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Michelle Obama Says She's Tired of Seeing Men 'Fail Up'


If there are two people whose conversations we’d love to listen in on, they would 100 percent be Michelle Obama and Tracee Ellis Ross. And lucky for us, that dream came true yesterday, when they got together at the United State of Women Summit in L.A. on Saturday for a frank—and oftentimes pretty funny—conversation about life lessons they’ve learned.

The summit’s main theme, gender equity, extended to the conversation Obama and Ross shared. Someone in the audience shouted out something about Michelle running for President—which she has repeatedly said she’s not even considering—and she responded: “That’s not the answer, either,” she said. “When I hear people say, ‘You run,’ it’s part of the problem. We still didn’t get ‘Yes we can’ right. It’s not yes you can, it’s yes we can. And until we get that right, it doesn’t matter who runs.”

As she’s done in the past, she discussed Trump without outright mentioning his name. Obama said she had no patience for men who could fail repeatedly and still do things like, say, become President.

“I wish that girls could fail as bad as men do and be OK,” she said. “Because let me tell you, watching men fail up—it is frustrating. It’s frustrating to see a lot of men blow it and win. And we hold ourselves to these crazy, crazy standards.”

PHOTO: Rodin Eckenroth/Getty Images

Obama and Ross also touched on inequality in the workplace. The former First Lady talked about what both women and men who find themselves with a “seat at the table” can do to ensure that the future is more equal for the next generation.

“So many of us have gotten ourselves at the table, but we’re still too grateful to be at the table to really shake it up,” Obama said about women in the workforce. “That’s not a criticism, because for so many, just getting to the table was so hard, so you’re just holding on. But now we have to take some risks for our girls… just holding onto our seats at the table won’t be enough to help our girls be all that they can be.”

And then she had some words for the men: “What I’ve been telling men is, you can’t have it both ways: You can’t whisper these magical thoughts in your daughter’s ear about who she can be or what she can do… If you’re tolerating [inequality at work], that is the workplace that’s going to be waiting for your little girl, but you sold her a bill of goods. You told her she could be anything, but then you’re not working to make sure that can be actualized. And so men have to understand things don’t just work out for your little precious pea.”

The rest of the conversation was incredibly powerful (I mean, look who was speaking). Grab a coffee, listen to these ladies, and then head into the week feeling like you can take the world on.

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Related Stories:
–This Powerful Photo of a Young Girl Staring at Michelle Obama Portrait Is Going Viral
–Here’s Why Michelle Obama Absolutely Won’t Be Running for President in 2020
–Michelle Obama Says Any Woman Who Voted Against Hillary Clinton Voted ‘Against Their Own Voice’





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DJ Khaled Thinks There Are "Different Rules" For Men And Women


Here’s a major key alert for DJ Khaled: Women like oral sex too. But, based on a clip from a 2015 interview that’s going viral this week, Khaled doesn’t seem to be aware of this—or, if he is, doesn’t care.

During a conversation with The Breakfast Club, Khaled goes into great detail describing the different rules he believes women and men should live by, especially when it comes to sex. “A woman should praise the man—the king,” he says. “If you holding it down for your woman, I feel like the woman should praise. And a man should praise the queen.”

He doesn’t stop there, though. “But you know, my way of praising is called, ha-ha, ‘How was dinner?’, ‘You like the house you living in? You like all them clothes you getting? I’m taking care of your family, I’m taking care of my family…’ You know, I’m putting in the work,” Khaled continues.

To clarify, the interviewer asks the rapper, “So, you’re saying you don’t go down?” Khaled replies, “Nahhh. Never!” Adding multiple times, “I don’t do that.”

Then, he makes it clear that it wouldn’t be OK with him if a woman refused to go down on him. “I put in that work, my work is great. It’s different rules for men. You gotta understand, we the king. There’s some things that y’all might not wanna do, but it got to get done. I just can’t do what you want me to do. I just can’t.”

Just to reiterate: Khaled is saying he won’t perform oral sex on a woman, but he thinks that a woman should—even if it’s something she’s not into either.

The clip, first resurfaced and shared by Twitter user @WhyDoYouSmell on Friday, May 4, had more than 8,000 retweets and 22,000 likes by the end of the work day. Of course, plenty of people had things to say about the interview on social media, with many women commenting that Khaled appears to equate sex with power over women.

“It’s sad that he equates sex to him achieving his role in a power dynamic, which likely [does] not include mutual pleasure,” one Twitter user commented.

“So he doesn’t believe in equal partnership. He believes in servitude and control under the guise of royalty,” another added.

Shortly after the clip began to make the rounds Khaled posted a photo of his wife to Instagram, writing, “My queen my best friend I love you!”

Khaled’s Instagram post is likely just been coincidental timing, but we’re hoping it means he’s learned his lesson since 2015.

Related Content:

Scientists Explain Why We Have Oral Sex

DJ Khaled Just Dropped a New Song Featuring Beyoncé and Jay Z

5 Outdated Relationship Rules It’s Time to Abandon





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What Is an Incel? Breaking Down the Disturbing, Thriving Online Community of Celibate Men


Alek Minassian drove a rented van into a crowd of people in Toronto, Canada, Monday—killing 10 and injuring 14. The 25-year-old was arrested and charged Tuesday with 10 counts of first-degree murder and 13 counts of attempted murder. According to reports, another count of attempted murder likely will be added. Minassian’s motive is unclear, although a message he posted to Facebook—which has now been removed—before the attack could offer some insight.

“The Incel Rebellion has already begun! We will overthrow all the Chads and Stacys! All hail the Supreme Gentleman Elliot Rodger!” part of the message read.

Incel: a little-known word that—in the last 48 hours—has become a trending topic.

Incel is short for “involuntarily celibate,” a term that and was originally coined in 1993 by a queer woman searching for a way to describe her sense of loneliness, and to connect with others who felt the same. The phrase has since been co-opted by an online community of men who are, in the simplest terms, angry that they can’t convince women to have sex with them. Unlike typical men who are irked they’re not having sex, incels don’t grouse to their friends over beers and try to pick up girls at bars—they talk about overthrowing feminism and, often, plot violence against women including advocating for state-sanctioned rape on subreddits like r/braincels, on 4Chan, and on various sites like incels.me.

“A lot of [these guys] are pretty young, and I think some of it stems from standard adolescent insecurities and sexual frustration and anger at being rejected by girls,” says David Futrelle, a writer and creator of We Hunted the Mammoth, a blog that examines the new wave of misogynists bred by the internet. “But instead of growing out of this, they turn it into a lifestyle.” Futrelle says other men who identify as incels could be dealing with serious issues like depression and social anxiety—but instead of trying to get those treated with therapy or meds, they blame the alleged cruelty of girls and women for their woes.

Incels hate women but they also hate themselves, and many of them convince themselves they’re too ugly or too short to ever be attractive.

Like most tightly-knit online communities, incels have developed their own language; a shorthand for describing the men and women they loathe, as evidenced by the mention of “Chads” and “Stacys” in Minassian’s Facebook post.

“Chad is the stereotypical asshole hunk who gets all the girls—think of the jocks from Revenge of the Nerds or the guy who kicks sand on the skinny guy in those old Charles Atlas ads,” says Futrelle. “Stacy is the Barbie to Chad’s Ken, the stereotypical hottie who will never give an incel a second glance, and who apparently spends most of her time riding what [incels] call the ‘cock carousel’ with every Chad they can get their hands on. According to Futrelle, many incels think that Chads are the only men who ever have sex with women.

“This all may seem a bit ridiculous, but it’s no exaggeration,” he says. “This is how they think. I’m convinced that they literally visualize Chads as characters in ‘80s teen flicks.”

Benchmarks of an incel can include feelings of entitlement and resentfulness, with many feeling like sex is something that’s owed to them. “Some have even demanded that the government provide them with girlfriends and/or prostitutes,” says Futrelle.

Logic would dictate that these men have been consistently trying to find women to have sex with, but Futurelle says that’s not always the case.

“[Many] don’t know how and think it’s pointless. Incels hate women but they also hate themselves, and many of them convince themselves they’re too ugly or too short to ever be attractive to women, he says. “Of course when they post pics of themselves for other incels to judge they tend to be perfectly ordinary looking people; their ugliness is all in their head.”

Relationships expert Hunt Ethridge, who has followed the incel movement since its inception and has had some its disciples as clients, likens incels to the fox in Aesop’s fable – the fox couldn’t reach the grapes he wanted, so he convinced himself the grapes were sour and he didn’t want them anyway.

A scene following the deadly van attack in Toronoto, Canada, on April 23, 2018. Alek Minassian, the driver, had posted about the incel revolution on his Facebook before the attack.

“It’s a psychological ploy,” he says. “You can’t go through life thinking you’re bad, so you find a way to decide you’re the victim.”

He explains that many incels are extreme narcissists who see themselves as superior in every way to other men, and that when they see men who they consider inferior to themselves (“Chads”) getting access to the “resource” (aka women) that they can’t attain themselves, they get angry. They feel wronged and cheated, and think that women are making a mistake by passing up their obviously superior offerings.

“A lot of these incels come from the bad version of the ‘nice guy’ mentality,” Ethridge says, “where they feel like it’s transactional, they feel like they’ve given so much by being nice guys and gotten nothing in return. Even though that’s not how it works.”

Incels were in the news in 2014 after 22-year-old self-identified incel Elliot Rodger killed six people and then himself in Isla Vista, California. Before his rampage, Rodger wrote a “manifesto” and posted online frequently about his hatred of women and his outrage at the fact that they didn’t want to have sex with him (apparently not realizing the contradiction of those two sentiments). In one post he wrote, “One day incels will realize their true strength and numbers, and will overthrow this oppressive feminist system. Start envisioning a world where WOMEN FEAR YOU.”

There’s always been angry men but, the internet has given them a permanent home; a makeshift family of male sympathizers who have built an entire online ecosystem from their rage

There’s always been angry men but, during the last decade or so, the internet has given them a permanent home; a makeshift family of male sympathizers who have built an entire online ecosystem from their rage. This is known as the Manosphere, an array of misogynistic groups and sites. “One of the central beliefs is that feminism has given women too much power— in the workplace, in politics, in the bedroom—and needs to be destroyed,” says Futrelle. “But the vast majority of’Manosphere’ men not only hate feminism; they hate women, and blame them for virtually everything they don’t like.”

“Frustrated men who feel that they don’t have access to resources have been the start of all worldwide rebellions,” Ethridge adds. “These guys see themselves as revolutionaries. And it’s really scary, because a lot of them don’t have anything to lose.”

A message users see when Reddit bans a community.

Minassian posted on Facebook moments before the deadly van attack this week praising Rodger, who has frequently been referred to in incel circles as “Saint Elliot.” This widespread praise was one of several points raised in a petition to shutter the r/Incels subreddit, which had around 40,000 members before Reddit shut it down in 2017.

Still, shutting down one of their online hubs didn’t shut down the “movement.” They still gather on various corners of the web, like the message board incel.me where one user posted about the Toronto killer shortly after Monday’s attack, writing, “I hope this guy wrote a manifesto because he could be our next new saint.”

The vast majority of ‘Manosphere’ men not only hate feminism; they hate women, and blame them for virtually everything they don’t like.”

“An argument for why Reddit shouldn’t have shut down the incels group is because of what happens when you turn the light on in a room full of cockroaches—they scatter,” Ethridge says.

Independent online harassment researcher Caroline Sinders, whose interest in the darkest corners of the internet started with Gamergate, is in favor of shutting down incel’s subreddits and message boards completely before they produce more violent actions like Rodgers’ and Minassian’s. (A statement from Reddit following the ban on the incel subreddit in 2017 said the move was in line with an earlier policy to ban content that calls for violence or physical harm, including forums for Nazi, racist and white supremacist groups.)

“Allowing that kind of behavior to proliferate is problematic, it allows for problematic content and norms to flourish, it does create a gray area not just of ‘words’ but of actions.”

In other words, if these message boards go unchecked or are written off as harmless venting or joking, they actually pave the way for incels to encourage each other to take their dangerous, misogynistic views beyond the Manosphere and into the real world where, as we’ve seen with Rodgers’ and Minassian, they pose a very real threat.





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Women Having Been ‘Stepping Up’ Forever—Now it’s Time for Men to Elevate Us


Much of the conversation this week has stemmed from comments made by Recording Academy president Neil Portnow, who was asked about why the 2018 Grammys were so conspicuously male. His reply—now infamous—included a sentence about how women need to “step up.” Fans and musicians alike responded uproariously, including a declarative handwritten letter from Pink, who proclaimed, “Women in music don’t need to ‘step up,’ women have been stepping up since the beginning of time,” and—as of Friday—several female music executives are calling for Portnow’s resignation.

Facing backlash, Portnow since attempted to walk back the statement, insisting that his words were used out of context, and did damage control by announcing Thursday that the academy would put together an independent task force, designed to review biases and barriers that keep women from advancing in the industry.

All well and good, but let’s not forget that the problem with telling women to “step up,” which he addresses in his second statement, is that it completely erases the obstacles women in music—and in the work force—have to overcome on a daily basis. Issues like lower pay, lack of opportunity, sexism and—as we’ve come to understand more recently—the pervasive problem of sexual harassment. The idea that Portnow purveyed isn’t new. Successful white men across all industries are often so mired in privilege that they often peddle this false equivalence: Women are actually being given fair opportunities, but they’re not doing enough to claim them.

Women in power, including politicians like Kirsten Gillibrand and Hillary Clinton, know this narrative well. “The larger question about Gillibrand, though, is whether she is too transparently opportunistic to be a viable candidate,” The Daily Beast’s Ciro Scotti wrote in a take-down piece about the senator. After urging colleagues to demand Al Franken, accused of sexual misconduct, resign, Gillibrand was met with gendered criticism reminiscent of Clinton’s 2016 campaign. In the piece, titled “The Trouble With Kirsten Gillibrand,” Scotti suggests that the senator led the charge against sexual harassment as part of her “relentless positioning for a possible presidential run in 2020.”

We should step up to the plate and take what’s ours, but when we do, it bothers you.

When women are finally afforded high-ranking positions, having fought tooth and nail to get there, they’re met with either sexist narratives like Portnow’s insistence on “stepping up,” or misogynistic tirades that they’re actually trying too hard. We should step up to the plate and take what’s ours, but when we do, it bothers you.

Like during Hillary Clinton’s presidential campaign. She “stepped up” as an attempt to become the first female president of the United States, and men criticized her for being “unlikeable” and “ruthless.” Simultaneously, the women who fought to get Hillary elected—the women who also were “stepping up”—were labeled as voting with their vaginas.

And unfortunately, sexism doubles down on women of color. Senator Kamala Harris was criticized for not being “courteous” in a Senate Intelligence Hearing—a gendered condemnation her male counterparts would never receive. She’s also been censured by white women, including Senator Diane Feinstein, who insinuated that Harris was too inexperienced for a presidential run—as if that mattered for our current president—or our last one.

The most astounding part about the challenges women face in the workplace, which seem so clear and unmistakable, is that many men, especially ones like Portnow, who’ve held power for a long time, don’t even recognize it—or have decided to turn a blind eye. That’s when the vitriolic chauvinism seeps through the cracks. In 2014 an audience member at a Tribeca Innovation Week panel asked panelist Aaron Sorkin about the lack of female protagonists in film. Sorkin, the decorated writer behind The West Wing, The Newsroom, and more recently, the Jessica Chastain vehicle Molly’s Game, agreed that there was a disparity between who was buying movie tickets—women—and who was up onscreen. He responded, “These decisions aren’t made entirely by men. There are roughly as many women who can green-light a film in Hollywood as there are men,” naming Amy Pascal of Sony and Stacy Snider at Dreamworks as examples. This is a farce—a 2017 study showed that women make up just 31 percent of film executives, and 18 percent of the 250 top grossing films of the year included female directors, writers, producers, executive producers, editors, and cinematographers—a statistic that has barely budged in 20 years.

Women have always been “stepping up.” The problem is that we often see no return.

Yet, Sorkin answered the audience member’s question by insisting that female-led scripts just aren’t out there—they don’t exist, and if they do, they’re not very good. “I’ve been reading a lot recently about how a female-driven movie like, say, Bridesmaids is looked at as a fluke.” He continued, “That’s a premise that suggests that studio executives have piles of scripts as good as Bridesmaids on their desks. They don’t…. I promise you nothing but capitalism drives decision-making in Hollywood.” Again, a farce.

Sorkin went on to write and direct his first female-led narrative, Molly’s Game, in 2017—because if women wouldn’t step up to write female characters, who better to do the job than a man? Actually, the top three grossing movies of 2017 were female-led films (The Last Jedi, Beauty and the Beast, and Wonder Woman), but they were all written by male screenwriters. Both The Last Jedi and Wonder Woman were hailed for their propulsive feminist narratives, so why weren’t women given the opportunity to tell such stories? It’s insulting. If that doesn’t prove a disparity in job accessibility, I’m not sure what will.

While men like Sorkin or Scotti are peddling sexist rhetoric, their words weren’t necessarily overt. The problem is that this sort of bombast engenders more dangerous opinions about women in the workplace. Take James Damore for example, the scandalized ex–Google employee who wrote a manifesto on working women, proclaiming that Silicon Valley doesn’t have a gender disparity problem but rather women are just too “neurotic” to achieve superior positions. Damore claimed “personality differences” were the reason that women are underrepresented in tech, not lack of opportunity. This is obviously severely untrue, extremely insulting, and a dismal reflection of old-school views of gender roles.

Women cannot be elevated if the men who hold the keys to the gates won’t open them.

But like Pink wrote, women have always been “stepping up.” The problem is that we often see no return. Men are still holding the topmost positions of power in our country across most industries, and obviously in politics, and they’re not sharing a piece of the pie—and Hollywood is the perfect example. This year zero female directors were nominated in the direction category at the Golden Globes. Many feel that Dee Rees and Greta Gerwig were snubbed, considering Gerwig’s Lady Bird won the prize for Best Musical or Comedy Motion Picture, and Mudbound was nominated for four Oscars.

At the Grammys, zero women were nominated for Record of the Year. In the Best Pop Solo Performance Category, four women were nominated alongside Ed Sheeran, but Sheeran took the trophy. Alessia Cara was literally the only woman awarded a solo Grammy this year. Even when we do the work—great work, work that returns profit—we’re being pushed out, silenced, snubbed. Women cannot be elevated if the men who hold the keys to the gates won’t open them.

The thing about privilege is: If you have it, it can be hard to look past it—but we must. We must push forward and elevate the voices of women, especially women of color, in the workplace. Some men, like Sorkin or Portnow, have been so steeped in their own straight, white, male privilege that they literally can’t even imagine what it’s like to face systemic challenges. The idea that women should “step up” or “try harder” or “run more” is silly—we’ve been doing that for years, you just won’t permit us to succeed. We “step up” every damn day, but the road to equality is littered with hurdles—and it’s time men share the responsibility of knocking those hurdles down.



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'2 Dope Queens' Phoebe Robinson and Jessica Williams: Men Are Finally Realizing Life Isn't a Buffet


Once upon a time, comedian and author Phoebe Robinson used to write Scandal recaps for Glamour.com. Today, though, she’s sitting in a swanky hotel room with her BFF and 2 Dope Queens co-host Jessica Williams to promote their new HBO specials. “It’s a dream, it really is,” Robinson says. “I feel like Barack Obama when he was inaugurated, even though that’s not accurate.”

Robinson might be joking, but it’s an appropriate analogy given that 2 Dope Queens started as a grassroots podcast years earlier. “It’s just nuts,” she says. “It’s so cool.” Tonight, HBO debuts the first of four hour-long specials focused on Blerds (Black Nerds), Hot Peen, New York, and Hair. Robinson and Williams have also recruited famous friends like Sarah Jessica Parker, Uzo Aduba, Jon Stewart, and Tituss Burgess to join them, in addition to unknown comedians looking to follow in the duo’s footsteps. Says Williams, “It’s a showcase for those talents, and I don’t think you really see that right now in this TV or comedy landscape.”

But before you watch Robinson and Williams take the stage, the friends opened up to Glamour about their journey, Hollywood’s shifting culture, and what it really means to support other women.

Some people must think you got your own show on HBO pretty effortlessly and skyrocketed to fame, but it’s never that simple. What are some of the unspoken truths to get to where you are?

Phoebe Robinson: Even before we had our podcast, we started out at [improv troupe] United Citizens Brigade East, and I had an email list where I tell people to come to the show. [We also had our podcast, 2 Dope Queens, but] podcasts don’t make a lot of money. They are truly a labor of love, so we were just promoting and spreading the word. We eventually got to bigger venues, but it was a lot of hard work. It looks super fun and easy because…

Jessica Williams: Obviously, we’re fashion queens. We look cute! We have our wigs together.

Phoebe: [Laughs] Yeah. But at the end of the day, it is about the work, long hours, and making a lot of decisions. This is cool doing the press, but it took years to get to this point.

Jessica: And it’s doing shows when you’re in a bad mood or you don’t feel like doing it, but you have to show up. You end up having fun, but no matter what happens it’s doing the mental work to make sure we’re in the right mindset so that we always get the good show. People ask you where your progress comes from, and really it’s like a seed in the ground. You water it and all the while it’s growing and then finally after many, many years the tree starts to grow. That’s kind of our story.

Phoebe: Wow.

Jessica: Was that too goofy?

Phoebe: Did you just text Gwyneth [Paltrow] and ask her what you should say?

Jessica: I’m like, “Gwynie…” but no, there’s something about you plant a seed and you wait for a long time. It doesn’t mean that it’s not growing.

Phoebe: Not to be cheesy, but I really do feel like the end result is not the goal. It’s learning and it’s the journey about how to be producers, how to edit, and having fun in that, because now the product is here, and we don’t know how people are going to react to it. We hope that people love it and everybody goes…

Jessica: There could be massive protests.

Phoebe: [Laughs] Yeah, but Michael Fassbender could call me and be like, “I just watched the episode, and I thought it was really funny.”

Jessica: Or Daniel Radcliffe reaches out to me on Twitter and is like, “I love the specials!” I’d be like, “LOL. Thank you.”

Phoebe: And Bono could text me and be like, “I’m so sorry I wasn’t the music supervisor on the specials.”

Jessica: And I’d jump in and be like, “Excuse me, Bono, that wasn’t an offer.”

Phoebe: But the journey we’ve been on is truly the biggest reward.

I overheard you tell another journalist that these specials are not like any other we’ve seen. How so?

Jessica: This show is not like any other because it’s two black ladies saying whatever the hell we want to and enjoying each other. Not only that, but we also have stand-up [comedians] in these specials that are either people of color, or women, or members of the LGBTQ community, so it kind of is…and we have a few white guys.

Phoebe: Just two max.

Jessica: Two max.

Phoebe: Oh wait, three. ‘Cause Jon Stewart.

Jessica: Oh yeah, I guess he counts. So it’s sort of a showcase for those talents, and I don’t think you really see that right now in this TV or comedy landscape, so we’re excited to present that.

PHOTO: Mindy Tucker/HBO

Let’s talk about celebrity culture, and the shift that’s happening in Hollywood. What are your thoughts on the impact of #MeToo and Time’s Up?

Phoebe: Gabrielle Union spoke to this, which I love, and it’s that she hopes all women stories and voices are going to be heard, instead of the select [few] of a certain class, of a certain race. I think what’s great right now is that people won’t continue ignoring swaths of people and hope that the problem is going to go away.

Jessica: For a lot of actresses, their careers were dependent on previously the favor of a man. I think it really hinged on a lot of superficial things, or whether they would put out. It just, I think, hinged on the whims of men, so what I’m really excited about with this movement is that it takes away a lot of their power, at least I hope it does. I’m really happy for the women that have had to be in this industry for that long and go through that. A lot of them felt like they had to be silent because it wasn’t the right time. I think now, especially with the power of social media, the time is right. It’s the right time and place to have this conversation. But it makes me sad to think about what they were going through before then. I also think that all movements take time, but I just couldn’t imagine coming up in the industry at that time and not having an outlet…I mean, there were women that were completely blackballed probably that we will never know because of that situation. The fact that we can have something like the Golden Globes and sit up there and roast everybody for sexual harassment is really awesome. So I’m really proud of this.

Phoebe: I think what’s good is that men are now realizing that life is not a buffet where you just get to pick and choose whatever you want.

Jessica: It’s not Sizzler.

Phoebe: It’s not Sizz; it’s not Cici’s Pizza. [Laughs]

Jessica: Where you can grab whatever salad you want or chicken nuggets.

Phoebe: Or whatever pie you want. So, I think it’s good that men are starting to ask these questions. Men are now starting to think, “I should be thinking before I act. I should be thinking before I say something.” I think that that’s great that men are starting to finally look at [themselves]. I’m hoping that going forward, men are going to keep looking at themselves the way that we as women look at ourselves, every day, analyzing every thought, every movement, our safety, not saying the wrong thing because we don’t want to be labeled difficult or bossy or mean, and all the pressure we face.Men are now starting to realize, “I need to check my behavior first.” I think that’s great.

Lastly, I love how close of friends you are, which brings me to the fact that at a time when everyone says you have to support other women, no one tells you the specifics behind that notion. So how do you each support each other?

Phoebe: Whenever we both have a project coming out, we’ll post about it [for the other] on social media. When I wrote on Portlandia, Jessica sent me a nice bottle of champagne when I was in L.A. It was a really nice thing.

Jessica: Phoebe is very thoughtful about things, too. She’s even sent my mother flowers!

Phoebe: I love sending flowers! It’s the best.

Jessica: Yeah, it’s like friendship romantic things that keep putting emotional deposits in the other person’s piggy bank. That’s something my mom taught me.

PHOTO: Mindy Tucker/HBO



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Grammys 2018 Winners: Men Totally Swept the Major Awards


As usual, tonight’s Grammys offered up many exciting moments for the winners—and some serious disappointments, especially for a few deserving ladies. Basically, the winners circle was a total boys club, even on a night when many artists carried or wore white roses to symbolize support for the Time’s Up movement. Ed Sheeran—the only male nominee for Best Pop Solo Performance—took home the trophy for “Shape of You,” beating out Kesha, Kelly Clarkson, Lady Gaga, and Pink. Twitter was not pleased. And Lorde—the only woman nominated for Album of the Year—lost to Bruno Mars. But Alessia Cara is this year’s Best New Artist and our queen Rihanna won a Grammy for her collaboration with one of the night’s multiple trophy winners, Kendrick Lamar. But frankly, that’s an embarrassingly low number in a year where women dominated the charts and the conversation.

Here’s hoping for more diverse results in 2019.

Album of the Year:

“Awaken, My Love!” — Childish Gambino

4:44 — Jay-Z

DAMN. — Kendrick Lamar

Melodrama — Lorde

WINNER: 24K Magic — Bruno Mars

Song of the Year:

“Despacito” — Ramón Ayala, Justin Bieber, Jason “Poo Bear” Boyd, Erika Ender, Luis Fonsi & Marty James Garton, songwriters (Luis Fonsi & Daddy Yankee FeaturingJustin Bieber)

“4:44” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)

“Issues” — Benny Blanco, Mikkel Storleer Eriksen, Tor Erik Hermansen, Julia Michaels & Justin Drew Tranter, songwriters (Julia Michaels)

“1-800-273-8255” — Alessia Caracciolo, Sir Robert Bryson Hall II, Arjun Ivatury & Khalid Robinson, songwriters (Logic Featuring Alessia Cara & Khalid)

WINNER: “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Record of the Year:

“Redbone” — Childish Gambino

“Despacito” — Luis Fonsi & Daddy Yankee featuring Justin Bieber

“The Story Of O.J.” — Jay-Z

“HUMBLE.” — Kendrick Lamar

WINNER: “24K Magic” — Bruno Mars

Best New Artist:

WINNER: Alessia Cara

Khalid

Lil Uzi Vert

Julia Michaels

SZA

Best Rap Album:

4:44 — Jay-Z

WINNER: DAMN. — Kendrick Lamar

Culture — Migos

Laila’s Wisdom — Rapsody

Flower Boy — Tyler, The Creator

Best Pop Solo Performance:

“Love So Soft” — Kelly Clarkson

“Praying” — Kesha

“Million Reasons” — Lady Gaga

“What About Us” — Pink

WINNER: “Shape Of You” — Ed Sheeran

Best Country Album:

Cosmic Hallelujah — Kenny Chesney

Heart Break — Lady Antebellum

The Breaker — Little Big Town

Life Changes — Thomas Rhett

WINNER: From a Room: Volume 1 — Chris Stapleton

Best Rap/Sung Performance:

“PRBLMS” — 6LACK

“Crew” — Goldlink Featuring Brent Faiyaz & Shy Glizzy

“Family Feud” — Jay-Z Featuring Beyoncé

WINNER: “LOYALTY.” — Kendrick Lamar Featuring Rihanna

“Love Galore” — SZA Featuring Travis Scott

Best Pop Vocal Album:

Kaleidoscope EP — Coldplay

Lust for Life — Lana Del Rey

Evolve — Imagine Dragons

Rainbow — Kesha

Joanne — Lady Gaga

WINNER: ÷ (Divide)—Ed Sheeran

Best Traditional Pop Vocal Album:

Triplicate — Bob Dylan

In Full Swing — Seth MacFarlane

Wonderland — Sarah McLachlan

WINNER: Tony Bennett Celebrates 90 — Various artists

Nobody But Me (Deluxe Version) — Michael Bublé

Best Pop Duo/Group Performance:

“Something Just Like This” — The Chainsmokers and Coldplay

“Despacito” — Luis Fonsi & Daddy Yankee feat. Justin Bieber

“Thunder” — Imagine Dragons

WINNER: “Feel It Still” — Portugal. The Man

“Stay” — Zedd & Alessia Cara

Best Country Song:

“Better Man” — Taylor Swift, songwriter (Little Big Town)

“Body Like a Back Road” — Zach Crowell, Sam Hunt, Shane McAnally & Josh Osborne, songwriters (Sam Hunt)

WINNER: “Broken Halos” — Chris Stapleton & Mike Henderson, songwriters (Chris Stapleton)

“Drinkin’ Problem” — Jess Carson, Cameron Duddy, Shane McAnally, Josh Osborne & Mark Wystrach, songwriters (Midland)

“Tin Man” — Jack Ingram, Miranda Lambert & Jon Randall, songwriters (Miranda Lambert)

Best Country Solo Performance:

“Body Like a Back Road” — Sam Hunt

“Losing You” — Alison Krauss

“Tin Man” — Miranda Lambert

“I Could Use a Love Song” — Maren Morris

WINNER: “Either Way” — Chris Stapleton

Best Country Duo/Group Performance:

“It Ain’t My Fault” — Brothers Osborne

“My Old Man” — Zac Brown Band

“You Look Good” — Lady Antebellum

WINNER: “Better Man” — Little Big Town

“Drinkin’ Problem” — Midland

Best Rap Song:

“Bodak Yellow” — Dieuson Octave, Klenord Raphael, Shaftizm, Jordan Thorpe, Washpoppin & J White, songwriters (Cardi B)

“Chase Me” — Judah Bauer, Brian Burton, Hector Delgado, Jaime Meline, Antwan Patton, Michael Render, Russell Simins & Jon Spencer, songwriters (Danger Mouse Featuring Run The Jewels & Big Boi)

WINNER: “Humble.” — Duckworth, Asheton Hogan & M. Williams II, songwriters (Kendrick Lamar)

“Sassy” — Gabouer & M. Evans, songwriters (Rapsody)

“The Story of O.J.” — Shawn Carter & Dion Wilson, songwriters (Jay-Z)

Best Rap Performance (single or track):

“Bounce Back” — Big Sean

“Bodak Yellow” — Cardi B

“4:44” — Jay-Z

WINNER: “Humble.” — Kendrick Lamar

“Bad and Boujee” — Migos feat. Lil Uzi Vert,

Best R&B Album:

Freudian—Daniel Caesar

Let Love Rule—Ledisi

WINNER: 24K Magic—Bruno Mars

Gumbo—PJ Morton

Feel the Real—Musiq Soulchild

Best Urban Contemporary Album:

Free 6Lack — 6lack

Awaken, My Love! — Childish Gambino

American Teen — Khalid

CTRL — SZA

WINNER: Starboy — The Weeknd

Best R&B Song:

“First Began” — PJ Morton, songwriter (PJ Morton)

“Location” — Alfredo Gonzalez, Olatunji Ige, Samuel David Jiminez, Christopher McClenney, Khalid Robinson & Joshua Scruggs, songwriters (Khalid)

“Redbone” — Donald Glover & Ludwig Goransson, songwriters (Childish Gambino)

“Supermodel” — Tyran Donaldson, Terrence Henderson, Greg Landfair Jr., Solana Rowe & Pharrell Williams, songwriters (SZA)

WINNER: “That’s What I Like” — Christopher Brody Brown, James Fauntleroy, Philip Lawrence, Bruno Mars, Ray Charles McCullough II, Jeremy Reeves, Ray Romulus & Jonathan Yip, songwriters (Bruno Mars)

Best Traditional R&B Performance:

“Laugh and Move On” — The Baylor Project

WINNER: “Redbone” — Childish Gambino

“What I’m Feelin'” — Anthony Hamilton feat. the Hamiltones

“All the Way” — Ledisi

“Still” — Mali Music

Best R&B Performance:

“Get You” — Daniel Caesar feat. Kali Uchis

“Distraction” — Kehlani

“High” — Ledisi

WINNER: “That’s What I Like” — Bruno Mars

“The Weekend” — SZA

Best Alternative Music Album:

Everything Now—Arcade Fire

Humanz—Gorillaz

American Dream—LCD Soundsystem

Pure Comedy—Father John Misty

WINNER: Sleep Well Beast—The National

Best Rock Album:

Emperor of Sand — Mastodon

Hardwired … to Self-Destruct — Metallica

The Stories We Tell Ourselves — Nothing More

Villains — Queens of the Stone Age

WINNER: A Deeper Understanding — The War on Drugs

Best Rock Song:

“Atlas, Rise!” — Metallica

“Blood in the Cut” — K.Flay

“Go to War”—Nothing More

WINNER: “Run”—Foo Fighters

“The Stage”—Avenge Sevenfold

Best Metal Performance:

“Invisible Enemy” — August Burns Red

“Black Hoodie” — Body Count

“Forever” — Code Orange

WINNER: “Sultan’s Curse” — Mastodon

“Clockworks” — Meshuggah

Best Rock Performance (single or track):

WINNER: “You Want It Darker” — Leonard Cohen

“The Promise” — Chris Cornell

“Run” — Foo Fighters

“No Good” — Kaleo

“Go to War” — Nothing More

Best Music Video:

“Up All Night” — Beck

“Makeba” — Jain

“The Story Of O.J.” — Jay-Z

WINNER: “Humble.” — Kendrick Lamar

“1-800-273-8255” — Logic Featuring Alessia Cara & Khalid

Best Dance/Electronic Album:

Migration — Bonobo

WINNER: 3-D The Catalogue — Kraftwerk

Mura Masa — Mura Masa

A Moment Apart — ODESZA

What Now — Sylvan Esso

Best Dance Recording:

“Bambro Koyo Ganda” — Bonobo Featuring Innov Gnawa

“Cola” — CamelPhat & Elderbrook

“Andromeda” — Gorillaz Featuring DRAM

WINNER: “Tonite” — LCD Soundsystem

“Line Of Sight” — ODESZA Featuring WYNNE & Mansionair

Best Comedy Album:

WINNER: The Age Of Spin & Deep In The Heart Of Texas — Dave Chappelle

Cinco — Jim Gaffigan

Jerry Before Seinfeld — Jerry Seinfeld

A Speck Of Dust — Sarah Silverman

What Now? — Kevin Hart



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