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Camille Cosby's statement: 'Lynch mobs' led to convictions
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The full statement released by Camille Cosby, wife of comedian Bill Cosby, who was convicted last week of drugging and sexually assaulting a female friend:

"We the people" are the first three words of our nation's Constitution, but who were those people in 1787? Dr. Howard Zinn, the renowned, honest historian, states in his best-selling book, A People's History of the United States: "The majority of the 55 men who framed the Constitution were men of wealth in land, slaves, manufacturing or shipping." Clearly, most people were not included in that original draft of the Constitution; no women, Native Americans, poor white men; and, absolutely, no enslaved Africans.

What have the masses of people done who are treated as outcasts by "we the people"? They, through the purity of the unceasing human spirit, forced 27 amendments to the Constitution that have guaranteed fundamental rights to all people ... finally doing what the framers should have done in 1787.

Now enters an American citizen, Bill Cosby. The overall media, with their frenzied, relentless demonization of him and unquestioning acceptance of accusers' allegations without any attendant proof, have superseded the Fifth and Fourteenth Amendments, which guarantee due process and equal protection, and thereby eliminated the possibility of a fair trial and unbiased jury. Bill Cosby was labelled as guilty because the media and accusers said so ... period. And the media ensured the dissemination of that propaganda by establishing barricades preventing the dissemination of the truth in violation of the protections of the First Amendment. Are the media now the people's judges and juries?

. In 1955, she testified before a jury of white men in a Mississippi courtroom that a 14-year-old African American boy had sexually assaulted her, only to later admit several decades later in 2008 that her testimony was false. A more recent example is the case of Darryl Hunt, an African American who in 1984 was wrongfully convicted for the rape and murder of a white woman, only to have DNA evidence establish in 1994 that he did not commit the crime. Nonetheless he was held in prison until 2004, serving almost twenty years behind bars, until the true rapist confessed to the crimes. These are just two of many tragic instances of our justice system utterly and routinely failing to protect African Americans falsely accused in so-called courts of law and the entirely unfair court of public opinion.

In the case of Bill Cosby, unproven accusations evolved into lynch mobs, who publicly and privately coerced cancellations of Bill Cosby's scheduled performances; syndications of "The Cosby Show"; rescissions of honorary degrees and a vindictive attempt to close an exhibition of our collection of African American art in the Smithsonian Museum of African Art. Although the Smithsonian's hierarchy did not capitulate, a disclaimer was posted on the exterior of that Museum. And all of that occurred before the trial even started.

The worst injustices, however, have been carried out in the Pennsylvania Montgomery County Courthouse. Three criminal charges, promised during an unethical campaign for the district attorney's office, were filed against my husband ... all based on what I believe to be a falsified account by the newly elected district attorney's key witness. I firmly believe her recent testimony during trial was perjured; as was shown at trial, it was unsupported by any evidence and riddled with innumerable, dishonest contradictions. Moreover, Bill Cosby's defense team introduced the testimony of a witness who confirmed that the district attorney's witness admitted that she had not been sexually assaulted, but that she could say she was and get money ... which is exactly what she did.

I am publicly asking for a criminal investigation of that district attorney and his cohorts. This is a homogeneous group of exploitive and corrupt people, whose primary purpose is to advance themselves professionally and economically at the expense of Mr. Cosby's life. If they can do this to Mr. Cosby, they can do so to anyone.

How much longer will we, the majority of the people, tolerate judicial, executive, legislative, media and corporate abuses of power? We, the majority of the people, must make America what it has declared itself to be ... a democracy ... not to be destroyed by vicious, lying, self-absorbed paradigms of evilness.

Once again, an innocent person has been found guilty based on an unthinking, unquestioning, unconstitutional frenzy propagated by the media and allowed to play out in a supposed court of law. This is mob justice, not real justice. This tragedy must be undone not just for Bill Cosby, but for the country.

I wish to thank the witnesses who courageously came forward at trial to testify as to the truth, as well as those witnesses who would have done so but for the judge preventing them from testifying. Someday the truth will prevail, it always does.

Camille Cosby

Allman Brothers tribute band a treat
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Entrancing the crowd with their Allmanesque vocals and guitarmony, End of the Line brought a powerful performance to an enthusiastic audience at the Park Theater Saturday night. From left is Justin Smith (keyboards and vocals), Adam Gorman (guitar), Ryan McClanahan, (drums) and Conor Kelly (guitar). Out of shot is drummer Dave Czuba and bassist Casey Conway.

“Guitarmony” was promised and delivered Saturday night when End of the Line: An Allman Brothers Tribute Band brought their scintillating Southern rock, country and blues roots musicianship to the Park Theater.

Before the band took the stage, Thin Lizzy’s “The Boys are Back in Town” played on the historic speakers setting the seventies mood for the fans as they settled in their seats.

As a nod to the 55th anniversary of the band’s 1969 debut album, The Allman Brothers Band, the first songs were note for note from that seminal album beginning with “Don’t Want You No More.” When Smith launched into “It’s Not My Cross to Bear,” a time warp seemed to overcome the theater. 

The screen behind the band flickered with alternating images of lava lamps, colorful mushrooms, and the original live footage from the Fillmore Live album.

Playing to a large and seasoned crowd, this collection of Nashville musicians and songwriters reveled in their playing. 

For a little over two hours, the audience was transported to a time over a half a century ago. The soulful blues and melodious Southern jams filled the space as these young musicians channeled their inner Gregg and Duane Allman, Dickey Betts and Derek Trucks among others.

With a deep blue’s growl, Justin Smith rivaled the original Gregg Allman as he played the organ with grace and grit. 

Adam Gorman, hailing from Macon, Georgia, seemed to know his way around a blues guitar fo’ sho.’ Along with the fantastic Conor Kelly and Casey Conway on guitar and bass, they created that sweet guitarmony the band has been hailed for.

“How about that bass?” yelled an appreciative fan from the balcony and the whole theater roared in agreement.

Not one but two drummers kept an amazing synchronized beat: Ryan McClanahan and Dave Czuba.

Other highlights included “Revival,” “Idle Wild South,” and the eloquent jazzy “Stand Back” from the Eat a Peach album. 

After intermission, the band jumped into the iconic “Ramblin’ Man,” the highest charting song of all the band’s tunes.

 “Statesboro Blues” was arguably the finest moment in a litany of fine moments. Covering the black blues artist Blind Willie McTell, the Allman Brother’s classic is a tribute and an infectious cross between black Southern blues music and white Southern musicianship.

“Sweet Melissa” and “Blue Sky” were both artfully done.

They also covered a tender version of “Desdemona” from Hittin’ The Note, one of the later Allman Brother gems. “Trouble Me No More” was a sweet moment as well.

The band are currently touring. They plan on performing in the home of more modern and famous Southern rock bands, The B-52s and R.E.M. in Athens, Georgia on April 20,

You can read more about the band and their touring schedule on Facebook, Instagram and the band’s website: endofthelineband.com.