Janet Jackson and Justin Timberlake at the Super Bowl
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Op-Ed: 15 Years After Super Bowl XXXVIII’s “Nipplegate,” Janet Jackson Still Won

Janet Jackson has stood the test of time in the face of adversity.

Fifteen years ago, on Sunday, Feb. 1, 2004, the Carolina Panthers faced the New England Patriots for Super Bowl XXXVIII in Houston, Texas. Outside of the game, the entertainment lineup was superb. Due to the game taking place one year after the shuttle Columbia disaster, multi-platinum singer and actor Josh Groban started the pre-game show by performing “You Raise Me Up” in tribute to the crew who lost their lives. Miss Third Ward Houston native Beyoncé then sang a rousing rendition of the national anthem, and Aerosmith took the stage to perform “Baby, Please Don’t Go” and “Dream On.”

The first half came and went, and then it was time for the part of the Super Bowl that everyone loves: the halftime show, which was produced by MTV and CBS Sports. Jessica Simpson, Diddy, Nelly, Kid Rock, Justin Timberlake, and Janet Jackson were all set to perform during the show centered around the Choose or Lose campaign, which was started by MTV in 1992 to encourage their audience to register to vote.

After doing a solo performance of “Rhythm Nation,” Janet Jackson was joined on stage by Timberlake for a duet of his song “Rock Your Body.” As expected for a song with that title, the duo performed a few suggestive moves much to the audience’s delight. Then, it was time for the song to end, and no one was ready for what came next. With the final line “I’m gonna have you naked by the end of this song,” Justin pulled a part of Janet’s outfit that revealed her right breast which was decorated with a nipple shield. CBS cut away from the stage, and the massive fallout began.

 

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Happy Holidays u guys 🤗 I hope u have a great New Year. 💜

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Through her representatives, Jackson issued a statement on Monday following the game. The next day, she issued a video apology for her part in the incident. "The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals," Jackson said. "MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended — including the audience, MTV, CBS and the NFL."

MTV followed with a statement that evening, saying, "MTV was as surprised and shocked as anyone last night. Janet Jackson acknowledged that we had no prior knowledge of her plans. We will continue to investigate the circumstances. Our goal with the Super Bowl Halftime show was to produce an entertaining stage experience with a positive message about empowerment and voting. We are disappointed that this message has been overshadowed by the unfortunate incident. MTV apologizes again to anyone who was offended."

However, the apologies weren’t enough to keep CBS from being fined for the incident. Michael Powell, chairman of the Federal Communications Commission (FCC) ordered an investigation insisting that “somebody had knowledge of it.” In the end, the FCC fined CBS an astounding $550,000 (later voided in 2011).

And so began the modern day “He-Man Woman-Haters Club,” or maybe just a He-Man Janet Jackson-Haters Club. No one could guess just how long the fallout would last and how it would affect only one party: Janet Jackson.

The 46th annual Grammy Awards were one week later and were set to also air on CBS. Timberlake was nominated and scheduled to perform, while Jackson was set to present to Luther Vandross. A longer tape delay was also planned due to the Super Bowl incident. However, CBS used the Super Bowl incident to their advantage and allegedly worked behind the scenes to have Jackson removed from the program due to her not agreeing to issue yet another apology. Timberlake stayed in line with the old boys’ club and issued several apologies. One such apology happened on stage during his Grammys acceptance speech where Timberlake stated, “What occurred was unintentional, completely regrettable, and I apologize if you guys were offended.”

It was apparent that due to Janet Jackson not playing by CBS’ rules, she would ultimately face the harsh reality of being shunned and blackballed in the industry. The youngest in the Jackson clan went from superstardom to very little promotion and even less support from those who once praised her every move.

CBS' now former CEO and Viacom’s then co-president and Co-COO, Les Moonves, led the charge in blackballing Janet. In his eyes, Jackson wasn’t “sufficiently repentant” and caused him embarrassment. Reportedly, he demanded her songs and music videos be removed from rotation on VH1, MTV, and all Viacom-owned entities. When it was reported several years later that Jackson secured a book deal through Simon & Schuster once they were under CBS, Moonves was irate. Sources reported him saying, “How the f**k did she slip through?”

Obviously, the same way his sexual misconduct slipped under the radar, that is, until the summer of 2018. The longtime CBS chairman was ousted when he joined a long list of powerful men being brought down by the #MeToo movement. In a detailed report from The New Yorker last August, more than a dozen women including former CBS employees, delivered powerful statements regarding sexual misconduct by Moonves. In turn, he was let go from the position that he held for over 20 years and was denied $120 million in severance pay. He was stripped of the same power that he used to blackball Jackson and deny her the spotlight to advance her career.

However, Moonves wasn’t been the only party to suffer due to their disregard and mistreatment of Jackson. Timberlake, who used the momentum and press from the Super Bowl to catapult his solo career into high gear, also recently suffered in album sales and popularity, particularly in the black community.

Following the Super Bowl mishap, Timberlake’s star was on the rise. Thanks to his laughable apology, he was allowed a spot on the Grammy stage and took home two Grammy awards that year. He went on to grace stages worldwide, star in movies, start a family and release more solo albums. He also eventually admitted to Jackson receiving more criticism for the mishap than he did.

“If you consider it 50-50, then I probably got 10 percent of the blame,” Timberlake said in a 2006 MTV interview. “I think America is harsher on women. I think America is unfairly harsh on ethnic people.”

Then, it was announced that he was performing at last year’s Super Bowl LII and releasing a less than soulful album with Man of the Woods. The album produced the lowest first-week sales Timberlake has ever garnered for his five albums, sans NSYNC, moving 293,000 units in its first week. That was a major drop from the sales of his previous album, The 20/20 Experience, which sold 968,000 units during its first week. His 2018 Super Bowl performance also garnered mixed reviews and ample side eyes. It was preceded with a #JanetJacksonAppreciationDay hashtag, which was one of the top trending topics on Twitter the entire day of the Super Bowl, somewhat overshadowing his return to the Big Game’s stage and rightfully so.

In the midst of the ridicule, shame and complete disdain for an act that involved more than one party, Janet Jackson has held her head high and persevered. She released her eighth studio album Damito Jo two months after the incident with little to no promotion. However, the album still went on to debut at No. 2 on the Billboard 200 charts. Although she suffered a personal loss with the death of her brother Michael in 2009, she still pressed on with hit albums, numerous awards and film and television roles. In 2015, she inked a major partnership with BMG, which included the beginning of her own label, Rhythm Nation.

Since “Nipplegate,” Jackson has rocked arenas around the world on four highly-anticipated tours. For her Unbreakable World Tour, Jackson partnered with Uber to give fans in more than 25 cities the chance to win tickets by just using the app for rides. The State of the World Tour, which included 78 stops between 2017 and 2019, grossed over $44 million in sales.

Jackson even went on to star in a real-life “role” of a lifetime when she welcomed her baby boy, Eissa Al Mana, on Jan. 3, 2017 at 50 years old. Just last year, she won the Icon Award at the Billboard Music Awards, the first black female artist to do so. And most recently, in December 2018, it was announced that she is joining six other inductees for the 2019 Rock & Roll Hall of Fame class.

In addition to her many accomplishments, she is also revered and respected by her music peers, and she has inspired the career of many of today’s pop and R&B stars, including Britney Spears, Jennifer Lopez, and especially Ciara. During the 2015 BET Awards, the Princess of Crunk & B paid tribute to her idol with rousing performances of “If” and “Rhythm Nation.” Then in 2018, Ciara re-expressed her love for Janet to Billboard saying, “Everything she does is perfection. It says a lot to me. It says you gotta care, you gotta give 100 percent every time... She is queen of creating those iconic moments that we still talk about today. She has been a huge influence in my life.”

That level of impact in a career that spans more than four decades cannot be denied nor held down. Following “Nipplegate,” she may have endured a few hiccups and been shunned, but her star will forever shine brightly. She has proven that much with her success before and definitely with the “Black Girl Magic” she has displayed since then.

What a difference 15 years makes, huh? In the end, Janet “Miss Jackson If You’re Nasty” won.

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NFL Commissioner Roger Goodell and Jay Z at the Roc Nation and NFL Partnership Announcement at Roc Nation on August 14, 2019 in New York City.
Kevin Mazur

‘Inspire Change?’ NFL's Super Bowl PSAs Only Inspire More Skepticism

It’s been a few months into the NFL’s controversial “Inspire Change” initiative, a promotion by the league to highlight the Player’s Coalition and its work to address social issues. “Inspire Change” officially launched last year, (to “nurture and strengthen community through football and music,” said official statements) with the league’s partnership with Roc Nation expected to guide much of the outreach and voice.

"With its global reach, the National Football League has the platform and opportunity to inspire change across the country," Jay-Z said via press release back in August. "Roc Nation has shown that entertainment and enacting change are not mutually exclusive ideas -- instead, we unify them. This partnership is an opportunity to strengthen the fabric of communities across America."

The first “Inspire Change” ad featured the Botham Jean Foundation, and focused on the Jean family and their reaction to Botham’s 2018 death at the hands of Dallas police officer Amber Guyger. Jean’s murder, in which Guyger shot the 26-year-old as he sat in his apartment after saying she’d believed it was her own, drew international attention. The subsequent trial and conviction of Guyger drew derision and criticism after the former officer was sentenced to ten years (with parole eligibility in five) amidst hugs from the prosecuting judge and official statements from the family that focused on forgiveness.

“He just loved people and he was very particular about the company he kept. So I felt he was not in harm’s way,” his mother, Allison Jean, says during the video.

The NFL debuted the Jean ad online in late January to a mixed reception, and a new ad was shown during Super Bowl LIV. In the new ad, former 49ers wide receiver Anquan Boldin is heard speaking about what happened to his cousin, Corey Jones, on the night of October 18, 2015. That night, Jones was shot and killed in Florida by a plainclothes police officer as Jones was stuck on the side of the road with car trouble.

“I was still playing with the 49ers and my wife walks up after the game and told me that my cousin Corey had been killed. Corey broke down on the side of the road and a plain clothed police officer pulled up. Then this guy starts screaming. All you hear from there is three shots.”

Both ads focus on family and loss: the first clip features footage of Botham Jean’s brother hugging his convicted murderer in court as Jean’s mother and father talk about forgiveness. In the second ad, Jones’ father tearily asks “Why? Why’s my son gone today? Why?” The human toll of these crimes is front-and-center, but as far as the institutions that have created this reality for so many non-white people in America, they’re comparatively peripheral in these clips. The word “police” is never uttered, and while the tagline is “We’re all in this together,” there is nothing on screen to suggest racism is the common enemy. It’s cozy to posit that “we” are the solution, but what’s the point if I don’t have the fortitude to declare that you are the problem?

When Jay-Z’s partnership with the NFL was announced just before the start of the 2018-2019 NFL season, many saw it was a mogul putting business before social justice. After all, the league had kept Colin Kaepernick on the sidelines for three years, and Jay supposedly supported Kaep and his protest—so why get in bed with the league that had effectively blackballed the quarterback? There didn’t seem to be any benefit in Roc Nation partnering with the NFL—outside of the NFL being able to save some face after losing some fans because of the treatment of Kaepernick. Working with a mogul who, in recent years, has become a symbol of Woke™ Celebritydom, could go a long way towards softening the league’s image as one that defers to good ol’ boyism. The most skeptical saw the initiative as a chance for the NFL to score cool points while using Jay-Z’s brand to do it. And with these new ads, those cynics have been proven right.

The hope behind these ads is that they will inspire the more ambivalent or right-leaning members of the NFL’s viewing audience to take up the cause that the league itself effectively punished Colin Kaepernick for protesting. That side of the NFL’s audience has made it clear that it does not commiserate with Kaepernick or his cause, but these ads are supposed to be what sways them. These ads are supposed to start a conversation. Roc Nation also pressed NFL commissioner Roger Goodell to commit $100 million to social justice outreach, and Jay-Z has emphasized that he did not do this deal for anything other than a chance to use the platform to raise awareness on the issues.

It’s a stance that Jay has been voicing since that first announcement in August. “As long as real people are being hurt and marginalized and losing family members, then yes, I can take a couple rounds of negative press,” Jay said this week in an interview with The New York Times. He also said that he feels for what’s happened with Kaepernick (a workout this fall turned into a debacle for all parties involved), but he feels that what Roc Nation is doing is pushing things forward.

“No one is saying he hasn’t been done wrong. He was done wrong. I would understand if it was three months ago. But it was three years ago and someone needs to say, ‘What do we do now — because people are still dying?’

“We didn’t say, ‘Let’s go make some money off the N.F.L.’”

Nonetheless, the NFL’s “Inspire Change” campaign feels more like a big-budget facelift for a league that still struggles with who it is and who it wants to sell itself to; as opposed to a lucrative corporation finding its conscience. In 2016, famed director Spike Lee was hired as a “consultant” for the NYPD when the department wanted to create initiatives to “build trust with minority communities.” Roc Nation’s cosign amidst the “Inspire Change” campaign feels like a similar maneuver from the NFL. These ads stoke emotion without indictment, evoking the murders of Botham Jean and Corey Jones at the hands of police officers, but focusing on sentimentality and not how and where reformation is needed. Jay has become someone who wears his “activist celebrity” tag on his sleeve, but how do moguls truly benefit causes? From his role in Barclays Center and the gentrification that accompanied its opening, to his deal with Barneys--can he truly occupy both worlds? Jay-Z wants Roc Nation's work with the NFL to push people to act, for everyone to see themselves in these victims. But the NFL can’t soft soap this and expect anyone to take any of this seriously. You can’t truly “inspire change” with post-woke pandering—or by helping conglomerates save face.

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Shakira performs onstage during the Pepsi Super Bowl LIV Halftime Show at Hard Rock Stadium on February 02, 2020 in Miami, Florida.
Kevin Winter/Getty Images

Shakira's Cultural Homages During The Super Bowl Halftime Show Deserve A Standing Ovation

Now that the glitter and fireworks have settled in Miami after Jennifer Lopez and Shakira's Super Bowl Halftime performances, the ladies are getting their just due props for incorporating Latinx, Arabic, and black/African culture into their sets.

Shakira's homages were the most prominent Sunday (Feb. 2) with many mocking her "tongue-wagging" which was a nod to her Lebanese roots. Known as zaghrouta, the act is one of celebration and joy often done to express gleeful emotions at weddings and graduations. The 43-year-old (Sunday was her birthday) was born and raised in Barranquilla, Colombia, by her Lebanese father and Spanish/Italian mother. The singer, whose name is Arabic for "grateful," has talked about her mixed heritage and how it played a big role in her music and performances (think her iconic Bellydancing or her punk-rock era).

“I am a fusion. That’s my persona. I'm a fusion between black and white, between pop and rock, between cultures — between my Lebanese father and my mother’s Spanish blood, the Colombian folklore and Arab dance I love and American music," she told Faze Magazine in the early aughts. "I was born and raised in Colombia, but I listened to bands like Led Zeppelin, the Cure, the Police, The Beatles, and Nirvana. I was so in love with that rock sound but at the same time because my father is of 100 percent Lebanese descent, I am devoted to Arabic tastes and sounds."

 Zaghrouta was heard loud and clear during her performance of the 1998 classic “Ojos Así," which is also one of the few songs in her catalog to feature Arabic on it. She also tapped Afro-Colombian dancer Liz Dany Campo Diaz to help incorporate champeta into her performance. A dance from her hometown, the moves are traced back to African ancestors. It also has a similar groove to South African pantsula dance routines which some may remember from Beyonce's "Run the World (Girls)" music video.

Btw this dance is called Champeta and it is originated in Shakira’s hometown of Branquilla Colombia! It’s respected for its footwork and it’s an important part of Colombian culture 💃🏼 pic.twitter.com/JtcLsl9sm9

— SHAKIRABOWL2020 (@Exmotions) February 3, 2020

The singer also danced to another Afro-Colombian routine called mapalé, importantly at the start of her performance. The moves (including the beautiful sea of Afro-Latinx dancers) was a sight to see at one of the most-watched shows all over the world.

The initial eyebrow raises of a Colombian pop singer at the Super Bowl Halftime Show made sense but the singer was thoughtful in the songs she picked (her 2008 World Cup hit "Waka Waka" (This Time For Africa)" is a remake of the 1986 song "Zamina Mina" by Cameroonian makossa group Zangaléwa) and even more mindful in her riffs (she repeated with passion the "no fighting" lyric during her performance of "Hips Don't Lie"). In all, Shakira's set will be one hell of a cultural study in years to come.

Jennifer Lopez also made subtle political statements during her performance. Her set was a pleasant blend of her Vegas and "It's My Party" tour sprinkled with some of her newfound pole skills from her performance in Hustlers. Swing Latino, a competitive world-champion salsa group from Colombia returned to the stage with the singer as they previously were special guests during her "Party" tour dates. It took her On The 6 single "Let's Get Loud" to new heights as the group brought together swing dancing, a very Americana dance, and salsa on the stage.

 

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A treat for pop culture fanatics, J. Lo's five outfits were customed made by Versace which we can give a smirk to. There's also the undeniable presence of Parris Goebel, who choreographed Lopez's entire Super Bowl performance. The two met back in 2012 when Goebel worked on her world tour and the American Idol season 11 finale where Lopez sang her 2012 hit, "Dance Again."

But it was the presence of her daughter Emme Maribel Muñoz singing with her that captured the audience. What many did miss was how the 11-year-old along with other children, appeared in silver cages, pointing towards the immigration and family separation policies the country has enforced at the southern border. "Let's Get Loud" then collided with a cover of "Born In The USA" with Lopez touting a feathered American flag with the Puerto Rican flag on the other side.

 

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Emme Daddy is so proud of you. You are my ❤ and I am forever yours.

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You can't please everyone, but their performances were one of precision. The two living legends who don't need validation from anyone were in control and commanded the attention of everyone, including those who make it difficult for Latinx families to live their version of the American dream. We like to imagine that the two singers also learned from each other, especially J. Lo since some cultural stances go over her head. "Let’s show the world what two little Latin girls can do," Lopez said on Instagram before their takeover. And that's exactly what they did.

Rewatch their performances below.

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Terry Crews speaks onstage during Steven Tyler's Third Annual GRAMMY Awards Viewing Party to benefit Janie’s Fund presented by Live Nation at Raleigh Studios on January 26, 2020 in Los Angeles, California.
Anna Webber/Getty Images for Janie's Fund

Terry Crews, 'America's Got Talent' And The Conditional Solidarity Of Celebrity

Terry Crews is doing quite a spectacular job of torching any goodwill the public had toward him. The actor moved from tertiary to central figure in the ongoing controversy surrounding NBC’s popular talent show America’s Got Talent and its November firing of former co-host Gabrielle Union.

Union has stated that there was a toxic environment on set, citing the behavior of producer Simon Cowell, and an incident involving a racist joke she says was made by guest host Jay Leno and other instances where she felt AGT and NBC had not addressed racist or sexist behavior and policies on the show.

Terry Crews offered mild support for Union upon her initial firing but has drawn the ire of fans this week after he offered a less empathetic take about the situation during an interview with the Today show.

“First of all, I can’t speak for sexism because I’m not a woman, but I can speak on behalf of any racism comments. That was never my experience on America’s Got Talent,” the AGT host said. “In fact, it was the most diverse place I have ever been in my 20 years of entertainment.”

When asked if he’d spoken to Union, Crews offered, “I have reached out, but I have not heard anything.”

The online reaction was critical, with fans and pundits pointing out that Union had been one of Crews’ most vocal supporters in 2017 when the actor revealed and then testified that he’d been a victim of sexual assault by a Hollywood studio executive. With the flurry of criticism, Crews scoffed at his detractors, tweeting that there’s only one woman in his life who he works to please—his wife.

“There is only one woman on earth I have to please. Her name is Rebecca,” the 52-year-old tweeted. “Not my mother, my sister, my daughters or co-workers. I will let their husbands/ boyfriends/ partners take care of them. Rebecca gives me WINGS.”

Crews’ statements—and his nonsensical Twitter reaction to his critics—were disappointing for anyone who’d hoped Union wouldn’t be left out to dry in her fight against a very powerful corporate entity. When there was an opportunity to support a person who’d been vocal in her support of him, Crews chose to lean on his own experiences in a way that would obviously pave the way for America’s Got Talent to cast hers into dispersion. This entire debacle has been reminiscent of other high-profile instances where Black celebs offered criticism in the wake of solidarity—either focused on the comforts of celebrity or preoccupied with the trajectory of their careers.

Mo’Nique famously engaged in a feud with streaming service Netflix, after she felt the giant lowballed her in regards to a proposed stand-up special. The star had been branded “difficult” for years and she’d felt blackballed by Hollywood notables like Oprah Winfrey and Lee Daniels, whom she worked with in 2009's Precious. It was her performance in that film that landed her an Academy Award for Best Supporting Actress in 2010.

When Mo’Nique appeared on Steve to discuss her proposed boycott of Netflix and the blackballing, her longtime friend Harvey chastised the Oscar-winner. “We’re fighting two wars here,” Harvey said. “There’s two wars, it’s what your issue is and is what the perception of the issue is.”

Mo’Nique’s stance was that she was fighting for equality—for women and for Black comics—in her battle with Netflix. In regards to her stance on Winfrey and Daniels, she was fighting to be paid for extensive travel and promotion. To her, this was a fight for the right to say “no” in Hollywood.

“Now, I said ‘no’ to some very powerful people...the difficulty came in when people that looked like me, like Oprah, Tyler [Perry], Lee Daniels—and I got to put my brother Steve on the list. Y’all knew that I was not wrong. Each one of you said to me, ‘Mo’Nique, you’re not wrong.’ And when I heard you go on the air and say, ‘My sister burned too many bridges, and it’s nothing I can do for her now,’ Steve, do you know how hurt I was?”

“I would have appreciated it, had my brother called me up and said, ‘let’s talk,’” she also said.

But Harvey was adamant that Mo’Nique’s wounds were self-inflicted, dismissing any notion of solidarity for what she was fighting for. Instead, he scolded her.

“This problem that you had at Netflix are rich people problems,” Harvey told her. “Because they’re looking at us saying, ‘you’re talking about millions, well, you got this, so you oughta be cool.'”

“I felt you had done yourself a disservice by the way you chose to go about it. When you tell the truth, you have to deal with the repercussions of the truth. We black out here. We can’t come out here and do it any kind of way we want to.”

“Black people can’t do that” was always poor logic for not standing up for oneself, and Harvey’s take on Mo’Nique may have been more egregiously condescending than Crews and Union but it also reveals how “my career” can trump “you were right” when it’s time to show solidarity. It’s also important to understand that you can’t only see “the problem” via your own “experiences”—what you’ve experienced isn’t the sum total of what goes on. And waiting until the wackness affects you will have you dismissing the oppression of those who may not be in your position.

Five years ago, rapper A$AP Rocky was at the center of a firestorm after he dismissed the idea of rapping about the 2014 killing of 17-year-old Mike Brown in Ferguson, Md., at the hands of police officer Darren Wilson. The incident sparked weeks of unrest, as citizens gathered to protest police violence against Black communities, with artists like J. Cole and Talib Kweli offering support.

“Why would I feel compelled to rap about Ferguson?” Rocky said at the time during an interview with TimeOut New York. “I’m not about to say that I was down there throwing rocks at motherfuckers, getting pepper-sprayed. I’d be lying…I live in fucking Soho and Beverly Hills. I can’t relate.”

When Rocky found himself imprisoned in Sweden in 2019 for assault, the rapper’s old interview came back to haunt him. Many of his peers called for his release and railed against what they felt was a racist overreaction as Rocky faced up to six years in prison for what was essentially a fight. As his supporters pleaded his case, many online called back to Rocky’s dismissiveness when he was asked to offer support for the protests in Ferguson.

In an early January sitdown with Kerwin Frost, Rocky offered an explanation for his words in 2015. “In those old interviews, I used to say ‘I think it’s inappropriate for me to rap about things I didn’t help with… I felt like when it came to Ferguson, J. Cole went down there and he actually was on the news and he helped. I felt like he deserved to rap about it. So when someone [asked] me that in 2015 I’m like: ‘I just feel, personally, if I’m in SoHo or I’m here I can’t even talk on that’… That’s appropriating.

“It’s not sincere. It’s pretentious.”

Black voices can often be scorned when they’re facing off against powerful gatekeepers; that those in positions to amplify those voices can so often decide to take the more “practical” route of undermining or outright dismissing those voices in the most public forums is just evidence of how much the upward mobility of the individual can blind them to the bigger picture. When Rocky had to deal with what it meant to face law enforcement while young and Black, when Terry Crews had to stare down a powerful Hollywood entity who’d wronged him—they fully understood what oppression can feel like. When Steve Harvey finger-wagged Mo’Nique on a high-profile platform, he did so acknowledging the sliding scale that Black people face. Supporting each other when “that’s not my experience” means not undermining the fight against powers-that-be. Because being able to retreat “my experiences” is the greatest privilege. Hopefully, someone will remind Terry Crews.

Editor's Note: Terry Crews has tweeted an apology to Gabrielle Union saying, "I want you to know it was never my intention to invalidate your experience— but that is what I did. I apologize."

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