanda, even as he entered his first prime of the mid-’90s.

“I blew it, man,” he told Playboy in 2005. “Maybe I wasn’t ready. Tom was just too famous, and I was too young. I was a stand-up comedian, and I just f—-d it up. I was reading all loud and stuff, and Tom was very quiet. So I read my lines, and then he paused for a long time. … So I said: ‘Tom, it’s your line.’ And he looked at me and said: ‘I know. I got it.’ ”

The role, of course, went to Cuba Gooding Jr., who won an Oscar for best supporting actor, launching him into the world of A-list Hollywood. Meanwhile, Foxx was making 1997’s Booty Call.

Booty Call wasn’t exactly Oscar-worthy,” Foxx said on CBS’s Sunday Morning in 2013. “I was trying to get a check.” The movie, a raucous sex comedy about mishaps that occur as two men try to seal the deal with their dates, featured Foxx doing Martin Luther King impressions while having bubble-wrapped sex with Vivica Fox, a dog licking Tommy Davidson’s rear, and a fight over a condom. While the movie is heralded as a cult classic by some, it was lambasted as crass and vapid (“It’s not that the movie is never funny. It’s just that you don’t feel very good when it is,” is how the Los Angeles Times expertly put it). The film’s biggest critic was Bill Cosby, who at the time still commanded respect as a voice in the black community. He told Newsweek in 1997: “There is no need for a Booty Call, for the stuff that shows our young people only interested in the flesh and no other depth.” Foxx spent the next two years making movies such as 1999’s Held Up (co-starring Nia Long) that mostly failed at the box office but were better than they had any right being — off the strength of Foxx’s charisma and talent.


It’s here that we have to acknowledge The Jamie Foxx Show. If you thought calling Foxx the most talented entertainer of our generation was a “hot take,” then here’s another: if Jamie Foxx had aired on the Fox Network, along with Martin, instead of on the less popular WB, it would be just as revered and beloved. At its funniest, The Jamie Foxx Show is just as hilarious as Martin. There’s the above reimagining of D’Angelo’s “Untitled” video, the O.J. Simpson impersonation, Tupac Shakur, the dance battle. The sitcom, which also starred Garrett Morris, Ella English, Christopher B. Duncan and Garcelle Beauvais as his love interest, Fancy, and aired from 1996 to 2001, is Foxx at his comedic peak.

And he could have simply stuck to being funny. His musical career had yet to take off, and he’d failed to land that life-changing role. But that changed in 1999 when Sean Combs was excused from the set of Any Given Sunday. “Puff Daddy threw like a girl, so they put him on a plane,” said co-star Andrew Bryniarski in 2015. Foxx stepped in to portray the iconic Willie Beamen, a confident, young black quarterback who replaces a worn veteran QB — think the cinematic version of Dak Prescott replacing Tony Romo with a little extra Hollywood flair and an instantly repeatable theme song that Foxx recorded himself.

Foxx had done it: a leading role in a film opposite Al Pacino, with superstar director Oliver Stone at the helm. The movie is sort of a mess, overproduced and melodramatic, but Foxx’s star turn was widely praised. “In a broken-field role,” said movie critic Roger Ebert, “that requires him to be unsure and vulnerable, then cocky and insufferable, then political, then repentant, Foxx doesn’t step wrong.”

Foxx followed Beamen up by portraying trainer Drew Bundini Brown in 2001’s Ali. The role was pivotal. Foxx displayed his ability to transform into an entirely unrecognizable character. And he was beginning to truly combine his talents. In Any Given Sunday, he’d mixed in his musical talents with serious acting, and in Ali he used his uncanny ability as an impersonator to make his roles pop. What allowed him to play Brown is from the skill set that allowed him to “be” Mike Tyson on stage in so many of his stand-up performances. All of this, of course, culminated in Ray.

Foxx’s portrayal of Charles is a three-hour acting masterpiece. Foxx was a one-man Golden State Warriors team putting his multiple talents together for one legendary performance. He used his ability for imitation, which he perfected on the comedy circuit, to bring Charles to life on the screen. He used his dramatic acting to translate that imitation into a serious and emotionally resonant performance. And finally, Foxx performed the music himself, truly channeling Charles’ soul. “It demeans Foxx to say he was born to play this role,” said Ken Tucker in The New Yorker. “Rather, he invented a Ray Charles that anyone, from a nostalgic baby boomer to a skeptical Jay Z fan, can understand and respect.”

In winning his best actor Oscar, becoming just the third African-American to do so, he beat out Don Cheadle’s electric Hotel Rwanda performance, Leonardo DiCaprio in The Aviator and Clint Eastwood in Million Dollar Baby. Foxx had arrived. But he wouldn’t dwell on his successes. He had a musical career to revitalize.


A chance meeting with Kanye West at one of Foxx’s infamous house parties led to Foxx being featured on a 20o4 Twista single featuring Kanye entitled “Slow Jamz.” It became a No. 1 pop single, with Foxx singing the hook. “Young people who hadn’t seen me on In Living Color or the The Jamie Foxx Show thought I had just come on with Kanye West, so that gave me new life,” he said in a 2015 radio interview. He followed that collaboration by singing the hook on West’s 2004 “Gold Digger,” and on Dec. 27, 2005, 10 months after winning his Oscar, Foxx released his own Unpredictable album (J Records). It debuted at No. 2 on the Billboard album charts and went to No. 1 the very next week. It’s double platinum.

Yet all of the success was affecting his personal life, and not in good ways. An intervention by black celebrity royalty set him on a different path.

“ ‘You’re blowing it, Jamie Foxx,’ ” Oprah Winfrey told Foxx in 2004, as he explained in an interview with Howard Stern earlier this year. “ ‘All of this gallivanting and all this kind of s—, that’s not what you want to do. … I want to take you somewhere. Make you understand the significance of what you’re doing.’ Foxx recounts going into a house filled with black actors from the ’60s and ’70s. “[They] look like they just want to say … Don’t blow it.” Foxx was introduced to Sidney Poitier, the first African-American to win an Oscar, who told him, “ ‘I want to give you responsibility. … When I saw your performance, it made me grow 2 inches.’ To this day, it’s the most significant time in my life where it was, like, a chance to grow up.”

Today, Foxx seems as comfortable in his own skin as ever. When he wants to be serious, he’s the titular character in 2012’s Django Unchained, stone-faced, stoic and out for vengeance. Or he is a villain in The Amazing Spider-Man 2. He’s released three albums since Unpredictable, with a Grammy to boot for 2010’s “Blame It.” And when he wants to make people laugh, Foxx still pops up at places such as The Comedy Store.

Two years ago, this time on Fallon’s “The Wheel Of Musical Impressions,” he did Mick Jagger singing “Hakuna Matata,” Jennifer Hudson singing “On Top Of Spaghetti” and John Legend singing the Toys R Us theme song, complete with a full-on re-enactment of Legend’s on-stage posture. And he somehow managed to mix in a Doc Rivers impersonation. The video for this fantastical and amazing series of performances has amassed 40 million views on YouTube. It’s classic Foxx, mixing his flair for the dramatic with his unparalleled voice and mastery of comedy. His is an unpredictable blend of musicianship, comedy and acting. He’s a powerhouse. A master of all trades. And we may never see anything like him again.