Elon Musk and Nick Cannon each have a dozen kids. But only one is a 'deadbeat dad.'
Show Caption
Hide Caption
What to know about Elon Musk's email ultimatum for federal workers
Elon Musk instructed federal workers to email a list of five tasks completed last week or resign. Here are five things to know about the ultimatum.
There are double standards in this country that leave me baffled. Let's play compare and contrast on the subject of fatherhood.
We'll start with 'Wild 'n Out' star Nick Cannon.
When he welcomed his 12th child with six women, he was called irresponsible. The criticism didn't stop there: Some suggested he was creating generational trauma for his children; a relationship expert implied that women choosing to have kids with Cannon might be mentally unstable; and he was even labeled a 'deadbeat dad.'
If the criticism aimed at Cannon is valid, then the same scrutiny should be directed at a 53-year-old man who has 12, maybe 13, children, with four women, right?
Well, that's where the double standard rears its ugly head. Cannon is Black, while the individual who may have had his 13th child is Elon Musk, the tech mogul who heads the Department of Government Efficiency (DOGE). By contrast, Musk, who is white, has been called the smartest man in America and celebrated for his views on reversing declining birth rates by having more children.
I say may have 13 because the SpaceX CEO has not confirmed he is the father of the child. Neither Cannon nor Musk are currently married.
Cannon, who also co-hosts the "The Masked Singer," has only been married once – to superstar singer Mariah Carey. The couple were married from 2008 to 2016 and share twins.
Musk has been married three times but to two women: Justine Wilson from 2000 to 2008 and Talulah Riley from 2010-12 and again from 2013 to 2016.
There's an age-old saying about creating families: 'It takes two to tango.' However, seeing some men often engage in this dance with numerous partners is disheartening. My aim here is not to focus on the children who are innocent in this scenario. Instead, I want to examine the troubling double standard that permeates our society, particularly regarding how Black men and white men are perceived as fathers.
Opinion: Snoop Dogg went back on his word with Trump performance. He deserves the backlash.
Society views Musk, Cannon's ability to be fathers to multiple kids differently
Every child is a treasure, but neglecting quality time for their development can lead to resentment as they grow older.
While it is vital to support children financially – and both men have the means to do so – it is equally, if not more, important to support them emotionally and mentally. This is challenging enough for children living under the same roof, let alone different households.
When someone has a dozen or more children with multiple partners, providing each child with the quality time they need becomes nearly impossible. This holds true regardless of one's wealth or fame.
However, when we compare figures like Cannon and Musk, a double standard appears in how society views them.
Cannon is labeled a 'deadbeat," with some questioning his mental stability for fathering so many children. By contrast, Musk is celebrated as 'brilliant" and earned praise for his 'pronatalist' views that population decline needs to be reversed by having more children.
Opinion: When did the party of 'family values' stop caring about having moral leaders?
Social media posts illustrate the double standard
The double standard isn't limited to perceptions of the men's ability to be fathers; it extends to how they became fathers.
On Valentine's Day, Ashley St. Clair, who has a son from a previous relationship, took to social media to share details about her new child with Musk. If accurate, this would mark his 13th known child.
Musk has not publicly confirmed that he is the father. However, he has responded to several posts on his X platform regarding the baby, including one that claims St. Clair tried to 'ensnare' him. I'm going to go out on a limb here and say that if Cannon had suggested a woman was trying to ensnare or trap him, he would have faced significant public backlash.
St. Clair made the Valentine's Day post because she stated that she had been raising the couple's five-month-old baby alone in his absence and felt compelled to come forward after reporters asked questions.
In one of the X posts, Greg Price replied to St. Clair: 'He's got a kid with a woman already. Seems unlikely to work out."
St. Clair responded to Price: "Well, he actually has 7 kids and goes through women pretty fast" (with a laughing face emoji).
Most of the criticism on X was directed at the mothers of his children. Here are some of the things they had to say:
'I mean…Men with Money = Women that want it do anything to get it.' – Christos Katsaros
'That girl knows how to hustle.' – Ace
'Ashley St Clair, the CEO of long-term planning.' ‒ batu
'Reminder that there is no need for you to ever pursue a woman. If it's meant to be she will orchestrate it.' – cold
'Wow, she actually thought he'd wife her up instead of just cutting her a check and moving on.' – johann von schnitzel
One comment supporting Cannon, who claims he has bought houses for all his children's mothers, stood out:
'I don't ever want to hear negative talk about @NickCannon, so called fatherless black homes, or any black athlete with multiple baby moms and kids.' – The Fighting Carrier
Opinion alerts: Get columns from your favorite columnists + expert analysis on top issues, delivered straight to your device through the USA TODAY app. Don't have the app? Download it for free from your app store.
On Feb. 20, another of Musk's children's mothers criticized him on X, stating he needs to assist with their child's medical care.
Claire Boucher, 36, who has three children with Musk, posted, 'Plz respond about our child's medical crisis.' Boucher, a musical artist known as Grimes, wrote: 'I am sorry to address this publicly but it is no longer acceptable to ignore this situation. This requires immediate attention.'
She added, 'If you don't want to talk to me can you please designate or hire someone who can so that we can move forward on solving this. This is urgent, Elon.'
She has since deleted the posts.
Stereotypes portray Black men as deadbeat dads
Some people watch Black fathers more closely based on the stereotype that they are not involved in their children's lives.
This stereotype often appears in media, stand-up comedy and movies, where Black fathers are often the target of jokes about being deadbeat dads.
Opinion: Black boys need help coping with trauma. You could be their next mentor.
This shapes public perception and reinforces damaging narratives, overshadowing the many committed Black fathers actively involved in their children's lives.
I was not married to my daughter's mother but was involved in many of my daughter's school and extracurricular activities. I did all the girl dad things from going to the soccer games in the rain, taking her on driving lessons to treasuring times dancing the night away at the Daddy Daughter dances. Some of my friends who aren't married are also excellent and active fathers to their children.
Raising a dozen or more children from multiple women is a challenge for any man, regardless of race or wealth. Cannon and Musk may have 25 children by 10 women, both are wealthy and are well-known figures.
Yet Cannon has faced accusations of being insane and irresponsible. In contrast, Musk is seen as a visionary for promoting having many children because he believes the world's population will shrink to 'one-tenth of its current size' in three generations.
This lines up with the perspective on many in the Trump administration, including Vice President JD Vance and Transportation Secretary Sean Duffy. I guess Musk, the world's wealthiest man, is just doing his part.
Both men probably pay millions in child support, but beyond that, we can assume they have missed many of their children's memorable moments, such as their first steps, scoring a winning basket or giving a speech at school.
Money can't purchase those moments, and it's a common issue both fathers encounter equally, regardless of race. Yet despite sharing that universal bond, society portrays the men drastically different.
James E. Causey is an Ideas Lab reporter at the Milwaukee Journal Sentinel, where this column originally appeared. Reach him at jcausey@jrn.com or follow him on X: @jecausey
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Indianapolis Star
an hour ago
- Indianapolis Star
Ralph Lauren's Oak Bluffs collection celebrates historic Black beach community
Cricket sweaters, patchwork blanket, and distressed baseball caps. Each is part of the new collection called Polo Ralph Lauren for Oak Bluffs, celebrating the historically Black community of Oak Bluffs in Martha's Vineyard, Massachusetts. The collection is an evolution of the 2022 collection based on Historically Black Colleges Morehouse and Spelman, who are again partners in the Oak Bluffs collection, and is a part of the company's "Design with Intent" portfolio. "Ralph Lauren as a man, as a brand is sort of the world ambassador to Americana," James Jeter, Creative Director for Polo Men's at Ralph Lauren told USA TODAY. "With that comes this incredible responsibility for us to tell these incredible American stories as fully, as broadly, as accurately as possible." The collection deftly weaves HBCU campus style drawn from Morehouse and Spelman with resort wear that references the historic Black beach town and Black traditions. "It was just very important to tell that story, the multi-faceted, multi-dimensional experience that is the Black experience that also translates into the American experience," Dara Douglas, Product and Brand Lead for Design with Intent, told USA TODAY. It is accompanied by a documentary on the community directed by Cole Brown titled "A Portrait of the American Dream: Oak Bluffs" that debuted on the brand's YouTube page on July 24. "Oak Bluffs' unique history, traditions and sense of community deeply inspire me and speak to what we are all searching for – a place where you can be free, uncontrived, joyful and truly at home," Ralph Lauren, Executive Chairman and Chief Creative Officer of the eponymous preppy stalwart, said in a July 23 press release. Oak Bluffs was once a part of nearby Edgartown and was deemed to be the place "suitable" for Black workers at nearby resorts, according to the National Trust for Historic Preservation. The Oak Bluffs community envisioned by the collection started in earnest when Charles Shearer opened Shearer Cottage in 1912, according to The Root. The Black news outlet described the inn as, "an act of defiance in an America riddled with discrimination and racial segregation, where safe lodging for Black travelers was a rare luxury." "So by default really, Oak Bluffs becomes the place ... for young, educated, affluent African Americans—the politicians and the movie stars." Dr. Elaine Weintraub, historian and co-founder of the Martha's Vineyard African American Heritage Trail, told the Trust. At the heart of Oak Bluffs, according to the Root, is a beach called the Inkwell that served as a place where, "Black folks could swim, sunbathe, and just be, without getting side-eyed or harassed." Weintraub described vacationers to the Inkwell, Shearer Cottage, and Oak Bluffs throughout the decades as a "who's who" including Madame C.J. Walker, Dr. Martin Luther King Jr., actress Ethel Waters, and singer Lionel Richie. "Well, I think perhaps I should say what you I think are aware of. Our people are deeply mystical, you might say spiritual and we have a an appreciation for place," Dr. Lawrence E. Carter Sr., the Dean of the Martin Luther King Jr. International Chapel, said in the documentary. "How Martha's Vineyard became Martha's Vineyard has an awful lot to do with traffic, who came through here and by coming through here bequeathed something." Dorothy West, the youngest member of the Harlem Renaissance, said of Oak Bluffs, "I thought there was always summer here" in an interview published by the Martha's Vineyard Museum Oral History Channel. "I think historically it has represented a place where African Americans could be successful, could be around other African-Americans, could share in a culture and a place in the sun and that they'll own and that they'll belong," Weintraub said. Oak Bluffs still holds that same significance today. Netflix's show "Forever", released in March, showcased this on an episode titled "The Vineyard", allowing viewers to see the vibrance and richness that still exists in Oak Bluffs. The 2022 collection was described by Jeter as a "period piece" that drew from the ephemera of Morehouse and Spelman, of which Jeter and Douglas are alumni, from 1920's to the 1960's. "You'll notice that there's this kind of decorum (in the 2022 collection). We leaned a little bit into politics of respectability, which really started such an incredible conversation," Jeter said. He added that imagery for the collection's campaign was "intentionally less serious" and leaned into a multi-generational interpretation of summers on the shore. "Quite frequently people think of the output that comes from the Black experience, whether it's through entertainment, through sports. So you constantly see the Black body in motion, but this notion of rest and relaxation as a space that the black body could occupy I think is quite revolutionary," Douglas said. The collection comes as companies have backed away from concepts labeled DEI following pressure from the Trump administration and other right-wing forces. Jeter and Douglas both pointed to the collection as a part of the company's commitment to widening the brand's view of what is included in "Americana," with James saying "we intended to stick to that."


Atlantic
6 hours ago
- Atlantic
The ‘Slacker' Teen Who Was More Than Just a Punch Line
In the first episode of The Cosby Show, Cliff Huxtable (played by Bill Cosby) walks into his only son's messy room with a mission: getting him to care about improving his straight-D report card. But the teenager proves difficult to rattle. After his father makes a big show of giving him Monopoly money and then taking it all away bill by bill for hypothetical expenses, Theo (Malcolm-Jamal Warner) holds firm in his assertion that he doesn't need to emulate his parents in order to be happy. 'If you weren't a doctor,' he tells his father, 'I wouldn't love you less, because you're my dad.' Can't the same be true in reverse? For a moment, it seems as if Theo has gotten through. But instead, Cliff goes off, scolding his son for being 'afraid to try, because you're afraid that your brain is going to explode, and it's gonna ooze out of your ears.' The genius of the scene is that both characters are right. Theo is afraid to try, but he also recognizes one of his father's limitations: Cliff has a very specific idea of what success looks like, which can burden his children as they try to live up to it. It's a testament to Warner's skill as a performer that even when Theo isn't winning an argument with his dad, he evinces a complex vulnerability. Warner, who died last week, at the age of 54, struck a delicate balance while playing Theo: He's hubristic but not smug, clueless but not buffoonish. Nailing these nuances was key. Although today Cosby's name is inextricable from his tarnished legacy, The Cosby Show was nonetheless groundbreaking in its portrayal of a well-educated, middle-class Black family—and Theo's story bookends the series, starting with the Monopoly lesson and ending with his graduation from college. Cliff uses tough love to teach his son that hard work is instrumental to prospering in life. But Warner played Theo as the house jester, balancing the dramatic tension of his character's uncertain future with his impeccable ability to deliver a one-liner. Ultimately, Theo's development does not amount to simple 'success' or 'failure.' His arc comes into focus when he finds his sense of purpose—in part by challenging his parents' judgments and assumptions. As a high-school freshman at the start of the series, Theo isn't much for studying. Instead, he hopes to skate by on charisma alone—which rarely works—and aspires to land a variety of improbable dream jobs, such as tennis pro, pilot, and model. Theo's apathy serves as a counterpoint to Cliff's moralizing about the importance of education and family values to one's social mobility, which echoed Cosby's own. In retrospect, Cliff's fears about his son's future foreshadowed the comedian's public excoriations of Black youth, which drew national attention in the early 2000s—mainly, his charge that they were ' going nowhere.' The harshness that sometimes emerges in Cliff's approach to parenting lands with a more punitive thud in that context. And with Theo, we eventually see that the slacker persona his father has projected onto him is not the full picture. Theo's apparent lack of motivation occasionally drives his father to theatrical extremes. In one episode, Cliff enlists the entire family to simulate the 'real world' for his son; the exercise walks Theo through getting a job, renting an apartment, and surviving life's unpleasant realities for a day. Like the earlier Monopoly gambit, it doesn't really work. When his mother, Clair (Phylicia Rashad), suggests afterward that he's learned an important lesson, Theo clarifies for her. 'I learned that when I go into the real world,' he says, 'I don't want to do business with anyone in my family.' The episode's punch line reflects a common parent-child dynamic: Rather than attempting to find common ground, both sides put up a wall—in the Huxtables' case, through humor. The Cosby Show indulges in this again and again, as Theo's parents invent dramatic ways to school their son; they even go so far as to stage a mock trial to catch Theo in a lie. Their son, meanwhile, typically shrugs it all off with a joke. The show's early years often played the chasm between Theo's overconfidence and the outcomes of his actions for laughs too. For example, take a scene in which he tries to impress his older sister Denise's (Lisa Bonet) study buddy: Theo adopts a baritone voice, and then Denise manhandles him out the door. As with many adolescent boys, Theo's bravado is a mask for his still-developing identity. The relatability of his 'fake it 'til you make it' attitude renders him endearing, even when he's the butt of a joke. Still, Theo's self-mythology suggests a latent sadness, perhaps stemming from a suspicion that he might live out his adult life as a regular person, rather than the educated professional his parents expect him to become. But for as often as the show points out the teen's foibles, Warner never lets viewers dismiss Theo outright. For a while, he animates his character's puppyish demeanor with perfectly timed voice cracks and awkward body language. Yet the actor slowly recalibrates as both he and Theo age, shifting the fumbling swagger toward a more mature kind of self-assurance. Some of the show's most rewarding scenes arrive when Theo, as an older teen, earns his father's respect by showing up as his full self. On two separate occasions, Theo and his best friend, who goes by the nickname 'Cockroach' (Carl Anthony Payne II), write a rap for a class assignment. Both iterations include catchy lyrics that demonstrate an understanding of the material; teens like Theo and Cockroach can do great work, the show suggests, when they have room to be creative. It feels fitting, then, that Theo's emotional turning point comes from a diagnosis that upends his parents' skepticism about him. After he enrolls in college, Theo learns that he's dyslexic, which reframes his academic challenges, flighty aspirations, and self-doubts. (Charting a clear path forward is hard when you believe that you aren't smart enough to advance.) The revelation frees Theo from the 'failure' narrative that the adults in his life have pinned on him; he begins performing better academically as a result. More important, he invests his downtime in a meaningful, altruistic pursuit. As a volunteer at the local community center, Theo lights up while mentoring tweens who have struggles similar to his own, and not just because he's good at it. Working with a younger generation gives Theo a platform to draw upon his life experiences and learn as he goes, affirming his newfound sense of accomplishment. When one of his advisers tells him he's doing well but isn't 'there' yet, Theo agrees—a moment Warner underscores by smiling to himself as he murmurs, 'But I'm growing.' The pleasure Warner brings to the exchange reflects just how much his character has transformed from an aimless teen afraid to fail into an adult who recognizes that trial and error are part of life. The Cosby Show closes with the whole family gathering. Although Cliff reflects on the long, hard road his son faced to get here, Theo's real triumph is different, and more significant. He's no longer feigning confidence or struggling to understand why the things that come easily to others are so difficult for him. He won't become a doctor or a lawyer. After years of effort, he's defined what personal success means to him. A sense of direction is what his parents have wanted for him all along. And now he's found it for himself.

Business Insider
8 hours ago
- Business Insider
How the Black aristocracy of the Gilded Age ushered in a new era of education and freedom
Season three of "The Gilded Age" has continued to explore what it was like for wealthy Black Americans in the late 1800s in New York City. One main storyline in "The Gilded Age" follows Peggy Scott (played by Denée Benton), an author, journalist, and daughter of a formerly enslaved man, Arthur Scott, who is a successful pharmacist and business owner in Brooklyn. Her mother, Dorothy Scott, is an accomplished piano player. Peggy's character was inspired by a few real-life women, including Julia C. Collins, the first Black female author to publish a novel. "The Black elite of the Gilded Age signaled that we, too, have taste. We too have education. We are like other citizens," Carla Peterson, historian and author of "Black Gotham: A Family History of African Americans in Nineteenth-Century New York City," told Business Insider. After the Emancipation Proclamation was signed in 1863, the Gilded Age ushered in a Black aristocracy. The new class was made up of Black Americans who managed to amass wealth they'd previously been barred from. Industrialization and the railroad boom opened up business opportunities across the US. Many of the Black elite were made up of the "shopkeeping aristocracy" who owned retail and grocery stores and pharmacies, according to Peterson. "After the Civil War, there was an incredible explosion of modern industry, technology, and science, which fueled the money that makes the Gilded Age," Peterson said. "Black families of wealth emerged in this context." For example, Thomas Downing became one of the wealthiest people in NYC and was known as the"New York Oyster King." Thomas Downing, the son of formerly enslaved parents, moved to New York City and became a savvy businessman who popularized oysters, which had once been considered common food. In 1825, he opened the upscale Thomas Downing Oyster House, a restaurant so popular that Downing was nicknamed "the "New York Oyster King." Downing was one of the wealthiest people in New York City at the time of his death in 1866 — a millionaire in today's money, per The Virginian-Pilot. Still, he was prohibited from acquiring US citizenship until the Civil Rights Act of 1866 was passed, just one day before he died. Or maybe you've heard of Pierre Toussaint. Toussaint was born into slavery in Haiti and was eventually freed in New York City. He became a highly sought-after hairdresser among the society's upper crust, and used his new wealth to support orphans and immigrants to gain education and employment. Women also became more independent and wealthy, such as Mary Ellen Pleasant. Mary Ellen Pleasant became a self-made millionaire after she moved to San Francisco, following the glimmer of the California Gold Rush. While she worked as domestic help, she listened to the wealthy men she served as they exchanged information on making proper investments and managing money. Pleasant used that knowledge to buy up boarding houses, laundromats, restaurants, and Wells Fargo shares, becoming a famous figure in San Francisco in the second half of the 19th century. Some estimates by historians put her wealth around $30 million, which would be almost a billion in today's money. Gaining access to education was one of the ways Black New Yorkers achieved upward mobility. Money alone didn't grant access to the upper echelons of Black society. In addition to having "character" and "respectability," the Black elite emphasized both education and hard work as core values, according to Peterson. "Since Blacks came to this country, education has always been number one," Peterson told Business Insider. "There is a belief that if you had ambition, you could do anything you wanted. And ambition started with education." On February 25, 1837, Quaker philanthropist Richard Humphreys founded the first HBCU in the country, the African Institute — now Cheyney University — in Pennsylvania. The majority of HBCUs originated from 1865 to 1900, the period following the Emancipation Proclamation. Education was key to unlocking the skills to become a doctor or pharmacist, and also led to a flourishing of interests in humanities and the arts, according to Peterson. Scholars like W.E.B. Du Bois advocated for the need for an educated class. "The Negro race, like all races, is going to be saved by its exceptional men," Du Bois wrote in his essay, 'Talented Tenth." But as the name "Gilded Age" implies, not everyone was raking in wealth. Not everyone lived lavish lifestyles. The Gilded Age was also notorious for having the most significant wealth inequality in American history. The vast majority of workers, especially Black Americans and immigrants, faced extreme poverty and harsh working conditions in factories. "Chattel slavery is dead, but industrial slavery remains," economist and New York mayoral candidate Henry George said in 1886. And racism prevented even the most successful people of color from becoming fully integrated. Even those who did manage to gain wealth faced pervasive systemic inequities. White society largely viewed Black Americans as "a homogenous mass of degraded people," according to historian Willard B. Gatewood in his book, "Aristocrats of Color: The Black Elite." There was, however, a "certain amount of cooperation and interracial alliances between Blacks and whites," Peterson said. Peterson described how professional relationships enabled Black Americans to climb the ranks within businesses. She also pointed to the King's Daughters, a nationwide charity organization where white and Black women worked together to help those in need. Friendships between characters like Peggy and Marian, a white woman, in "The Gilded Age" were not unheard of. Erica Armstrong Dunbar, a professor of history at Rutgers University, told The Los Angeles Times about "the letters of white suffragists, women who had deep relationships with Black women, from the era of abolition up through the early 20th century." Activism of the 20th century would not have been possible without these men and women. Peterson said the emergence of the Black elite is inextricably tied to the burgeoning political and social activism in the 20th century, as exemplified by the 1909 founding of the National Association for the Advancement of Colored People, the political magazine The Crisis, and the Harlem Renaissance.