Seriously, what’s going on with Jerrod Carmichael? The roll out for his new HBO series has been non-stop controversy and mess.

After kicking things off with the extreme awkwardness of confessing his romantic feelings for good friend Tyler, the Creator, the comedian followed that up with an uncomfortable “slave joke” about his white boyfriend. During a stand-up set shown in a recent episode of “Jerrod Carmichael Reality Show,” he mused about how his boyfriend recommends books to him.

“My boyfriend, he makes me smarter, he makes me read. I have so many books. Realistically I’m not gonna read all those books. He knows that,” Carmichael said. “But the fact that I bought them says I love you. They’re little monuments around my apartment just like ‘look at this book from Amazon that I’m never gonna read.’ I sometimes joke to him that our relationship is like that of a slave and a master’s son … who, like, teaches me how to read by candlelight.”

That didn’t go over well with the audience, who reacted with groans. An unbothered Carmichael continued: “Yeah, he groans too ‘cause he’s a good person. He doesn’t like that f***ing joke. I like that joke. That’s my burden, I think that shit’s hilarious.”

The moment led Charlamagne tha God to name the Emmy winner “Donkey of the Day” on a recent episode of “The Breakfast Club.” On Tuesday, Carmichael appeared on the show to discuss his series and to explain the joke.

“You played a clip of my stand up, but it started at the punchline, and it like completely erased the setup of it,” Carmichael said. “I really don’t like that. It made it seem like I was talking like I’m into some type of race sexual slavery role play with my boyfriend, which is untrue.”

“It’s so false, and I expect that type of thing from TMZ, ‘cause they have no humanity. They don’t care about the people that get hurt when they report these sort of things. But you’re a friend, so I really didn’t like that.”

When Charlamagne noted that the clip he played was the only part of the episode he’d seen, Carmichael challenged him that taking it out of context painted an unfair picture.

“Yeah, but I need you to watch the show! And anybody who watches the show knows it’s not what I said,” he said. “It’s so false, it’s so untrue, and I don’t like that because it’s like… it has nothing to do with my boyfriend. It has nothing [to do with] the sex that we have. It has nothing to do with sex. It’s something that people have been reporting on and I really really don’t like it.”

Backlash to the clip was swift and intense with critics calling out the dangerous message of the joke. After defending himself and his boyfriend from ridiculous trolls, Carmichael noted that it’s not really his problem if people don’t like his style of humor.

“I evoke provocative imagery sometimes in my jokes. Some people are very sensitive to that. That’s your right. You don’t have to laugh at that,” he said. “You could like, hear the word slavery and completely shut off. That’s completely fine. But don’t misconstrue what I said and don’t make it into something that it’s not, because that’s where I start to get offended.”

Obviously, no one is forcing viewers to like or watch Jerrod Carmichael, but he needs to be careful how provocative he wants to get, because it feels like he’s very close to crossing a line from which he may not be able to come back.

“Jerrod Carmichael Reality Show” is available to stream on Max.

Today, music fans all over the world were ecstatic as three-time GRAMMY® Award-winning musician Future and GRAMMY®-nominated record producer Metro Boomin unveiled plans for their upcoming ‘We Trust You Tour’, sponsored by Cash App and Visa.

This electrifying arena tour, produced by Live Nation, will begin on Tuesday, July 30 at the T-Mobile Center in Kansas City, MO, and will travel across North America, stopping in major cities such as Detroit, Atlanta, Brooklyn, Houston, Toronto, Las Vegas, Inglewood, Seattle, and more, before concluding on Monday, September 9 at Rogers Arena in Vancouver, BC. The tour has 27 stops and includes a performance at Lollapalooza in Chicago, IL on Saturday, August 3.

The ‘We Trust You Tour’ is not just a spectacle of musical prowess but also a showcase of Future and Metro Boomin’s latest collaborations, with their recent releases ‘WE DON’T TRUST YOU’ and ‘WE STILL DON’T TRUST YOU’ captivating audiences worldwide. The former, released on March 22, 2024, debuted at No. 1 on the Billboard 200 chart, while the track ‘Like That’ featuring Kendrick Lamar continues to dominate Billboard’s Hot 100 for the third consecutive week.

Tickets for the tour will be made available through a Cash App Card presale, commencing on Wednesday, April 17, followed by the general on-sale on Friday, April 19, starting at 10 am local time on livenation.com.

Cash App Card holders will enjoy exclusive access to the presale from Wednesday, April 17, at 10 am local time through Thursday, April 18, at 10 pm local time, unlocking the earliest opportunity to secure tickets by utilizing the first 9 digits of their Cash App Card for access. Additionally, Cash App Cardholders will receive a 20% instant discount on all official ‘We Trust You Tour’ merchandise purchased on-site with their Cash App Card.

For those seeking an elevated experience, VIP Packages will also be available, offering premium tickets, photo opportunities in front of the stage, access to the VIP Lounge, specially designed VIP gift items, and more. VIP package contents vary based on the selected offer, and fans can find more information at vipnation.com.

FUTURE & METRO BOOMIN WE TRUST YOU TOUR DATES:

Tue Jul 30 – Kansas City, MO – T-Mobile Center
Wed Jul 31 – Saint Paul, MN – Xcel Energy Center
Fri Aug 02 – Milwaukee, WI – Fiserv Forum
Sat Aug 03 – Chicago, IL – Lollapalooza *
Sun Aug 04 – Detroit, MI – Little Caesars Arena
Tue Aug 06 – Nashville, TN – Bridgestone Arena
Thu Aug 08 – Atlanta, GA – State Farm Arena
Sat Aug 10 – Columbus, OH – Schottenstein Center
Sun Aug 11 – Toronto, ON – Scotiabank Arena
Tue Aug 13 – Boston, MA – TD Garden
Wed Aug 14 – Philadelphia, PA – Wells Fargo Center
Thu Aug 15 – Brooklyn, NY – Barclays Center
Sat Aug 17 – Washington, DC – Capital One Arena
Tue Aug 20 – New Orleans, LA – Smoothie King Center
Thu Aug 22 – Houston, TX – Toyota Center
Fri Aug 23 – San Antonio, TX – Frost Bank Center
Sat Aug 24 – Dallas, TX – American Airlines Center
Sun Aug 25 – Tulsa, OK – BOK Center
Tue Aug 27 – Denver, CO – Ball Arena
Wed Aug 28 – Salt Lake City, UT – Delta Center
Fri Aug 30 – Las Vegas, NV – T-Mobile Arena
Sat Aug 31 – Inglewood, CA – Intuit Dome
Tue Sep 03 – Sacramento, CA – Golden 1 Center
Wed Sep 04 – Oakland, CA – Oakland Arena
Fri Sep 06 – Seattle, WA – Climate Pledge Arena
Sat Sep 07 – Portland, OR – Moda Center
Mon Sep 09 – Vancouver, BC – Rogers Arena

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Fans of the iconic superstar Celine Dion have something special to look forward to as Amazon MGM Studios announces the highly anticipated documentary, “I AM: CELINE DION,” set to premiere globally on Prime Video on June 25.

Directed by Academy Award nominee Irene Taylor, “I AM: CELINE DION” promises an intimate and unfiltered glimpse into the legendary singer’s life, shedding light on her struggles with a life-altering illness. Serving as a heartfelt love letter to her devoted fanbase, this inspirational documentary celebrates the profound impact of music on Dion’s journey while highlighting the unwavering resilience of the human spirit.

Produced by Vermilion Films in partnership with Sony Music Vision and Sony Music Entertainment Canada, the documentary promises to capture the essence of Dion’s unparalleled career and her unwavering dedication to her craft.

The runtime of “I AM: CELINE DION” is set at 102 minutes, ensuring ample time for viewers to immerse themselves in the captivating narrative of one of music’s most enduring icons.

Stacy Lorts, Tom Mackay, Julie Begey Seureau, and Irene Taylor serve as producers, with an executive production team consisting of Dave Platel, Denis Savage, Shane Carter, and Krista Wegener.

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Recordings from the Notorious B.I.G., Doug E. Fresh, Slick Rick, Bobby McFerrin and other influential Black artists have been selected as inductees to the National Recording Registry.

Librarian of Congress Carla Hayden announced on Tuesday the selected 25 records that earned the esteemed recognition and preservation. The selections include several music genres ranging from jazz, rap, pop, dance, Latin, country, rock, classical and bluegrass.

“The Library of Congress is proud to preserve the sounds of American history and our diverse culture through the National Recording Registry,” Hayden said in a statement. “We have selected audio treasures worthy of preservation with our partners this year, including a wide range of music from the past 100 years, as well as comedy. We were thrilled to receive a record number of public nominations, and we welcome the public’s input on what we should preserve next.”

Biggie’s first album, “Ready to Die,” was included as one of several debut projects inducted into the registry. The Library of Congress recognized popular songs from the rapper’s album, such as “Juicy” and “Big Poppa,” for their cultural significance in hip-hop and record-breaking numbers on the Billboard Hot 100 chart.

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Doug E. Fresh and Slick Rick’s single, “La-Di-Da-Di,” was another landmark recording recognized for its place in music history as one of the most sampled recordings of all time. Additionally, Bobby McFerrin’s 1988 single “Don’t Worry, Be Happy” joins the registry for its critical acclaim and reach across past and current generations. 

The chosen titles span from 1919 to 1998. The Library of Congress selects 25 titles each year that are at least 10 years old and are “culturally, historically, or aesthetically significant.” The added songs increased the National Recording Registry to 650 recordings.

Other Black artists selected were Jackie Brenston and His Delta Cat’s “Rocket ’88′” (1951), Johnny Mathis’ “Chances Are” (1957), Lt. James Reese Europe’s 369th U.S. Infantry Band “Clarinet Marmalade” (1919) and Lee Morgan “The Sidewinder” (1964). Click here for the complete list of inductees.

Following the escalation of tensions between Iran and Israel, Congresswoman Alexandria Ocasio-Cortez (AOC) offered a scathing censure of House Republicans’ handling of the situation.

As House Republicans plan a series of floor votes on resolutions in reaction to Iran’s military attack on Israel and Israel’s attack on an Iranian Consulate, Ocasio-Cortez has expressed alarm about the potential ramifications of such actions.

In a statement issued today, AOC chastised the Republican Majority for what she described as a blatant attempt to escalate tensions in the already fragile Middle East region. She accused them of utilizing the resolutions to deflect from their own perceived flaws rather than offering essential leadership at such a vital time.

AOC condemned the resolutions as a deliberate attempt to escalate the situation, potentially leading to catastrophic outcomes including a deadly regional war. She emphasized the importance of fostering peace and stability in the region, highlighting the need for responsible leadership from the House of Representatives.

AOC expressed her opposition to what she called “cynical efforts” to exacerbate tensions, emphasizing her commitment to preventing actions that could imperil the hope of peace and increase differences among Americans.

The Congresswoman’s comment comes at a critical juncture as tensions between Iran and Israel continue to rise, raising concerns about the possibility of additional conflict in the Middle East. With the spotlight on Congress’ actions, the AOC’s posture shows a need for deliberate and responsible diplomacy in dealing with the region’s complex dynamics.

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In October 1995, the studio audience of “The Oprah Winfrey Show” strained their necks to get a better view of the screen.

In mere moments, jurors would hand down a verdict in the trial of O.J. Simpson, who stood accused of murdering his ex-wife Nicole Brown Simpson and her friend Ron Goldman.

“By the time you all see this, you will already know the O.J. verdict,” says Winfrey, facing away from her audience. “But we just like the rest of the country, are waiting to hear it live for the very first time.”

The camera flashes to the faces of two women. One Black, one white. Both waiting with bated breath for a decision. “We the jury in the above entitled action find the defendant Orenthal James Simpson not guilty of the crime of murder,” reads the lead juror.

Immediately, a group of Black women erupt from their seats, cheering on the verdict. Conversely, a scattered group of white women bow and shake their heads in noted silence.

The moment, which has re-emerged as a cultural touchstone in the wake of Simpson’s death, has come to represent the racial divide over the verdict: White America was horrified while Black America celebrated.

It’s easy to read the over-the-top studio reaction as callousness for the tragically young victims and their families who wept as the verdict was read.

Brown Simpson, 35, allegedly survived harrowing abuse at the hands of her ex-husband, Simpson, before she was brutally murdered in her home. According to the autopsy report, one of her stab wounds was so deep she was nearly decapitated. Goldman, 25, was merely returning a pair of glasses left behind at the restaurant where he was a waiter when his life was cut short. He was stabbed over a dozen times.

Regardless of how terrible the LAPD was at the time, no one credible claims that Goldman or Brown Simpson deserved what happened to them. So, should we understand Black Americans’ reaction to the verdict as pure callousness to the suffering of Goldman and Brown Simpson and adoration of “The Juice,” or is it deeper?

Charles Coleman Jr., a civil rights attorney writing for MSNBC, sais the reaction to the Simpson verdict can be primarily understood as a reaction to the Los Angeles Police Department.

“It’s not hyperbole to say that the heat from embers from the 1992 Los Angeles riots, sparked by the acquittal of the four officers who beat [Rodney King] on almost all charges, could still be felt in the air in 1994 and 1995 when members of the Los Angeles Police Department investigated Simpson and testified during his trial,” he wrote. “Black Angelenos (and Black people across the nation) believed the LAPD to be the racist enforcement arm of a bigger system that was not only unjust but went out of its way to target Black people.”

The fact that LAPD Detective Mark Fuhrman, a key witness, was caught lying about using an anti-Black racial slur further shaped the public discourse that this case was about racist policing, he argues. “The Fuhrman tape and the portrait the defense painted of Fuhrman was the prompt to root against the system, even if there was a suspicion that O.J. may have done it and we, in turn, were rooting for a cold-blooded killer,” wrote Coleman.

Ta-Neshisi Coates analyzing the case and Black America’s reaction to it for The Atlantic in 2016, came to a similar conclusion. “Racism formed the substrate of the defense’s case: The notion that the LAPD might frame a black man was completely within the realm of possibility for black people in Los Angeles,” wrote Coates.

The abuse that Brown Simpson, in particular suffered, was an afterthought, argues, Coates. “Nicole Brown was proof to the world that Simpson, among the millions of black men caught in the maze of American racism, had risen above it,” he wrote. “What sort of abuse—verbal and physical—was going on behind the mansion gates, almost no one, black or white, guessed. Or much cared.”

While Coates contextualizes the reaction to the verdict within its racial context, he doesn’t celebrate it. Instead, he warns that unless something changes, we’re doomed to repeat it.

“The problems that moved those crowds of black people to cheer for a murderer remain,” he writes. “The same anger, the same fear of police remain. The elements that interacted to turn the Simpson trial into a spectacle are still with us, so that today, two decades after Simpson was acquitted, “the audience for escapes,” in Doctorow’s words, “is even larger.”