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Bill Cosby: The Fight, The Legacy, The Flowers He’s Earned

BLACKPRESSUSA NEWSWIRE — Six years ago this month, Bill Cosby was sentenced to prison. For some, it was the spectacle of a fallen idol. For others, it was the raw proof that this nation, still drunk on its own lies, can summon racism from the judge’s bench, let it seep into the prosecutor’s chair, and finally stain the jury box.

Published

6 months ago

September 17, 2025

Stacy M. Brown

By Stacy M. Brown
Black Press USA Senior National Correspondent

Six years ago this month, Bill Cosby was sentenced to prison. For some, it was the spectacle of a fallen idol. For others, it was the raw proof that this nation, still drunk on its own lies, can summon racism from the judge’s bench, let it seep into the prosecutor’s chair, and finally stain the jury box. What was lost, what was deliberately hidden, is that Cosby—blind, wealthy, eighty years old—could have walked out untouched if he had only bent his back, signed a paper, confessed to a sin he swore he did not commit. He refused. He chose prison over surrender, isolation over capitulation. That act alone, in a country that has always demanded Black men bow their heads, ought to have been recognized as a radical declaration of dignity.

Refusing the Easy Way Out

Cosby remembered, on Let It Be Known, how they dangled freedom like meat before a starving man. “My lawyer came to me and said, the district attorney is offering you to sign a paper saying you did it… and that you wouldn’t have to do prison time,” he said. “I told my lawyer to continue with the trial… I wasn’t signing any papers or anything.” Even when caged, blind, and stripped of freedom, they offered him release if only he would renounce himself. “Sign the paper and go to these classes, and then we will let you go. Well, my signature would be in a sealed envelope, and nobody could open it.” Again, he refused. He could have chosen the coward’s path. He could have lived out his days in comfort. Instead, he chose to carry innocence as a burden, fully believing that he might never walk free again.

A Courtroom Steeped in Racism

Bill and Camille Cosby, at right, arrive at the Montgomery County Courthouse in Norristown, Pa., on June 12, 2017. Cosby is on trial for sexual assault. (POOL PHOTO)

And in those courtrooms, the poison was naked. Black jurors were denied with cynical ease. A Black woman police officer was struck from service, not because she was unfit, but because she had once beaten back a false charge laid against her. At the retrial, when one Black juror was finally seated, a prosecutor spat, “You got your one.” Another juror declared Cosby guilty before hearing a single word and was still allowed to sit in judgment. And the judge—who should have been the steward of justice—was said to have whistled the theme from Kill Bill outside the jury room before the verdict in the retrial was returned.

The first trial ended in a mistrial, the jury grinding nearly 60 hours before breaking. They had leaned toward acquittal, but the judge forced them back. After the second trial ended in conviction, and when prosecutors argued he might flee because “he has a plane,” Cosby exploded once jurors left the room: “He doesn’t have a plane, you a–hole! I’m sick of him!” Never forget that prosecutors across jurisdictions passed on every other accusation. Only one case was carried forward—and even that was not about rape. The alleged victim admitted to bitterness when Valentine’s Day passed without a call. She later dialed Cosby to ask for tickets to his show for her parents. But facts were never the point. The performance of guilt was the only script the court was willing to stage.

With the Media, The Lie had No Rival.

Camille Cosby walked through those halls like a prophetess, entering a place fouled with racial contempt. She smiled, spoke softly to her husband, and left. That smile, quiet yet defiant, seemed to say: I know exactly what is happening here. And the media, hungry and complicit, huddled with the prosecutor’s mouthpiece to make certain every headline sang the same hymn of untruth. With no cameras in the room, the lie had no rival. The mention of Quaaludes covered newspapers and flooded television news, but the case was about Benadryl, 1 and a half tablets. Fiction and made-up lies were the norm at Cosby’s trials. Mainstream media pushed the narrative that Cosby “slipped” drugs into an unsuspecting woman’s beverage. However, no evidence of such was presented at trial.

Not discussed was how prevalent Quaalude use was among both sexes. The pill they called a disco biscuit was never just a drug but a mirror of America’s hunger for escape, a hunger dressed in sequins and sweat beneath the lights of Studio 54. Hugh Hefner reportedly handed them out like candy in his mansion; a promise wrapped in velvet but steeped in surrender. Andy Warhol scribbled about them in his diaries; the artist turned witness to a culture stumbling between decadence and decay. Later, Jordan Belfort made them infamous in a Wall Street gone wild, his intoxication filmed and sold as entertainment. Notably, during the second trial, when the judge stunningly allowed as many as 20 women to testify, an accuser swore she had already ingested a Quaalude before she visited Cosby with a friend in the 1970s. Another witness testified that she left her boyfriend on an exotic island after Cosby called with a job offer in Nevada, only to be miffed about Cosby’s indifference.

Still another wrote glowing words about Cosby in her autobiography, yet completely changed the story on the witness stand. When Cosby’s team wanted to put forth a witness who allegedly was with the primary accuser when the woman had come up with a ruse to “set Cosby up,” the judge refused to allow her to tell the jury. Striking was the one person who seemed, by far, the most credible witness. A chef who worked for Cosby was present on the night of the alleged incident. That chef, a meticulous older man, testified that the visit by the accuser for which Cosby was on trial occurred on his last night in Cosby’s employ. Significantly, it proved that even if something nefarious took place, which Cosby vehemently denied, it happened well outside the statute of limitations. Among other things, the state Supreme Court agreed. The justices said the trial was illegal, should never have taken place, and the verdict was wrong. The justices ordered that prosecutors refrain from going after Cosby again.

Inside Prison Walls

Behind walls meant to break him, Cosby spoke to men the world had abandoned. At SCI–Phoenix, he joined Man Up, blind, in a wheelchair, addressing those whose bodies bore chains. After speaking of his heroes, one inmate told him, “I will be your hero, Mr. Cosby.” He spoke to Men of Valor, too. “I noticed that in the Bible, the parts about Jesus, Jesus never smiled. And I want you, if you are going to do what you say you are going to do in your turnaround, make Jesus smile.”

Pound Cake Then and Now

In 2004, Cosby thundered about a boy shot dead for stealing pound cake. “And then we all run out and are outraged, the cops shouldn’t have shot him. What the hell was he doing with the pound cake in his hand?” He called out the rot of absent parenting. Now, with years and prison behind him, he said again: “They are putting us under siege.” At Phoenix, sagging pants and untied laces were forbidden. To him, these were not fashion, but chains disguised as choice. “They would rather have a picture of a youth doing nothing, not studying, and have his pants lowered.”

Camille’s Strength

It was Camille who preserved him. “My wife, Camille, is not only a very intelligent woman, but she is a woman who saved my mother’s life, and she has saved my life by continuously saying, it’s what you put in your mouth,” he said. “She makes sure that we eat like that, and that’s why, at age 88, I’m cancer-free, and I don’t have any ailments of forgetting things.” From prison, when he phoned, Camille silenced his weakness. “Whenever I called her, I just badly wanted to tell her how I felt,” Cosby said. “And she would say, ‘Just be quiet.’” He had called her strength “love and the strength of womanhood. And you could reverse it, the strength of womanhood and love.”

Giving Back

Cosby and Camille poured more than $200 million into higher education, including $20 million to Spelman College, at that time the largest gift ever given to an HBCU. Those gifts were not simply donations. They were lifelines—scholarships, endowments, futures carved from generosity.

Television and Film Legacy

Cosby broke into I Spy, the first Black co-lead in a drama. He created Fat Albert, a mirror for Black children. He built The Cosby Show, which for five years reigned supreme, showing Cliff and Clair Huxtable as what America insisted could not exist: a Black family whole, professional, and loving. A Different World sent young people surging toward HBCUs. And with Sidney Poitier, he made Uptown Saturday Night, Let’s Do It Again, A Piece of the Action—comedies still treasured in Black homes, still testaments to resilience and wit when Hollywood offered little but caricature. Cosby demanded truth on screen. When told to strip a poster from Theo’s wall—one that read “Abolish Apartheid”—he warned them: “If you do, you can take the show with it.”

The Black Press

Unlike so many others who rose to fame, Cosby never turned his back on the Black Press. His only prison interview was with the Black Press. His first long interview after release was again with the Black Press. In 2014, he said, “I only expect the black media to uphold the standards of excellence in journalism, and when you do that, you have to go in with a neutral mind.”

Deserving a Parade

Cosby’s path has been strewn with glory, grief, and betrayal. Yet what remains is a record that cannot be erased. He shattered television’s barriers, poured hundreds of millions into education, gave film and television back to his people, and stood on innocence when it would have been so easy to surrender. Through it all, he was held by Camille, and he never abandoned the Black Press. We say, give flowers to the living. Bill Cosby has earned more than flowers. For what he has given Black culture, he deserves a parade. And somewhere, the ticker tape waits.

Stacy M. Brown

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Black Artists in America, Installation Three Wraps at the Dixon Gallery and Gardens

TRI-STATE DEFENDER — With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

Published

1 day ago

March 24, 2026

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By Candace A. Gray | Tri-State Defender

The tulips gleefully greet those who enter the gates at the Dixon Gallery & Gardens on an almost spring day. More than 650,000 bulbs of various hues are currently on display. And they are truly breathtaking.

Inside the gallery, and equally as breathtaking, is the “Black Artists in America, From the Bicentennial to September 11” exhibit, which runs through Sunday, March 29. This is the third installment of a three-part series that started years ago and illustrates part of the Black experience through visual arts in the 20th century.

“This story picks up where part two left off,’’ said Kevin Sharp, the Linda W. and S. Herbert Rhea director for the Dixon. “This era is when we really start to see the emergence of these important Black artists’ agency and freedom shine through. They start to say and express what they want to, and it was a really beautiful time.”

With 50+ paintings, sculptures and assemblages, the exhibit features artists like Varnette Honeywood from Los Angeles, whose pieces appeared in Bill Coby’s private collection (before they were auctioned off) and on “The Cosby Show.” Also included are works by Alonzo Davis, another Los Angeles artist who opened one of the first galleries there where Black Artists could exhibit.

“Though [Davis] was from LA, he actually lived in Memphis for a decade,” said Sharp. “He was a dean at Memphis College of Art, and later opened the first gallery in New York owned and operated by black curators.”

Another featured artist is former NFL player, Ernie Barnes. His work is distinctive. Where have you seen one of his most popular paintings, Sugar Shack? On the end scene and credits of the hit show “Good Times.” His piece Saturday Night, Durham, North Carolina, 1974 is in this collection.

Memphis native James Little’s “The War Baby: The Triptych” is among more than 50 works featured in “Black Artists in America, From the Bicentennial to September 11” at the Dixon Gallery & Gardens, the final installment of a three-part series highlighting the impact and evolution of Black artists through 2011.

The exhibit features other artists with Memphis ties, including abstract painter James Little, who was raised in a segregated Memphis and attended Memphis Academy of Art (before it was Memphis College of Art). He later moved to New York, became a teacher and an internationally acclaimed fixture in the art world in 2022 when he was named a Whitney Biennial selected artist at the Whitney Museum of American Art in New York.

Other artists like Romare Bearden, who had a Southern experience but lived up North, were featured in all three installments.

“During this period of time, he was a major figure,” said Sharp. “He wrote one of the first books on the history of African American art during a time when there were more Black academics, art teachers, more Black everything!”

Speaking of Black educators, Sharp said the head curator behind this tri-part series and Dixon’s partner in the arts is Earnestine Jenkins, Ph.D., an art history professor at the University of Memphis, who also earned a Master of Arts degree from Memphis State University (now UofM). “We began working with Dr. Jenkins in 2018,” he said.

Sharp explained that it takes a team of curators, registrars, counterparts at other museums, and more, about three years to assemble an exhibit like this. It came together quite seamlessly, he added. Each room conjured up more jaw-dropping “wows” than the one before it. Each piece worked with the others to tell the story of Black people and their collective experience during this time period.

One of the last artists about whom Sharp shared information was Bettye Saar, who will turn 100 years old this year. She’s been working in Los Angeles for 80 years and is finally getting her due. Her medium is collages or assemblages, and an incredible work of hers is on display. She’s married to an artist and has two daughters, also artists.

The exhibit catalogue bears some of these artists’ stories, among other scholarly information.

The exhibit, presented by the Joe Orgill Family Fund for Exhibitions, is culturally and colorfully rich. It is a must see and admission to the Dixon is free.

Visit https://www.dixon.org/ to learn more.

Fun Facts: An original James Little design lives in the flooring of the basketball court at Tom Lee Park, and he makes and mixes his own paint colors.

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Grief, Advocacy, and Education: A Counselor Reflects on Black Maternal Health

SAN DIEGO VOICE & VIEWPOINT — Last month healthcare leaders, birth workers, and community members gathered to honor the legacy of Charleston native Dr. Janell Green Smith, a nurse-midwife and doctor of nursing practice who died in January from childbirth complications. She had participated in more than 300 births and specialized in helping Black women give birth safely.

Published

1 day ago

March 24, 2026

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By Jennifer Porter Gore | Word-In-Black | San Diego Voice and Viewpoint

In 2024, the number of U.S. mothers who died as a result of pregnancy or childbirth dropped compared to 2023. But while slightly fewer Black mothers died that year, they still had three times the mortality rate of white women.

South Carolina’s rates of maternal deaths outpaced even the national rates. In fact, the state’s overall rate of maternal deaths between 2019 and 2023 was higher than all but eight states and the District of Columbia.

Last month healthcare leaders, birth workers, and community members gathered to honor the legacy of Charleston native Dr. Janell Green Smith, a nurse-midwife and doctor of nursing practice who died in January from childbirth complications. She had participated in more than 300 births and specialized in helping Black women give birth safely.

Her death shocked the community and her colleagues who are determined to address concerns about Black maternal health. The event also covered the importance of protecting mental health during grief and of men’s role in solving the maternal health crisis.

As both a therapist and a father, Lawrence Lovell, a licensed professional counselor and founder of Breakthrough Solutions, discussed ways the event’s attendees could process their grief over Green Smith’s death. He also shared ways male partners can advocate for women’s maternal health during pregnancy and childbirth.

Lovell spoke not just as a therapist but also as a father whose own family had briefly crossed paths with Green Smith. The event, he said, emerged organically from a moment of collective mourning.

Despite the grief, “it was still, like, a really beautiful event, a much-needed event, and it almost felt like we were all giving each other a collective family hug,” says Lovell.

His connection to Green Smith, Lovell says, was brief but meaningful during his wife’s pregnancy with their second child. Green Smith was practicing at the same birthing center where they had their child. She began practicing in Greenville a short time later.Even that short connection carried significance for Lovell, given the small number of Black maternal health professionals.

Lovell did not initially plan to become a mental health practitioner; he chose the career path after graduating from college, when someone suggested he consider psychology. His interest deepened when he noticed how few Black men work in mental health.

“Being Black man and playing football in college, there weren’t a lot of people that look like me talking about mental health,” says Lovell. “[I wanted] to give people that look like me an opportunity to work with someone that looks like them.”

Working with Expectant and New Parents

Lovell often counsels couples preparing for parenthood by, helping partners understand what a successful pregnancy, childbirth, and postpartum recovery look like. That often means helping women manage postpartum depression.

As a man, Lovell says, it’s “humbling” that a woman “just trusts me enough to work with me through their pregnancy or their postpartum recovery.”

In his work, Lovell has noticed how few men understand pregnancy before they experience it with their partner. Because early pregnancy symptoms are often invisible, he says, men may underestimate how much support a mom-to-be actually needs.

“Sometimes they may not realize they don’t know much about pregnancy and what to expect in those three trimesters,” Lovell says. “I tell a lot of the men that just because you can’t see [she’s pregnant] doesn’t mean that she won’t appreciate your intense support in that first trimester.”

Education about pregnancy and postpartum recovery, he says, can change how men support their partners.

Teaching Advocacy in the Delivery Room

Another major focus of Lovell’s counseling is preparing men to advocate for mothers during labor.

“Helping men understand what pregnancy looks like: what delivery is going to look like, and what are the realistic expectations that I should have of myself in postpartum,” he says.

Lovell encourages partners to be honest about their expectations for what will happen during delivery. He helps them prepare for the big day by discussing the birth plan and knowing how to quickly recognize problems. Clear communication, he says, prevents misunderstandings.

He regularly trains men to ask their partners detailed questions about their expectations during and after pregnancy. Advocacy in medical settings can be especially important and requires attention to details the mother may not be able to address.

“It’s always important to fine-tune things and truly understand what helps your partner feel most supported,” Lovell says. “Instead of guessing, you should ask.”

Lovell recalls a moment during the birth of his first child when he had to take that role.

During the delivery, “I felt like something wasn’t as sanitary as I’d like it to be,” he says. “I asked, ‘Hey, can you switch those out? Can you change your gloves?’”

Lovell has a succinct but powerful message he regularly shares with clients’ families, and he shared it with attendees at last month’s event.

“Just to believe women,” he says. “I’ve worked with different couples, and sometimes I’m not really sure that there’s enough empathy from the men.”

That includes how women express pain.

“If a woman says, ‘my pain is at a nine,’ just because how you would express yourself at a nine is different than how she’s expressing herself at [that level] doesn’t mean you shouldn’t believe her,” he says.

Empathy, he says, can change outcomes far beyond the delivery room.

“We’ve got to believe women when they’re talking about their experiences and their feelings and their pain,” he says. “I think there’s a lot that we can prevent if we empathize better.”

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Future of Florida’s Black History Museum in Limbo

JACKSONVILLE FREE PRESS — A proposal sponsored by Tom Leek, a Republican from Ormond Beach, has now passed the Senate in back-to-back legislative sessions. But the House version, filed by Kiyan Michael, a Jacksonville Republican, did not receive final approval in either year, effectively stalling the effort.

Published

1 day ago

March 24, 2026

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Jacksonville Free Press

Plans to establish a long-awaited Black history museum in Florida are once again on hold after legislation needed to advance the project failed to clear the state House for a second consecutive year, despite repeated approval in the Senate.

A proposal sponsored by Tom Leek, a Republican from Ormond Beach, has now passed the Senate in back-to-back legislative sessions. But the House version, filed by Kiyan Michael, a Jacksonville Republican, did not receive final approval in either year, effectively stalling the effort.

Under Florida law, identical or similar bills must pass both chambers before heading to the governor’s desk. Without House approval, the legislation has been unable to move forward, leaving the project in limbo. Long journey, contested location.

The proposed museum, formally known as the Florida Museum of Black History, has been years in the making, with lawmakers and community leaders framing it as a long-overdue institution to preserve and showcase the state’s African American heritage .A central point of contention has been the museum’s location. St. Augustine — widely recognized as the nation’s oldest city and a site deeply tied to both slavery and early Black history — emerged as the leading contender. Supporters argue the city’s historical significance makes it a natural home for the museum. However, competing interests and regional considerations have fueled debate, slowing consensus among lawmakers.

While the Senate-backed measure has consistently advanced, the lack of alignment in the House has underscored ongoing divisions about how and where the project should take shape.

The holdup in the Florida House appears to be less about opposition to the museum itself and more about a combination of procedural bottlenecks, unresolved structural issues, and lingering disagreements over how the project should be formalized and governed.

Despite the legislative setbacks, Republican Gov. Ron DeSantis has publicly voiced support for the museum. Speaking last month during the unveiling of a statue of abolitionist Frederick Douglass in St. Augustine, DeSantis said the project would move forward “one way or another,” signaling an intent to see the museum built regardless of legislative hurdles.

The anticipated museum has already cleared several hurdles. St. Johns County signed an agreement last year with Florida Memorial University to use the land that once housed its campus last year’s legislative session netted $1 million in funding for St. Johns County to work on planning and design for the museum. However, its anticipated that a million $3 million is needed.

Still, without statutory approval to finalize key components — including governance, funding mechanisms and site selection — the project remains largely conceptual.
With the House bill failing again, the timeline for the museum’s development is unclear. Lawmakers could revisit the proposal in the next legislative session, but any further delays risk pushing the project back several more years. Advocates warn that continued inaction could stall momentum for a museum many see as critical to telling a fuller, more accurate story of Florida’s past. For now, the effort remains paused — caught between political support at the top and legislative gridlock within the Capitol.