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COMMENTARY: Bill Cosby Handed Bum Deal from Superior Court

NNPA NEWSWIRE — The primary reason that Cosby and his team cited to justify the appeal is that Judge Steven T. O’Neill allowed the testimony of prior bad acts – five other women who were not connected to this case but who claimed they were also drugged and assaulted by Cosby.

Published

6 years ago

January 3, 2020

Stacy M. Brown

Cosby maintains that he had never given women Quaaludes without their knowledge or consent. He said he obtained them because, in the 1970s, "it was the in thing." Both women and men wanted them, similar to the ecstasy craze of the 1980s and 1990s.

By Stacy M. Brown, NNPA Newswire Senior Correspondent
@StacyBrownMedia

On December 10, the Pennsylvania Superior Court unanimously rejected Bill Cosby’s appeal.

The primary reason that Cosby and his team cited to justify the appeal is that Judge Steven T. O’Neill allowed the testimony of prior bad acts – five women who were not connected to this case Cosby was tried for but who claimed that they were also drugged and assaulted by Cosby.

According to several attorneys and legal experts interviewed by NNPA Newswire, that ruling and many of the other decisions made by O’Neill over the course of the trial, were questionable.

“With respect to prior bad acts evidence, such as these other accusers, trial courts often let this type of evidence in where the Commonwealth can show that the allegations were similar or somewhat similar to the allegations in the current case, and the appellate courts usually approve of this,” stated Zak Goldstein, a Philadelphia-based criminal appeals attorney with the firm, Goldstein Mehta LLC.

“It then becomes incredibly difficult to obtain a fair trial as this type of propensity evidence is overwhelmingly prejudicial,” Goldstein added.

For those that may be unaware, Cosby faced two trials.

The first trial resulted in a hung jury where 10 of the 12 jurors voted to acquit Cosby.

The second trial resulted in Cosby’s conviction and a three-to-10-year prison sentence.

The NNPA Newswire covered both trials and their aftermath.

Both trials hinged upon Cosby’s interaction with Andrea Constand, a former Temple University athlete and employee.

Cosby acknowledged giving Constand one-and-a-half tablets of Benadryl, which is less than the normally dispensed dosage.

Benadryl is an antihistamine used to relieve symptoms of allergy, hay fever, and the common cold. It is considered one of the oldest and most frequently used over-the-counter medications for children, and normally dispensed in 25 MG tablets at a dosage of one to two tablets every four-to-six hours.

Contrary to popular belief, Quaaludes were never administered to Constand.

Both Cosby and Constand agree that Constand was never coerced to accept the Benadryl tablets. She accepted them and consumed them of her own free will.

During Cosby’s initial trial, in 2017, Constand and Kelly Johnson, who worked for Cosby’s agent, the William Morris Agency, were allowed to testify.

Both women alleged that Cosby drugged and sexually assaulted them.

Johnson initially testified said the incident happened in the late 1980s. However, during her testimony she changed the date of the incident at least three times, citing a different year each time.

While O’Neill allowed prosecutors to call Johnson, whose case was arguably unrelated to Constand, to testify, he refused to allow Cosby’s lawyers to call Marguerite Jackson, a Temple University employee, who in a sworn affidavit, said Constand told her about Constand’s scheme to “get Cosby.”

Because of O’Neill’s refusal to allow testimony from Jackson, the defense did not call a single witness during the 2017 trial, which ended in a hung jury.

“It is not surprising to me that the first trial, where only one ‘prior bad act’ was allowed into evidence, resulted in a hung jury while the second trial, where more accusers were allowed to testify, resulted in a conviction,” Goldstein stated.

In the second trial in 2018, O’Neill shockingly reversed his decision from allowing one woman to testify against Cosby, to letting prosecutors call five other women who had decades-old, uncharged, and unproven claims against the actor.

One of the women, Janice Baker-Kinney, testified that she had taken a Quaalude BEFORE visiting Cosby. Later, she said she accepted another pill from Cosby while at his home in Tahoe, Nevada.

When asked on the witness stand why she took a Quaalude, Baker-Kinney gave perhaps the most damning response: “To get in the mood,” she stated.

Another woman, Chelan Lasha, gave her testimony while being coached from the audience by her attorney.

The Black Press observed attorney Gloria Allred appearing to motion for her client to cry while on the witness stand. Lasha sobbed throughout the entire, almost unintelligible testimony.

O’Neill refused to allow Cosby’s attorneys to question Lasha, or inform the jury, about her reported history of perjury and prostitution.

Another woman, former supermodel Janice Dickinson, testified that Cosby assaulted her in the 1980s.

Dickinson claimed that she was on a modeling shoot on an exotic island with her boyfriend when Cosby called her from Nevada.

She immediately left the boyfriend and flew to Nevada, where she had dinner with Cosby and a friend.

Dickinson said she went to Cosby’s room, and he drugged and assaulted her.

In her memoirs, however, Dickinson wrote an entirely different story.

She said, “Cosby was such a gentleman,” and noted that she had gotten high on her own. A photo displayed in court regarding the night in question was curious.

It showed Cosby in a robe and talking on the telephone, while Dickinson lies on a bed appearing alert and a willing participant in whatever was to take place.

The second trial also was a lesson on how not to select a jury.

When selected, Juror #11, quipped that Cosby was already guilty. However, O’Neill refused defense attorneys request to remove him.

Also, despite other jurors admitting to “personal relationships” with case detectives and prosecutors, O’Neill also refused defense motions to remove them.

One juror even admitted to being neighbors and friends with O’Neill’s court reporter, but the judge declined to remove that individual.

The judge also refused to rule on whether the statute of limitations had expired.

In Pennsylvania, the statute of limitations on sexual assault is 12 years. For prosecutors to have brought a case against Cosby that dated back to 2004, it must have been done by December 31, 2016.

A day earlier, on December 30, 2016, prosecutors did charge Cosby.

Lead defense attorney Tom Mesereau laid out travel and telephone records that should have proved that the case against Cosby was filed after the statute of limitations had run.

O’Neill declined to rule on the statute of limitations, and decided to allow jurors to determine if they had indeed expired. Based on statements released by the jury, they never considered the law about the statute of limitations.

Prosecutors pinpointed the date of the Constand/Cosby incident to the second or third week in January 2004. However, evidence showed that Cosby wasn’t in Pennsylvania at all in January 2004.

The documents also showed Cosby wasn’t in the state in December 2003.

Perhaps the most credible witness called by either side was Cosby’s former personal chef, John-Conrad Ste. Marthe.

Earlier, Constand testified that the Ste. Marthe was at the house the night of the incident and left after preparing a meal, and he was still in Cosby’s employ.

Ste. Marthe remembered Constand but testified that he left his position in May of 2003 – a 2009 New York Times feature on the chef noted that he did leave Cosby’s employ in 2003.

O’Neill also limited testimony of a key defense witness who had sworn in a deposition that Constand and her mother were seeking money from Cosby.

Robert Russell, a former friend of Constand, said Constand was hooked on mushrooms and marijuana, and she came to America to try and become a millionaire.

Russell said he, Constand, and her mother, Gianna, were close friends in the late 1990s and early 2000s.

“The prosecution is trying to say that [Constand] is some innocent babe in the woods,” Mesereau said at the time. “They’ve painted the idea that’s she’s naïve, pure and holistic, and that she was naïve in accepting pills from Bill Cosby.”

Russell, who said Constand’s mother, Gianna, “hated blacks and gays,” said Constand wasn’t “this holistic person” she portrayed herself to be and that she had a plan to get $1 million from Cosby, who eventually paid Constand nearly $4 million to settle a civil claim she’d brought against him after prosecutors initially declined to prosecute Cosby.

That civil case involved Cosby providing a deposition that included his response to Constand’s lawyers questioning whether he had provided Quaaludes to women he dated decades earlier.

In the deposition, Cosby maintained that he had never given women Quaaludes without their knowledge or consent. He said he obtained them because, in the 1970s, “it was the in thing.” Both women and men wanted them, similar to the ecstasy craze of the 1980s and 1990s.

When asked if he gave them to women whom he wanted to have sex with, Cosby said he did.

While his statements to police and in his deposition remained consistent, Constand’s statements changed several times. So much so, that former District Attorney, Bruce Castor, advised her to seek civil remedies because he said: “she’s not credible.”

O’Neill refused to allow Castor to testify on behalf of the defense, in part, because of a longstanding feud between the judge and Castor.

Reportedly, O’Neill blamed Castor for outing an affair O’Neill had with a then-assistant district attorney in Castor’s office.

During the Cosby trial, O’Neill refused to recuse himself, and inexplicably gave an emotional and arguably inappropriate dissertation from the bench on how much he loves his wife and how she’s independent.

As jurors deliberated Cosby’s fate, O’Neill was seen and heard outside of the juror room, whistling the song from the hit movie, “Kill Bill.”

Shortly afterward, the jury reached its verdict to convict Cosby.

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

2 weeks 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

2 weeks 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

2 weeks 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.