“We live in a world where the main sexual position is called the missionary…”

Zane is a one-name publishing phenomena who through erotic novels and millions of fans has become a brand name unto her self. The acclaimed author, publisher, bookseller and producer joins Toni Morrison and Terry McMillan as one of only three African-American women to make the New York Times fiction bestseller “print list” in this century. For years, she kept her identity secret, and still refuses to tell her name, choosing instead Zane, a moniker she picked up while visiting Internet chat rooms. She’ll tell you she’s the divorced mother of three sons and spends her days in suburban Maryland tending them. Yet for Zane, writing erotica is akin to sliding into a sexy negligee. And when readers come away from her salacious books, like “Addicted,” “The Sex Chronicles: Shattering the Myth,” “Gettin’ Buck Wild: The Sex Chronicles 2,” ” Shame on it All, and “The Heat Seekers,” they almost feel like peeling back the sheets and taking a long drag from a cigarette.

Zane, 40, looks very much the suburban mother she is. But she is much deeper. She recalls becoming a speed-reader at age 10 and polishing off several books a day by middle school. Writing came naturally to her, but she chose to follow another career after graduating from Howard University. It wasn’t until age 30 that she started her writing hard-edged erotic stories for her own enjoyment. After developing a cult following through Internet circulation, Zane turned down several deals with publishers who sought to tone down her work’s hard-core sexuality. She self-published her first three titles in 2000, selling over 250,000 copies through word-of-mouth alone. She has since sold over 6 million books.

Recently, the prolific author was in Philadelphia to promote “Love Is Never Painless: Three Novellas” ($22.95, Atria Books) by herself and two other authors, Eileen M. Johnson and V. Anthony Rivers. Next year, Zane will hit the big screen with the release of the erotically charged thriller, “Addicted.” In her partnership with Suzanne de Passe, de Passe/Zane Entertainment, she will produce at least six film projects yearly as well as television series and straight-to-DVD projects.

“Suzanne de Passe and I teamed up almost two years ago and we were going to put ‘Addicted’ straight to DVD, but then Lion’s Gate approached me about doing it as a theatrical release, which made it all the better,” explained Zane. “I mean really, situations just kind of find me. I don’t really go looking for them. It’s kind of strange actually. I didn’t go looking for a movie deal like that but I got one and that all that matters. ”

The deal, which will pair Lionsgate’s targeting of specific market segments with Zane’s passionate fan base of predominantly African-American women, continues Lionsgate’s commitment to bringing cultural sensations in large niches to a broader North American filmed entertainment audience.

“‘Addicted’ does for women what “Fatal Attraction” did for men,” said de Passe. “It will make women think twice before risking it all!”
Like many of Zane’s novels, “Addicted”, has been translated into several foreign languages.

“My novels have allowed me to encourage cultural conversation about the taboo topic of women’s sexual desire, and by turning ‘Addicted’ into a feature film with Lionsgate, that conversation will be expanded,” Zane said. “I know from communication with my fans that when women liberate themselves sexually, it improves all other aspects of their lives, so getting my first film made is a personal and political triumph for me.”

Zane has built a fervent following through her explicit, erotic depictions of female desire as told from an African-American perspective. She is also the publisher of Strebor Books International, an imprint of ATRIA/Simon and Schuster. Under Strebor, she acquires 15 to 25 titles a year and currently has nearly 50 authors under her imprint. Next year, she will launch a Christian Fiction Line and a Youth Fiction line, as well as a body product line this summer and clothing and adult toy lines in the fall. 2007 will also mark the release of “Dear G Spot,” Zane’s first non-fiction book.

“It’s really a collection of many of the advice mail I’ve gotten throughout the years, as well as my commentaries on different subjects,” said Zane. “I think it will show people how confused they really are about relationships and their sexuality and also reemphasizes why I do what I do: because there is a need for it and that is the reason why it works and women crave it.”

Although women are Zane’s primary book fans, men have taken to viewing her advice on line at Zaneland where her blog has become quite popular because of her sexual candor.

“We live in a world where the main sexual position is called the missionary position and as far as I’m concerned that says it all: Men think that we are vessels for their pleasure,” asserts Zane. “My whole point is if women are going to have sex in their lifetime—and the majority of us do—there’s no reason we should walk away from the experience any less satisfied than the man.”



“What I can do is give whatever I have got to another African American business person,” said Dehlia Winder. “Which I feel could help them.”

Restaurateur Dahlia Winder traded in her life of corporate comfort in 1984 for a chance to explore her culinary creativity and taste buds across the country have applauded her decision ever since. The road to Winder’s success began when she open her one-woman food stand in Philadelphia’s historic Reading Terminal Market. Today, she employs more than 60 people who work in six Delilah’s Southern Cuisine stands. But it wasn’t until Oprah Winfrey tasted Winder’s Mac and cheese that the nation and world were alerted to one of Philly’s longtime treats. Winder’s debut cookbook, “Everyday Soul: Southern Cooking With Style” (Running Press Book, $29.95) documents her lifelong love affair with food.

“Everyday Soul” is much more than a book of recipes as it reflects the duel identity Winder had growing up in both the South and the North. It reads almost like a biography, as it is interspersed with color photographs recalling Winder’s life from childhood summers in Richmond, VA to entrepreneurial success in Philadelphia. From the book’s opening image of Miss Delilah Winder sassily strutting through Old City Philadelphia to the delectable photos of her signature recipes, each image portrays the passion that Winder’s hip and colorful spirit brings to life and food. Delilah’s food has received numerous accolades, including 100 Favorite Foods by Saveur Magazine and Best of Philly, but it was the Best Mac & Cheese declaration by Oprah Winfrey that brought Winder national recognition.

An entire chapter in Everyday Soulis devoted to Winder’s Oprah appearance and describes everything from the initial call from the Harpo headquarters to Winfrey’s final pronouncement. Winder’s signature hands on approach were pivotal in her recipe being personally delivered to Chicago for Winfrey literally hot out the oven. “The experience catapulted me from a local to a national stage,” noted Winder. “And my life as a cook and restaurateur was forever changed.”

The recipes in Delilah’s Everyday Soul are arranged by occasion and accented with special memories, tips, and suggestions for preparing and serving. They feature traditional soul food like Delilah’s delectable fried chicken and strawberry lemonade, and also include more modern renditions of the fare, plus alternative ingredients for those who want to try healthier versions of the spectacular recipes.

“I eat everything,” says Winder. “I don’t exclude anything from my diet. I eat all types of food. I love all different ethnic, because, you see, I’m a people person and I believe everybody has something to offer.” She also maintains an active lifestyle which also keeps her in shape and supplements her workouts. “It’s all about being active and eating a well balance diet,” explained Winder. “I’m up. I’m cleaning my house. I’m cooking. I’m going grocery shopping. I’m in movement.”

Winder’s was appointed earlier this year as chairwoman of the African-American Chamber of Commerce, succeeding A. Bruce Crawley as the point person in representing African-American business interests in the city. She says she intends to share what she’s learned as a successful business person with others like herself. “What I can do is give whatever I have got, or whatever I have experienced, to another African American business person which I feel could help them.”

When asked what lies ahead for her professionally, Winder coyly suggests the “possibility” of a television show. What she’s really planning for is a long overdue expansion of Bluezette’s current offerings. When she opened Bluezette in Philadelphia’s Old City district in 2000, her Latin, Caribbean, and soul food restaurant become an instant hit as the go-to cocktail destination for the after work business set. Now, Winder says, it’s time for an update.

“Bluezette is going to become a restaurant just like every thing else I have. We’re going to have lunch and dinner and on the weekends we’re going to have lunch and brunch. I’ll probably make a few changes interior wise,” explained Winder. “And I need all of Philadelphia to put their arms around that for Bluezette to continue to be what I wanted it to be: A restaurant.”


<a href=”http://technorati.com/tag/black-folk-who-matter&#8221; rel=”tag”>black-folk-who-matter</a>

A Woman’s Place is before an orchastra…

“Music only speaks one language…”

A hundred years ago, a woman interested in classical music performance but were expected to choose instruments like the guitar, the lute, the harp, or a keyboard instrument that emitted soft, delicate, sounds and allowed them to appear attractive and graceful while playing.

That was then.

Today, women are breaking through gender barriers proving they are strong enough to perform not only as superb instrumentalists, but conductors of symphony orchestra.

Jeri Lynne Johnson, the 2006 Taki Concordia Conducting Fellowship (TCCF), recently passed the baton to her successor, Rei Hotoda, during an exclusive reception in Philadelphia at the Penthouse at the Residences at Two Liberty Place.

Radnor Trust chairman Jerry Johnson, and his wife Rae, were visibly beaming during their daughter’s welcoming comments to the nearly 100 area community leaders and noted members of the financial and classical music world who had gathered to celebrate the younger Johnson’s burgeoning career as a conductor. Johnson was composed until she mentioned her husband, Ian, with whom she shares a bi-coastal relationship.

“I am overwhelmed by the generosity and the support I’ve received,” said Johnson. “Because it is a difficult road to become a conductor, as you all well know.”

TCCF was founded Maestra Marin Alsop in 2002 to assist young women who want to pursue careers as conductors of major symphony orchestras. As a winner of the fellowship, Johnson worked with Alsop in coaching sessions, rehearsals and performance sessions with symphony orchestra worldwide. In her last act as a TCCF, Johnson introduced Alsop along with the program’s financial sponsor Tomio Taki.

“This fellowship is about enabling young women who have the talent,” said Alsop, the first woman conductor of a British and major American orchestras.

“This is something that is dear to my heart because one of the issue with women, whether it’s in conducting or any kind of leadership, is it shouldn’t be about gender,” continued Alsop. “It should be about having access and opportunity and that should be open to every single person regardless of gender or anything. My goal through this fellowship is to create opportunities because to be a conductor you can’t actually try it until you try it.”

Taki, a longtime fashion apparel executive, pledged to continue to nurture the aspirations of women conductors. “Everybody think that a woman conductor is a novelty item, and I say ‘No, this shouldn’t be a novelty thing,’” intoned Taki. “Man, woman, the color of people or language doesn’t make no difference. Music only speaks one language.”

The stylish reception also marked the debut presentation of newly opened residences on the top 20 floors of Two Liberty Place, one of Philadelphia’s best known sky scrapers.

“What’s interesting tonight is the fine arts meets the fine art of a wonderful, spectacular, one-of-a-kind building,” said the project’s developer Arthur Falcone.

Alsop, recently appointed musical director of the Baltimore Symphony, had arrived in Philadelphia mere hours after a mid-day performance in Pittsburgh. Hotoda, however, was unable to attend the reception because she was performing in her duties as the newly appointed Assistant Conductor of the Winnipeg Symphony Orchestra and sent her regards via satellite.

Johnson began conducting while working toward a Master of Music degree in late Romantic/ early Modern music theory and history at the University of Chicago. In February 2002, Johnson made her debut in The Kimmel Center for the Performing Arts. Johnson is currently creating and conducting new artistic collaborative projects with composers, artists, inventors and musicians for Philadelphia based “Arts in Motion”.

Philadelphians will have a chance to witness history in the making when Johnson joins Alsop during an upcoming January 2007 performance with the Philadelphia Orchestra.


“…If you look at it from the perspective of those enslaved, it was an American nightmare.”

When legendary book dealer A.S.W. Rosenbach founded the Rosenbach Museum & Library Museum in Philladephia with his brother and business partner Philip at the turn off the 20th Century, they never sought to examine the Black experience in America. Instead, they built an outstanding collection of rare books, manuscripts, furniture, and art, which now sits as a world-renowned museum and research library set within two historic 1865 townhouses in the Rittenhouse Square area that reflects an age when great collectors lived among their treasures.

A new millennium reexamination of the varied and diverse collection yielded an abundant of evidence of the African American experience. So in what is a departure from the museum’s standard exhibits, “Look Again” ask visitors to view American history as inclusive of Black Americans. Simply put, African American history and American history are, in a word, inseparable.

The exhibit begins in Africa, homeland of the African Diaspora, and contains materials from the late 1500s through the 1900s and general reflects Europeans views of Africa. During this time, Europeans and Americans commonly perceived Africa as a “dark” exotic continent, suggesting it had no important history and made few contributions to human civilizations. This attitude obscured Africa’s rich, extensive history and replaced it with myths and misconceptions.

Those erroneous beliefs are what the exhibit’s consulting curator, Dr. Diane Turner, sought to correct. “I was very adamant about beginning in Africa before we even look art these documents and books because Africa provides Americans of African descent with out humanity,” explained Turner. “Often times in American history, enslaved Africans are referred to as ‘the slaves.’ But when you go back and you make reference to Africa you begin to se that these individuals were human beings who were taken from their families and various societies and were brought to the Americas for some very specific reason of their labor. Also they were brought because of their cultural and technological knowledge, which helps to build the very foundations of American society as we see it to day. Often that gets lost when you just talk about ‘the slaves,’ that they don’t have any history. Yes, they have history. They came from places where they had high cultural and technological knowledge and this is what made American society flourish.”

Turner credits her studies as an African American history major at Temple University under the guidance of the late Dr. Clement Tsehloane Keto, Dr. Malafi Asante and Charles Blockson as pivotal to shaping her outlook. Turner was a curator for four years at the African American of Philadelphia until earlier this year and currently teaches her major at Camden County College.

“I think it was a good collaboration because they had these objects, documents and so forth, and I provide them an African perspective in looking at slavery and actually how it was viewed by Americans of African descent,” said Turner.

The “Look Again” exhibition is organized in five sections: Africa, slavery, Resistance to Slavery, Founding Fathers and the Civil War. A sixth section on African American literature is displayed in a separate part of the museum.

“The museum agreed that it was important to look at the fact that enslaved Africans were not passive and that they were active in the process to deal with a major theme in American society,” said Turner. “That theme is freedom and they were preoccupied with that on a daily basis, whether it meant running away, work slowdowns, breaking tools, or pretending to be ignorant. The root of running away or escaping begins with the Africans themselves.”

Sometimes, to escape racial oppression, African Americans would redefine their race, or “pass.” The exhibit tells the story of Belle da Costa Greene, who was a close friend of Abraham Rosenbach and one of the most powerful women in the art world in the early 20th century. She was personal librarian to J.P. Morgan, then considered one of America’s wealthiest men, and after his death became director of the Pierpont Morgan Library in New York City for many decades. She traveled the globe spending millions of dollars buying and selling rare books, manuscripts and art and befriending famous artists and scholars, all the while keeping secret the fact that she was African American, and instead passed for Portuguese.

“When you look at that it speaks to relationships in American society,” explained Turner. “The first question you would want to ask is why would people want to be other than what they are? It speaks to the hierarchy that still exists in American society where whites are at the top and different individuals as you go down the pyramid is based on color.”

Turner agrees with the museum’s mission to encourage visitors to explore African American history as an integral part of American history.

“African American history has always advocated for a more inclusive of everyone to really get a total picture of what American history really is,” explained Turner. “(For) early Europeans who were slave owners, coming to America was an American dream for them. But if you look at it from the perspective of those enslaved, it was an American nightmare.”

“Look Again” is showing from September 13, 2006 to February 25, 2007 at the Rosenbach Museum & Library, 2008-10 DeLancey Place. For more information, call 215.732.1600 or visit http://www.rosenbach.org


“We use to sing for the white folk…,” said James B. Davis, 91. “I told ‘em that singing was what we knew.”

The Dixie Hummingbirds have been called the Iron Men of Gospel for their durability as a performance group and their adaptability as musical legends. Led by Ira Tucker, Sr.—who is now 80—the group has continued to thrive for over 77 years. This week, the Dixie Hummingbirds musical ministry was celebrated with the ceremonial renaming of Poplar Street from broad to 21st Street to Dixie Hummingbirds Way.

Gospel fans, supporters and government dignitaries joined an audience of over 300 to honor the group’s efforts. Musical legends that were unable to attend sent messages of congratulations that were read by Ira Tucker, Jr.

“You’ve earned this honor and I love you like a rock,” wrote Paul Simon referring to the 70’s hit song “Love Me Like A Rock” the ‘Birds accompanied him on.

“Now I can drive my Christian automobile up Dixie Hummingbirds Way. Watch out!” read the message from Stevie Wonder that drew laughs from onlookers.

“Even though they started in the South Carolina, they’ve been Philadelphians for seven decades and that make this very special for Philadelphia and the state,” said Gov. Ed Rendell who recently bestowed the group with the Governor’s Award.

The Hummingbird relocated to Philadelphia in the 1940s and have called the region home ever since.

“When we first got out here we use to sing for the white folk and some of ‘em asked me why did we started singing,” said the group’s founder James B. Davis, 91. “I told ‘em that singing was what we knew.”

Actor Rev. Clifton Davis said the group helped formed his musical career. “I want to thank you,” preached Davis, “for going to those towns where you had to go to the colored outhouse, for going on the Chiltlin’ Circuit to sing the gospel of Jesus Christ. I want to thank you for struggling through segregation. I want to thank you for taking all of that discrimination and taking it in stride and praising god anyhow. I want to thank you for living long enough so that all of us could stop here today and thank you for what you’ve done for us.”

After the street naming, the audience was lead by the Heavenly Horns for their first walk up Dixie Hummingbird Way alongside the historic Metropolitan Opera House, or The Met, at Broad and Poplar Street. For many years the Met served as the gospel venue of choice for many artists and groups. Over the years, the Met has fallen into disrepair and is currently undergoing reconstruction.

“I think the met should be designated as a historical landmark because Same Cooke, Soul Stirrers, Dixie Hummingbirds, Clara Ward—everybody who was anybody in gospel sang at the Met and it should be just sitting there like it is,” lamented occasional Hummingbirds’ vocalist Rev. Joe Williams.

Other members of the Birds recalled fond memories of their days with the group. “It’s an honor that I never had any dream that I had any dream that I would accomplish one day,” said the group former guitarist Howard Carrol. “It proved to me that hard work does pay off.”

“It sort of transcends time,” said the group’s youngest vocalist Edwin Cornell McKnight, 21. “It’s more so like a time machine because you can hear the tunes of the past and the present day and a lot of people who were around when Mr. Tucker was around are no longer around. I came in knowing nothing about music and now Ii know so much, and I owe it all to him.”

The last living Ward Sister, Willa Ward, 85, practically hopped on stage and declared the group “the greatest quartet that ever lived.”

The naming of Dixie Hummingbirds Way also coincides with the group’s latest CD, “Keeping It Real…The Last Man Standing.” The title refers to the elder Tucker’s 60-plus years as the group’s lead vocalist.

“I really don’t know what to say,” said Tucker from the podium. “It really doesn’t get any better than this. I believe I voice the sentiment of everybody when I say God is good.”


…“I don’t write necessarily for today,” states Colin Channer. “I write for the days to come.”

As the author of the national best-selling novels “Waiting in Vain” and “Satisfy My Soul,” and the novella “I’m Still Waiting,” Colin Channer believes the best is yet to come for Black writers around the world. Through his Calabash International Literary Festival, Channer wants the literary world to appreciate the quality of work that is coming from authors of color. Founded in 2001, the Calabash Festival has proven to one of the most pivotal annual events for Black writers.

“There were two things that I wanted to accomplish with Calabash,” explains Channer. “One of them was to connect with Jamaica. The other thing however was to create a space where a diverse range of writers, including writers of color, who were writing quality fiction, could showcase their work every year. Literary fiction and non-fiction from African Americans doesn’t have many spaces in America where it can be recognized. Calabash is a space for that work. I think that in the age of globalism, we’re beyond thinking of literature belonging within geographic borders.”

In 1998, Channer’s debut novel “Waiting in Vain” was selected as a Critic’s Choice by the Washington Post Book World, which described it as a “clear redefinition of the Caribbean novel.” Subsequent positive reviews and reprints ultimately placed Channer in the company of writers such as Russell Banks, E. L. Doctorow, Don DeLillo, and David Foster Wallace. In January, Channer was appointed as an assistant professor of English and coordinator of the creative writing program at Medgar Evers College in Brooklyn, NY. Today, Channer wants to use his name recognition to pass the torch to still yet-acknowledged writers in the latest book he edited (and contributed to) entitled “Iron Balloons: Fiction from Jamaica’s Calabash Writer’s Workshop” ($14.95, Akashic Books).

“The Calabash workshops are a kind of a communal experience,” said Channer. “And so the tutors are changed by the experience as much as the students are. So that’s why I wanted to have an anthology of work that conveyed the sprit of Calabash.”

The book has already spurred controversy in the story by Channer that tells of a 68-year-old Jamaican woman attending a New York City college. On the day she is to give a speech to her class, she intervenes an argument between a mother and daughter and recounts the incident to her class in a speech called “How To Beat a Child The Right and Proper Way.”

“She then tells the story of an incident that happened in 1972 when she stilled lived in Jamaica when she and her daughter got into an argument, explains Channer. “Essentially, she had to put her daughter down with an electric cord. But, all that being said, it’s a comedy.”

Channer says he understands the some of the outrage the story has sparked, but implores readers to look at both sides of this tale.

“I think most stories of children being beaten are sad stories of victimization where the reader is inclined to agree with the child,” said Channer. “This is comedic because you really want the daughter to get it, because you see how teenagers can push parents to the limit without realizing that parents can be crazy and can go off.”

The rest of the stories in the compilation span a diverse range of moods and genres from the hotel maid who gets a sexual offer that she can’t refuse to the schizophrenic singer who thinks he’s Bob Marley.

Marley is common reference in any interview with Channer, who was once described as “Bob Marley with a pen instead of Gibson guitar” by award-winning poet and critic Kwame Dawes. Channer who was born in Jamaica and lives in New York, acknowledges the influence Marley has had on his literary and artistic life as a bassist with his reggae band Pipecock Jaxxon.

“Bob Marley never had a top ten hit in the States during his lifetime. That happened after he was dead. The legacy of his work and his life is tremendous,” said Channer. “I don’t write necessarily for today. I write for the days to come.”


Juan Williams has had ENOUGH!

When Bill Cosby took to the stage of the NAACP’s 50th anniversary gala celebrating the of the Brown v. Board of Education  decision integrating schools, little did he know his comments on the current state of Black America would create a firestorm of controversy. During that speech, he admonished Blacks for not assisting or concerning themselves with the individuals who are involved with crime or have counter-productive aspirations. He further described those who needed attention as “Blacks (who) had forgotten the sacrifices of those in the Civil Rights Movement.”

Cosby criticism of what he sees as the African-American community’s acceptance of fatherless single parent households, high crime rates, and high illiteracy rates was met with a scathing critique of his personal political views. While he encouraged a more proactive effort from African-Americans to reduce those problems his comments provoked a great deal of anger from some African Americans.

The aftermath of Cosby’s comments have elicited statements and even books denouncing him as bourgeois, anti-Black and hypocritical. Through it all, Cosby reminded firmly unapologetic for his stance and instead took his message across the country in a series of town hall meetings that garnered large media attention. Cosby chastised Blacks to stop blaming whites, but to instead look to themselves for solutions. “It’s not what they’re doing to us. It’s what we’re not doing,” the entertainer told the audience of nearly 2,000 people in Detroit.

This episode in Black history spurred journalist Juan Williams to wonder why the attacks, especially from fellow African Americans, where so venomous in their delivery. He expands on this theory in his latest book “Enough: The Phony Leaders, Dead-End Movements, and Culture of Failure That Are Undermining Black America—and What We Can Do About It”($25, Crown).

Through the lens of history, Williams concludes that Cosby was a “flawed messenger” who hit upon a real issue that no prominent Black American had dared to seriously address: the destructive elements of contemporary Black culture.

In “Enough,” Williams calls Cosby a genius while taking particular aim at prominent Black leaders—from Al Sharpton to Jesse Jackson to Marion Barry.

“You don’t after somebody like that unless they got something to say that you find truly threatening. The idea in my mind was that it was important to pick up this argument by doing reporting to substantiate or contradict what Cosby had to say—to really look into it—and then to try to advance the conversation so that people don’t stop talking about this, so that we don’t turn away from what are the key issues of our day.”

In his address last week during the Annual Meeting of the Greater Philadelphia Urban Affairs Coalition, an audience of 175 GPUAC board members, staff and supporters cheered Williams’ comments.

“I thought it’s really important to put some historical context around this because again it’s such an important message at such an important moment,” explained Williams. “In my mind, you go back to the start of the last century and if you had gone to a speech by W.E.B. DuBois, you would have heard DuBois talking about the challenge of the 20th Century being the challenge of the color line in American society. It really was the introduction to the Civil Rights movement of the 20th century. But I think if you heard Bill Cosby with open ears, you would have heard something similar for the start of the 21st century, because what Cosby was doing was setting down a line saying the challenge of the 21st century in so many ways is going to be the class line. Those who are now able to step through the doors of opportunity in an America that’s increasingly divided by class are going to do just fine. But those who get left behind at this moment are going to be left in a very deep ditch.”

Williams also charged that too many Black Americans are in crisis—caught in a twisted hip-hop culture, dropping out of school, ending up in jail, having babies when they are not ready to be parents, and falling to the bottom in twenty-first-century global economic competition.

“We see so many of these social problems repeating in a generational context,” said Williams. “We see these problems as a downward spiral. Somebody at this moment has to be about helping people up so they don’t get left behind. That’s the importance of this moment and I think this is what Cosby was talking about in much the same way as Dubois was talking about racial struggle across the color barrier in the 20th century.”

Unlike the other books written in response to Cosby’s comments, Williams went to the source, Cosby himself, and the ensuing several hours of interviews are interspersed throughout “Enough.” Williams, like Cosby, has had his share of praises and criticism and says he is surprised that the book is a current bestsellers now in its seventh printing.

Although Williams may have suffered from limited media appearances since the release of “Enough,” his position as one of America’s leading political writers and thinkers is firmly ensconced. Williams is a senior correspondent for National Public Radio, a political analyst for Fox News and the author of six books including “Eyes on the Prize: America’s Civil Rights Years, 1954-1965”. Prior to writing bestsellers, he worked for 21 years at The Washington Post.

Williams condemns the “Stop Snitching” campaign as nothing more than a surrender to criminals; and he decries the glorification of materialism, misogyny, and murder as a corruption of a rich Black culture, a tragic turn into pornographic excess that is hurting young Black minds, especially among the poor.

“You might say, ‘Cosby and Juan Williams are up there moralizing,’” said Williams mock response to his critics. “But forget that for a minute and go to the numbers: 7 out of 10 (Black kids are being born to single mothers) has real consequence in terms of that child’s likely success in school. We know that a child born out of wedlock to a single mom has less of a chance to succeed in school. We know that that child is more likely to get involved with crime. We know that child is less likely to graduate from high school. We know that child is less likely to ever hold a job. So why aren’t we saying this? Why aren’t we screaming this? Why aren’t we in a panic in announcing this everyday? To our community this is not a good idea to have a child out of wedlock. Why aren’t people saying this?”