Raven-Symoné told Jamie Kennedy that she separates the art from the artist when it comes to Bill Cosby, which raises the question: Why, as a society, do we allow Jamie Kennedy to own podcasting equipment?
In 2014, stand-up comedy star Hannibal Buress delivered an off-the-cuff routine to a crowd in Philadelphia in which he mocked Cosby’s patronizing public demeanor while bringing attention to the numerous sexual assault allegations that women had brought against the TV and comedy giant. To many members of the comedy community, Cosby’s predatory behavior was common knowledge, but, up until that point, news articles about women coming forward with their horrific stories about Cosby rarely made waves among the general public.
However, following Buress’ set, a flood of outrage and allegations against Cosby set in motion the largest fall from grace in American comedy history.
In the decade since Cosby’s downfall, Cosby’s old collaborators have had to reckon with the reality of the artist whom they thought they knew. Given how Cosby started her career in entertainment by casting her in The Cosby Show when she was just four years old, Symoné has especially complicated feelings towards her on-screen step-grandfather – but, really, is that any of our business, let alone Kennedy’s?
When Kennedy brought up the discrepancy between Cosby’s cultural contributions and his monstrous private life, Symoné argued that whatever crimes Cosby may have committed should not negate his impact on comedy and society. “Separate the creator from the creation, one hundred percent,” she said. “And that’s just where I live. The creation changed America. Changed television.”
Kennedy, a Philadelphia native himself and a professed admirer of Cosby’s work, then called out Temple University for removing Cosby’s name from the Cosby School of the Arts following the allegations, despite Cosby’s generous donations to the college.
“He’s also been accused of some horrific things,” Symoné reminded her host, “That does not excuse, but that’s his personal (life). So personally, keep that there, and then business-wise, know what he did there as well. Like you said, both can live, and I think our culture is right to – don’t do wrong. Don’t do wrong personally. You just can’t do wrong.”
That’s about as measured a response as anyone can expect out of a former child star when Kennedy himself seemed so eager to repair Cosby’s good standing, but, really, why would Kennedy – or anyone in the media, for that matter – put Symoné in the position where she has to take a public stance on Cosby at all? Symoné was just seven years old when The Cosby Show reached its conclusion, so her insight into his impact and his sins will inevitably be wrapped up in confusing and possibly painful childhood memories, none of which will meaningfully change the greater cultural discussion over Cosby’s character.
Nevertheless, Symoné deserves credit for handling the Cosby talk with a tad more professionalism than Kennedy, who we pray never lands an interview with Ronan Farrow.
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