The Press _ Fashion Beauty 2018 by The Press magazine

ISSUE NO. 1

F O R

T H E

M A J O R I T Y - M I N O R I T Y

SEPT 2018

THE BLACK BEAUTY ISSUE

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Publisher’s Note Jasmin Freeman President and Publisher

In lieu of a traditional publisher’s note, Jasmin was interviewed about her journey of transforming and building her own magazine for the majority minority in New York. What was your motivation behind creating The Press?

There's a gap in traditional media coverage for millennials of color like myself. I wanted to create a community that honestly represents minorities and issues important to them. I started in media 8 years ago at an unpaid internship, and throughout my journey to taking over The Press there has been one constant — always a lack of diversity in media.

How does The Press stand out from other publications? Just look at our first issue — Black Beauty. It features work from over two dozen creatives, editors, photographers, stylists and models of color. It’s created by people of color for people of color. And to come out of the box releasing an issue during New York Fashion Week was a way for us to send an important message to an influential audience.

Most of the contributors are creatives of color. How does this give your publication an advantage?

I got a better understanding of our audience while putting together this first issue, and working with and around such talented people like Brandee Brown, Heron Preston, Myles Loftin, Ajak and others. It's really special to see a real and genuine excitement. An authenticity. With the first issue, we showed that we can break through in a space that has always been tough for people of color to break into.

Why The Press now?

I think there's an overall feeling of distrust in media, and we wanted to jump into the breach. Many publications are too narrow in their coverage, or haven’t adapted to the new majorityminority landscape in many urban centers. So many voices and ideas are missed, especially from communities of color. The Press will share those stories and viewpoints.

Why is it important for the world to have an outlet primarily for the majority-minority ?

The world is still run by white men. So every aspect of society is through that prism. It is way past time to change that. The Press will change that.

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Table of Contents

FEATURES

A Personal Narrative on Colorism By Penda Nâ&#x20AC;&#x2122;Diaye

Deborah Willis: The Art of Capturing Us By Trone Dowd

The Darkest Colour By Yannis Davy

Black Woman Sing By Leeza Jonee

COVER

Bobby Day: Streetwear Grows Up By The Press

CONVERSATIONS WITH

House of Aama By Myles Loftin

Proust Questionnaire: Amanda Brugel By The Press

Proust Questionnaire: Aml Ameen By The Press

Avery Wilson: Where Is He Now? By Mia Jackson

Traveling To Space with Heron Preston By Christie DeGallerie & Brandee Brown

Contributors

Amanda Brugel

Aml Ameen

Ajak Deng

Hamid Onifade

Actor

Model

Susan Oludele

Bobby West

Ian Bradley

Micaiah Carter

Hairstylist

Fashion Designer

Fashion Editor & Stylist

Photographer

Myles Loftin

Dr. Deborah Willis

Akua Shabaka

Yannis Davy Guibinga

Photographer

Photographer & Chair of the Department of Photography & Imaging at NYU Tisch

Fashion Designer of House of Aama

Photographer

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Temi Coker

Myles S. Golden

Laura Alston

Brandee Brown

Photographer

Creative Director

Trone Dowd

Heron Preston

Christy DeGallerie

Avery Wilson

Journalist

Designer

Writer

Musician

Mia Jackson

Leeza Joneé

Abdul Fattah Ismail

J.D. Barnes

Stylist

Writer

Photographer

A Publishing Partner: An Ocean Gold Media, LLC Jasmin Freeman President & Publisher

Ian Bradley Fashion Editor

Penda N’Diaye Editor at Large

Pauline Shin Designer

Brandee Brown Editor at Large

In parternship with

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T R ANS M IS IONp res en t s

William Ruggiero, Chairman Andrew Holt, President Michael Johnson, Exec. News Director Jasmin Freeman, EVP Guillaume Federighi, Exec. Creative Director Dylan Forsberg, Exec. Producer Michael Tobman, Counsel 5

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On The Future of Black Fashion Photographer, Myles Loftin interviews designer, Akuua Shabaka

BY MYLES LOFTIN Myles Loftin: Introduce yourself. Who are you and what do you do? Akua Shabaka:I am Akua Shabaka. I am a designer, creative and model but most importantly I consider myself a storyteller. I am a cultural enthusiast who studies archival work and culture, history and traditions of the African diaspora to inform my work and creative pursuits. I am co-owner of the brand House of Aama with my mother, Rebeccalouise. ML: Talk about your journey as an artist. How did you arrive at fashion design? AS: I grew up in a family of creative people. My dad is a musician and my mom is an attorney with creative interests, including sewing and quilting. In junior high, I began experimenting with making my own clothes. I did not think about what I was doing as fashion design at the time but those early years led to my interest in designing clothes. In high school, I really desired to wear clothes that expressed my culture. I couldnâ&#x20AC;&#x2122;t find the clothes that I wanted in the marketplace, so I began (again) making my own. Friends saw my clothes and asked if I could make clothes for them. House of Aama was born. I founded House of Aama with my mother and we handle all of the business tasks ourselves. Since then, I have developed interest in exploring other areas such as creative writing, multimedia, photography, styling and creative direction. ML: Could you tell me a little bit about your brand and the ethos behind it? AS: My mother and I created the brand from our collective interest in African people and those in the diaspora. We have sought to give a voice to black people through the vehicle of our clothing collections, encouraging them to learn about their history, culture, spirituality and other unique cultural traits. We really consider ourselves to be folklorists and our designs are driven by the stories we decide to tell.

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ML: What is your role within the brand? AS: I am co-owner of House of Aama and the project manager. I also oversee the creative direction of House of Aama and its partnerships. In addition, I handle our social media, marketing and public relations platforms. My mom is more involved with product development, production and manufacturing. However, we both are involved in the creative process and participate in the design of our products.

ML: Navigating the Industry? AS: Well, ecause I am black and a woman, I give a voice to this perspective in my work. Especially, in our last collection Bloodroot, where we gave a voice to the female characters of a roots worker and parlor ladies. As a woman and black woman, it is hard sometimes to be taken seriously in this industry with the voice that I am amplifying, but I am not deterred. I feel that I have a perspective to contribute and I will forge ahead.

ML: Loss of Narrative? AS: We do have a very distinct voice and vision at House of Aama in regards to the stories that we tell. You know that when you tell a story, your audience is open to all who choose to listen. I donâ&#x20AC;&#x2122;t feel the narrative gets lost when a non-black person listens to our story and decides to participate by wearing the clothes. I think it makes me think harder about our story and how far it can travel because if the non black person is asked about the clothing, the narrative will always return to the source, which is a narrative of black people.

ML: Black Creative Trend? AS: The increased visibility of the black creatives in the fashion industry has been amazing to witness as we continue to develop and expand House of Aama. I personally, donâ&#x20AC;&#x2122;t think it is a trend. It may be a trend to others but it is our reality. Black culture is such a driving force worldwide that it does feel incredible to craft stories and create product in this era as there is a receptive audience for our vision and voice.

ML: Parsons? AS: Yes. I am a rising senior. Parsons has been helpful to me because I came to art school with a brand and a mission. The classes I have taken and the exposure I have received as a Parsons student has been invaluable to the growth of House of Aama and myself as a creative; so for me, Parsons has been worth it. It has been a struggle to maintain the balance between work and school but definitely no regrets. House of Aama has given the practical application of the subjects that I study at school. A test case, so to speak. 8

ML: The future? AS: Our aim now is to continue to tell our stories, expand the audience for our stories and expand our brand into additional life-style items and art installations not just clothes. Our customers tell us that our brand is different from other brands because of the stories we are telling behind our clothes. We are not just making clothes. Clothes are a vehicle for our stories and this apparently has resonated with our customer base.

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Conversations with

Amanda Brugel

Amanda Brugel stars in Hulu’s award-winning drama, The Handmaid’s Tale. Amanda is a Canadian actress that is the ONLY Canadian on the show with a leading role, based on the wildly popular book from author Margaret Atwood. Brugel plays ‘Rita,’ the Martha in the Waterford House. We fell in love with Amanda’s beautiful spirit during her Proust interview for The Press. 18

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The Press: What is your idea of perfect happiness? AB: Myself, my husband and my children walking back to the car barefoot, half clothed and sun soaked after a day at the beach. What is your greatest fear? One of my children dying. And my Mommy dying. And my sister. And my other sister. And my Daddy. In a nutshell; my people dying. TP: Which living person do you most admire? AB: Oprah. Isn’t that everyone’s answer? And Elizabeth Warren as a CLOSE second. And Margaret Atwood. Dammit. That’s three. Fine: Oprah. Final Answer. TP: What is your greatest extravagance? AB: Time...by...myself. TP: What is your current state of mind? AB: Stressed. Confused. Adult. Tense. And grateful for the inevitable change that will be born as a result of this current state. TP: What do you consider the most overrated virtue? AB: Kindness. Such a load of nonsense. Nowadays, people equate “kindness” with liking your friend’s posts on Insta. Kindness - true kindness - is so difficult to execute and rarely “practiced”. TP: On what occasion do you lie? AB: To avoid hurting someone. Myself included. TP: What do you most dislike about your appearance? AB: I used to HATE my forehead. Someone called it a “six” head in grade eight and it scarred me for a decade. Now I’m over it. I love a slick back bun. Love a tight pony. Love any occasion where I can show off all “six” of my heads in all their glory. 20

TP: Which living person do you most despise? AB: I don’t despise any living human. Truly don’t. In my old age, I’ve realized that we’re all terribly flawed. But at the end of the day, we all just want love. That being said, I’m the mother of two young boys and I do DESPISE the characters in Teen Titans. I can’t. Stop talking so fast. I don’t like any of you. TP: What is the quality you most like in a man? AB: Sense of humour TP: What is the quality you most like in a woman? AB: Sense of humour TP: Which words or phrases do you most overuse? AB: “I can’t.” “Sorry” “YASSSSSS” “Fight or flight” TP: What or who is the greatest love of your life? AB: My children. Full stop. TP: When and where were you happiest? AB: Sitting on beach in Malibu on my 40th birthday singing to sea lions. I scampered across the rocks of Point Dume solo and barefoot with a bottle of Dom and stumbled upon a colony of sea lions. I started singing “A Whole New World” to one and suddenly four others gathered around to hear the concert. When I tried to leave, they barked for an encore. I became the Beyoncé of sea lions. On my 40th Birthday! BEST. DAY. EVER. TP: If you were to die and come back as a person or a thing, what would it be? AB: The Internet. TP: Where would you most like to live? AB: Manhattan Beach, California. I can tell you the exact house, but I don’t want you to up and buy it before me. BLACK BEAUTY ISSUE 01

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Conversations with

Aml Ameen

The Press got an inside look into the character of actor, Aml Ameen. Ameen is the lead of Idris Elba’s directorial debut YARDIE. The Studio Canal film hit UK theaters on August 24th (the film originally premiered in the U.S. at Sundance and then again at Berlin Film Festival). Based on Victor Headley’s 1992 cult novel, the story is about a young Jamaican (“D,” played by Ameen) who arrives in London in the early 1980’s and unexpectedly discovers the man who assassinated his revered brother in Jamaica a decade earlier. When his quest for justice explodes into a violent street war, he puts both himself and the lives of his loved ones in peril. 24

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The Press: Which talent would you most like to have? Aml Ameen: I would genuinely wish to be a musician. Both singer and songwriter, with ability to play the piano. Music is life. It’s the number one art form. It hits the bloodstream immediately. Maybe there’s time : ) TP: If you could change one thing about yourself, what would it be? AA: The things that need changing either have happened or are in the process. Perhaps I should develop more patience, but I genuinely loathe the idea of wasting time, even though time is on its own clock, not mine. TP: What do you consider your greatest achievement? AA: That I’m able to stand close to thing I most want in life and remain still. And make decisions based on my integrity and not my desire. TP: What is your most treasured possession? AA: Life. My imagination, my sense of hope and possibility about it all. One day she will leave me, and I’ll leave her, but until that time, I love life, and she teaches me.

first month of living here in LA in 2010. We all went out one night and we’ve been rocking ever since. They gave me a family in America and I gave them international perspective. We’ve done weddings together, holidays, Sundance, and now the London Premiere of my film YARDIE. TP: Who are your favourite writers? AA: Kwame Kwei-Armah and Mikel Ameen. I also love my own written work. TP: Who is your hero of fiction? AA: Marty Mcfly from Back to the Future. TP: Which historical figure do you most identify with? AA: Frank Sinatra and Bob Marley. TP: Who are your heroes in real life? AA: It’s always changing. Right now it’s my mate Issa Rae. She’s genuinely making moves that I’d love to do as well. TP: What are your favourite names? AA: Aretha, Alysha, Marva, Bilal, Mikel (my family)

TP: What do you regard as the lowest depth of misery? AA: Poverty and disappear. Both are difficult for me to witness in other people’s lives. TP: What is your favourite occupation? AA: The alchemy of content creation. Having an idea in the mind, and making it a reality. You’re playing god when you make movies, it’s fun. TP: What is your most marked characteristic? AA: I’m a huge romantic. Both in love but even more in life. I genuinely believe that those seeded dreams in our mind are not only possible but necessary for our evolution and growth. TP: What do you most value in your friends? AA: Brotherhood. If we choose each other, truly choose each other as friends, that soon disappears and we become family. I have a group of friends that I met the 28

TP: What is it that you most dislike? AA: When I feel someone is not pulling their weight, and instead of doing better, they give you a passionate diatribe of excuses. TP: What is your greatest regret? AA: Being in long romantic relationships as a teenager. Waste of time. I’d advice my children against it. TP: How would you like to die? AA: I’d like to be put into a giant bowl and relive all of life’s pleasures, including the joys and sweetest memories. After I’m filled to the brim with love, I’d like to transition into the next life, in a similar way to Captain Kirk in Star Trek. “Beam me up” and just fade into the next life. TP: What is your motto? AA: I say to my boys in a toast, always, “To the good life. It’s all we know.” BLACK BEAUTY ISSUE 01

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Traveling to Space with Heron Preston BY CHRISTY DEGALLERIE

Photos: Brandee Brown Location: Seventh House PR

You can officially add space explorer to creative director, innovator, designer and DJ Heron Preston’s resume. That’s because his latest project is taking us to space. His latest project is a NASA inspired collection. He took us along his journey in a documented short film titled ‘Above The Clouds’ which takes us to Italy and the U.K. There, you can witness the process of his collection coming to life and how he sent it to the stratosphere. A mid-August summer evening, three folks on the roof of Showroom Seven, overlooking New York City’s ginormous concrete buildings. We sat down with Heron discussing what’s next for him, how important networking is, and if he believes in aliens! This is not an interview you’re expecting. No structure one-on-one Q&A. More like a group of friends being authentic and candid, getting insight from one another and having some good laughs. We casually started to chat about how neat the uniforms worn by the workers in Italy are.

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Christy DeGallerie: Why Italy? Heron Preston: It kinda just fell in my lap. I wasn’t really after doing stuff in Italy, it happened because Virgil [ Virgil Abloh, American fashion designer and friend of Heron’s] and the brand Off-White, with New Guards Group , its this Italian distributing company. it carries a bunch of brands under their umbrella. Virgil pushed me into doing more with my ideas.

HP: I should! We will! CD: So I noticed you used the old NASA logo. HP: Yeah, I thought the old logo looked good in space. It’s kind of what we remembered as little kids. That was the first logo they used and it got discontinued in 1992. I chose to put 1990 on the collection, it sounded nice. BB: Yes, thats my year, represent! [ Group laughs]

CD: Are you and Virgil involved in each other’s soundboard process? HP: Yeah. I told him about this hat idea and he was like “ That’s it? That’s all you’re gonna drop?’ He actually pushed me to do more. I like getting feedback from my friends you’re only as good as the feedback around you. I’ve never thought that big before. So this opportunity in Italy came up with Virgil launching Off-White with them. So I went out to Italy, sat down with them, introduced my brand and who I was. I pitched my idea and they were like let’s do it.

BB: Do you know why they stopped using that logo? HP: I’m not sure, but it was such a dope logo, I like the 90’s.

CD: I know you’re one of the directors of the nine minute film that accompanied your collection ‘ Above The Clouds’. How did that come to life? HP: So my friend Dave Laven, is the other director we both grew up in San Francisco together we’ve known each other since we were like 10 years old. Him being my director friend, I hit him up and told him I wanted to shoot my collection in space. Brandee Brown: No big deal! [ Group laughs collectively] CD: I love how confident you are. Were you ever skeptical about filming this, your astronaut and the mannequin used to wear your clothes not making it up to space? HP: No, I wasn’t, we did a bunch of research once I brought the idea up, we knew it wasn’t impossible, but definitely hard as fuck to get it done. We were like, I don’t even think this can be done in the U.S. We might have to go Russia. And it cost by the weight to send things to space. Something as light as my jacket could cost so much money. I learned all that through researching. I actually wanted my collection to be shot on the International Space Station. BB: Anyone can just send a weather balloon up there right? HP: Essentially that’s what we did. It turned out me wanting it to be shot in zero gravity. So I thought about a Zero G flight. It was all too expensive, so we landed on the weather balloon idea. Thirty plus miles above earth, above the stratosphere where it becomes dark. And the earth starts to make this round shape. We sent it up via our tracking devices, we knew how high it went, and how far it traveled with all the wind. We had to travel two hours away from the launch site to retrieve it. CD: Oh my goodness! What? HP: Yeah, it took us two hours to drive to another part of the U.K. to find it. CD: You should frame the clothes that went to space. It’s sacred now.

CD: What is your connection with workwear? It seems to be a great source of inspiration for you. Where does that come from? HP: I think it comes from a couple places, I like when clothes look a little beat up. When you have some dirt, some paint stains on your clothes, just that aesthetic alone, fashion mimics that, it’s a real process to get that look. My dad is a retired police officer, my grandpa a carpenter- that “uniform” and “workwear” have beenthere all my life. As I became more of a creator, I saw fit to show appreciation for these workers that we couldn’t live without. Sanitation workers, thats streetwear ya know? BB: I loved what you did with the sanitation collection, these people are everyday heroes. My dad is a janitor, he’s thinking this is just his uniform for work, but its fashionable. HP: It’s a brain-fuck for people like your father to see people acknowledge his uniform. These are people taking care of New York City. CD: Are you still on the Nasa high? Or are you brewing up what you want to do next? HP: That’s literally what I’m spending August on. Since my team works in Italy, they’re all on vacation now. I have August for time to think before they come back and work starts to pick up and get crazy. CD: Are you going to continue the workwear theme? HP: See, I don’t want to put myself in a box either, I wanna keep it unexpected and I wanna use these projects as an opportunity to just show the world all the different things I’m interested in. BB: Olympic uniform. HP: I like that. BB: Sports! Jerseys. HP: That would be great, thats a good idea, school sports. Fashion to me is a made up world. So I enjoy creating authentic real things and bringing real people and real stories into fashion. Uniforms on kids at school, that’s fashion, that’s real to me. CD: Are there any designers you’re digging right now and maybe itching to work with? HP: Telfar! I’m obsessed with Telfar. I wanna collaborate with Telfar. I met him a while ago once, watching him grow and he’s finally getting the recognition he deserves. He’s so innovative, I love his content, his visual, we gotta do something.

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↑ SILVER NASA DENIM JAKET Silver long sleeves denim jacket inspired by Nasa. Buttons closure. Lapel collar. Two welt pockets at front. → WHITE NASA CREWNECK Long sleeves sweatshirt inspired by Nasa. Graphics print at front and sleeves. Red NASA embroidered at front. Crewneck collar.

BB: How does one get in contact with NASA? HP: I went to the NASA website and saw their contact and emailed them. I never got a response. My childhood friend Zach, works at this satellite place where satellites get sent into space. So I pitched him my idea and he was like “ Oh, I know exactly who you should speak to.” He cc’d me in an email. That’s officially how it happened. CD: Thats the connect! HP: The power of networking and that’s why it’s so important to just meet people. I still don’t ask as much as I should, constantly reminding myself to do it more.

you figured out how to climb up the shelf for that thing grandma hid from you. You have to bring that mentality into business into your creative practice as well.

CD: What advice you would give young designers that want to reach this success? HP: Yeah, don’t be afraid to network, don’t be afraid to ask. Share ideas with your friends, I’m still learning this. Bounce ideas off of others. Don’t hold it in.

CD: Do you believe in aliens? HP: I believe in life outside of Earth. Hell yeah. I guess that’s an alien right? I just hope I’m alive when they discover life on Mars or something. I wanna see something walking in spaceCD: Wearing your backpack. HP: We can’t be the only ones ya know? BB: Yeah theres no way. CD: When I travel I realize how small I am, something has to be out there. HP: I was just thinking on how small we are, and I want a super power to calculate how many of the same things are being done at the same time around the world.

BB: How do you internalize those NO’s? How do you combat that? HP: I think we got it all in us, on how to combat the NO’s. When we were little kids you still went somewhere when you weren’t supposed to. You still reached for the candy, the ‘no’ didn’t stop you. If they put something up too high,

CD: Do you have a favorite piece from your NASA collection? HP: I think the pants are my favorite. CD: I love the backpack from your collection, I feel like the backpack would be the piece the aliens would choose to wear. [ group laughs]

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HP to BB: Like when you were just biting a chip, how many people right now, are biting a chip?! [Brandee munches on Doritos] Right now around the world. CD: I thought about that when I gave birth to my daughter, how many new born screaming babies are screaming right now? [Group laughs] HP: Really? CD: Yeah[There was a slight pause.] BB: It’s so weird, that we all just share the same moment, because we probably all thought about that moment, at the same time we thought that moment. [ Dumfounded by our conversation and Brandee’s realization, laughs and cheers all escaped our mouths from the excitement of deep thinking. Heron jumped up from his seat and ran a lap around the roof with his arms flung outward.] CD: The interview is over! It’s done, we should end it right here, it’s too perfect of a moment. Heron, thank you for chatting with me. [ Claps and cheers from everyone on the rooftop] HP: This was so fun!

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The Darkest Colour BY YANNIS GUBINGA In many cultures across the globe, the colour black is a symbolism for darkness, mourning and death but also anything else that is frightening, negative and standing in opposition to the purity and goodness of the white. “The Darkest Colour” is an abstract representation and visual reimagination of the inevitable loss of the Man in his battle with Death, very often pictured in the colour Black, or one similar to it. The constant presence and proximity of Death that is felt by every individual throughout their lifetimes is represented in this series by the constant yet sometimes barely visible presence of a female form, looming over and interacting with the other subject. The absence of genitals on the seemingly male subject represents the universality of this struggle and the fact that every individual will die, regardless of the gender identity.

Featuring / Tania Fines & Madjou Diallo Photography/Writing/ Creative Direction / @yannisdavy Bodypainting / Jean Guy Leclerc

Through the study of the Human form and the overwhelming presence of the colour black, “The Darkest Colour” aims to interrogate, reinvestigate and redefine the stereotypes and preconceived notions not only about the colour black itself, but also about death. Rather than being seen as a tragedy, “The Darkest Colour” aims to reimagine the inevitable act of dying as a peaceful rest after the intense and sometimes turbulent journey that is Life. BLACK BEAUTY ISSUE 01

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Black Beauty: Ajak Deng and Hamid Onifade

Photoshoot: Photographer: Micaiah Carter Stylist: Ian Bradley Stylist Assistant: Tessa Kerpan Make Up: Raisa at Kreative Kommune Hair: Susy Oludele Set Design: Sinju Storm 46

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Bobby Day:

Streetwear Grows Up

BOBBY DAY is a men’s fashion and apparel line with a distinctive hoodchic style. The designs are worn by models Ajak Deng and Hamid Onifade. The Press caught up with Bobby West, creator of the fashion line, about the inspirations behind his collection.

The Press: We know Bobby Day is inspired by “hood” fashion. Give us a little preview of what we can expect in your upcoming collection: Bobby West: With the upcoming collection, I’m going back to my streetwear roots. In the last collections, I’ve kind of ventured off with the streetwear into a more grown up look. That’s where the suiting came in. But now, I want to take it back to my roots and give you a hardcore streetwear collection with all those Bobby Day elements that you know me for. TP: In recent news, we’ve seen black designers leading major fashion houses such as Louis Vuitton and Balmain – what do you think this means for the industry’s step towards more diversity? BW: I think the fashion world has its own rules. And its own world. Just because the industry is allowing a few black people to head major fashion houses doesn’t mean we get comfortable. You always have to be ahead and keep your eyes open.Tim Gunn said it best, “One day you’re in, the next day you’re out.” 48

TP: How does your identity play a role in your design? BW: My identity plays a role in my design because I’m from the hood and I have those elements in my style. I also consider myself a little witty and resourceful. I love putting witty slogans on my tees and sweatshirts. Even the way I create a jacket-- it can be worn in many different ways. I create shapes and new forms out of your clothes. Coming from a home where I didn’t have much to work with, you have to be resourceful. I use those elements in my design. TP: What is your biggest design goal? BW: My biggest design goal is to have a boutique in all the major fashion capitals: New York, Paris, Tokyo and London. I want to be a household name. TP: If you weren’t a designer, what career path would you choose? BW: If I wasn’t a fashion designer, I’d be another type of artist. Maybe a photographer. I love beautiful coffee table books so I’d want to create my own book. But then again, I also love to bake! BLACK BEAUTY ISSUE 01

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“I saw the most beautiful blue-black, blurple, eggplant skin imaginable to the naked eye.”

BY PENDA N’DIAYE

Penda N’diaye is a Senegalese creative whose recent travels to Dakar, Senegal, her untraditional upbringing in white Colorado and lust for Black skin has driven the narrative of this personal story on black visibility. Photos by JD Barnes

It is 2AM. Glistening chocolate skin, a whirling waist and an infectious smile all beaming after the DJ plays her favorite song. All to be interrupted by a white woman entering my space to say, “You are sooooo beautiful. I hope you know that.” I wanted to reply, “Bitch, I know!” But I only manufactured a generic “Thank You.” I turned to my friend, lamenting over my clear conviction: If I weren’t black, would this woman still douse me with compliments? Ones that wreaked of overcompensation and validation? For her, and her only? As if that single compliment abolished all institutionalized beauty norms. As if that single compliment connected our minds and spirits. Bish, whet? We don’t know each other. The irony of once not being allowed into certain nightclubs because I was too Black, too African, and too fierce has been replaced with a smug, illusory gain of social capital when they express even the faintest scent of social acceptance of black skin, regardless of class. I grew up in Denver, Colorado, raised by a Black American mother and Senegalese father. My father was strangely superstitious and protective over our home. He was sadly in my opinion, an immigrant bent on assimilating into American life. So I had little to no exchanges with other non-American blacks until moving to New York at age 18. You may be asking this question with surprise: “There are black people in Colorado?” Yes, there are. And guess what? Some of them were the greatest offenders in classifying darker skin as visually inferior.

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I can’t attribute ripping out my kinky, mid-back dreadlocks at age sixteen for a perm, or accepting, “You’re pretty for a Black girl” as a real compliment, solely to the harsh words of my black peers. The lack of fraternity left my mirrored reflection fractured and little to be desired in the warped mind of an impressionable, African girl in predominantly white Colorado. An 8 year-old white girl gleefully running around the playground with unkempt hair, mismatched clothing and dirt on her face, is middle America in a Kodak frame. The reverberation of a carefree, unbothered spirit carries her through the field. A young black girl sits nearby with perfectly coiled hair, clean clothes and simmers with envy watching the other children play. Her mother told her not to mess up her hair or get her clothes dirty. Her little spirit confined to stagnant behavior because her mother’s value on appearance is placed above the child’s experiences. Why do black parents generally care so much about their child’s appearance? And why does it take precedence over childhood euphoria that you can never get back? As black people, our perception of beauty is so enamored with outward image, i.e. Nike Air Jordans, ironed clothing, matching outfits. White perception of beauty begins with mental nourishment and constant reassurance from their kin in addition to society. Perhaps if we as a collective didn’t place so much value on consumerism, and despite our buying power rising, our beauty would radiate from within. Our inner confidence would glow. Self-validation through material assets essentially marginalizes our God given gifts. There is no single factor for the innate confidence of non-black people and the ways in which they personify verbal reassurance of white beauty standards. Imagine being told you are beautiful everyday as a child, allowing your confidence to grow exponentially, without a ceiling. Your standards of beauty are reaffirmed in magazine covers, television shows, and most importantly, from your own kin. God made these wonderful beings. We call them “Mothers”. A mother’s words can shape the trajectory of a child’s future health and happiness like little else. Higher self-esteem and fewer psychological problems can be linked to parental affection. Just this year, my mother told me that when we were growing up, she wished that she would’ve told her children more often that they were beautiful. It is commendable that she could admit a parenting mistake. But in my mind, the feeling was bittersweet. I began meditating on having more of that warm maternal support to navigate the world with an inexplicable, visceral feeling of confidence manifesting into self-beauty at a much younger age. How powerful would I be! During my recent trip to Dakar, Senegal, I realized the normalization of black faces is unparalleled. Every billboard, website or magazine flaunted a beauteous, dark-skinned model. To say I was flabbergasted is an understatement. I am aware that in some African countries, there is the desire to have lighter skin, but in THE PRESS

this glorious city I saw the most beautiful blue-black, blurple, eggplant skin imaginable to the naked eye. I was compelled to let the sun bless my skin and secure my melanin bag forever. I couldn’t help but wonder what it would be like to grow up in an environment that promoted black beauty on the regular. What if that was the only way we maneuvered through life? When I first saw the beautiful Ajak Deng on the cover of the inaugural edition of The Press, I was almost brought to tears. A striking black woman’s image bleeding onto the page is sociocultural ammunition. This imagery must be passed along to our future children. Furthermore, this action will homogenize our features, our skin, our fierceness… our likeness. Beverly Johnson was the first Black supermodel to grace the cover of Vogue Magazine in August 1974. Alek Wek was the first to make a mark on Elle US in 1997. 20 years passed before another black model covered Elle US. This September, however, we are witnessing an influx of black figures gracing the covers of premier fashion magazines.

To look into the mind of a black body that is in its purest state, knowing no beauty bounds. Are the creative directors of these magazines simply being opportunistic? Are they embracing the newly realized buying power of black people by finally placing more of our faces at the forefront? Are they competing with one another like political candidates to gain our trust? Are they going to showcase our physical beauty more consistently and with less bias? Is the movement only a phase leading to the publisher not placing another black model on the cover for 20 more years because of circulation sales? You have to wonder why so many magazines chose to feature black faces for the same month. To me, it smells like a pissing contest.. I know, I know. I should be kissing the feet of those in charge of selecting these beautiful black faces. Nope. The myth that Black faces won’t sell covers unless it is a recognizable celebrity is an old wives’ tale that the fashion industry has perpetuated for decades. I recently attended a Nike launch party for a collaboration with Nigeria’s Flying Eagles leading up to the World Cup finals. The jersey sold out online in record speed and left black consumers feeling slighted in their purchasing power. Could Nike have better anticipated the overwhelming response to a major brand collaborating with an African country? Why are we underestimated time and time again when it comes to our ability to support our OWN cultural monuments? If Black women don’t sell covers, then explain how more than ten major magazines feature them in their September issue. These icons must endure a lot of societal pressure! Influencers have transcended the once medial expectations 61

I then started to wonder “Is this a moment or a movement?” of a supermodel. Social media along with the viral nature of covers featuring Rihanna and Beyoncé illuminate the fact that black women are insatiable consumers of digital content. Thus, for Beyonce to hire a black photographer, Tyler Mitchell, to shoot her Vogue US editorial is such a transformative move. She unveiled the concept of relatability and sad truth that the lack of diversity in the fashion space only expedites racial exclusion. In her Vogue cover story, she says, “If people in powerful positions continue to hire and cast only people who look like them, sound like them, come from the same neighborhoods they grew up in, they will never have a greater understanding of experiences different from their own. They will hire the same models, curate the same art, cast the same actors over and over again, and we will all lose.” With Black women being the economic engine of the black community and growing gains in politics, business and media black outlets should be more sensitive listeners to the power of this new kind of black magic, or #BlackGirlMagic. So then we should ask, “Who is the black supermodel of our millennial generation?” Or can we say with confidence that the era of the supermodel is dead? To be honest, we could bury the high fashion era. Instagram models are alive and thriving. If our theory is true that Instagram models and celebrities are the new propagandists, what is their social responsibility to the malleable minds of digital consumers? Outlets like #blacktwitter and the rapid circulation of online content prove that Black digital consumers are at the forefront of information transfer. It is a prime, opportune moment for our elected social media leaders to gently nudge their followers towards political and social activism. Now what about the new age, social supermodels that are placed on a pedestal based on sheer physical appearance? Given the amount of apps that can alter appearances ranging from makeup to complete body modification, dare I say our perception of beauty is skewed by some of our own peers? The normalization of black faces is one of our main agendas in the fashion industry, yet our own modification of our natural beauty contradicts the exact point of showcasing uniqueness personified in our features, hair, skin color, curves. The conundrum is to normalize black faces without adhering to European beauty standards. Visualize a magazine cover that features a Black icon but the issue itself isn’t iconic. A future where not every forward advancement of Blackness is defined by proprietary measures or branded as a monumental moment in history. A realm with zero barriers to entry. Would our stock continue to rise, or be muddled by regularity? In hopes of codifying our likeness, homogenizing our skin tones, and finally bringing warped minds to light,

do we risk losing the power that comes with being a rarity? “HELL NO!”, is the correct answer. In fact, I think the opposite is a feasible outcome. Perhaps our soured history of discrimination has solidified our unrivaled, yet sometimes misunderstood, beauty. I am going to take a chance here and call this era “A Movement.” Yes, it was one distinct MOMENT that I traded my kinky hair for a “creamy crack” perm and thought my espresso skin was inferior to my half-white sister and

Our Blackness slaps you in the face at first glance and magically transports you back in time to witness a Black Woman God creating the earth. friends with long, straight hair. It was a MOMENT when we as a collective people were happy to see ONE, light skinned-curly haired woman on TV representing all of the Black women in America. But, the beauty of a moment is that it’s gone in a moment’s notice. A MOVEMENT, however, uses those scarring moments as stored ammunition to propel black beauty towards a fully realized vision of inclusivity and provide consciousness to those who have been sleeping on its power.

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Black Woman Sing

BY LEEZA JONEÉ

black woman, sing i sing of my blackness because it is the first thing i see when i look down at my hands and i cannot hide from myself i’ve stretched myself out eight thousand times laid out in a world where others take + take + take |+ take + take + take...| still — my garden blooms being a black woman this earth is my pedestal i am seen + unseen oohs + ahs + boos sketched on non-black faces from continent to continent + wherever the sand disappears into the ocean this black woman has everything and yet nothing is mine i am the beginning + the ending i am female first i am black first my womanhood and the shades of my lifelines exist in the same breath. sing, black woman. // leezajoneé nine seven twenty seventeen THE PRESS

Dr. Deborah Willis: The Art of Capturing Us

BY TRONE DOWD The world of photography is a world of vision. It is one in which a person’s eye for beauty, pain, wit, social status and many other aspects of the human experience, can be made tangible put on display for all to see. But in a field where it would seem variety is key to keeping things fresh, it wasn’t that long ago that a vast majority of the gatekeepers in photography held a baseless and inexplicable contempt for women visionaries, particularly of color. But even with her back against the wall and the entire industry seemingly working against her, one trailblazer from Philadelphia fought to not only realize her dream, but to level the playing field and carve out a path for future visionaries of color who sought only to share their work with the world.

Photos by Sasha Maslov

Discovering A Dream Dr. Deborah Willis grew up in the city of Brotherly Love, a haven for black and ethnic culture in the 50s and 60s. Willis was often surrounded by stark examples of black beauty, thanks to the family beauty shop. “My mom owned the beauty shop,” she told The Press. “Women used to come in and change their look. My mom used to curl hair and straighten hair and stylize hair.” She said that seeing the change between the moment these women came in and when they left was fascinating dichotomy. Her interest in how these moments are captured however, solidified at a later date. “I was seven, often going to the library weekly,” she said. “I found a book, The Sweet Flypaper of Life by Roy DeCarava and Langston Hughes. It was a book that visually told stories about black people. Back at the shop, my mom always had Ebony magazine, Jet magazine, Life [magazine] and Look magazine. I was fascinated with images since I seven. But seeing Roy DeCarava and Langston Hughes’ BLACK BEAUTY ISSUE 01

book, it really showed me the story of growing up in Philadelphia to me. It was about tenants in New York, but the lighting was something that I knew. Soft light, black skin. It really excited me and I still remember seeing that book.” The visual stylings of legendary black artist Roy DeCarava left a lasting impression on Willis. Never losing sight of her interest in the visual arts, others began to take notice. In her years as a student, a man in the neighborhood by the name of Jack Franklin was a photographer for a local black publication known simply as The Scoop. “He used to walk around with his camera dangling, walking down the street,” she recalled. “I was always fascinated by him. With the way he was about to make photographs move around.” She continued observe the work of photographers around her, eventually coming across a man by the name of Gordon Parks as an undergrad student. “I wrote to Gordan Parks in 1972,” she said. “I told him ‘I want to meet you, I want to become a photographer, I want to interview you and write about your work.’” Parks responded immediately and offered to speak with young Willis almost instantly. The two would hit it off. In 1972, she would also meet Pulitzer Prize winning photojournalist Moneta Sleet Jr. Sleet, who was working for Ebony magazine at the time, gave her invaluable advice on chasing a career in photography. “We spent a lot of time together talking about the difficulties and the beauty of doing the work that we do. They were my two mentors.” “Taking up the place of a good white man” Even with Willis’ proactive nature, the proverbial glass ceiling reared its ugly head repeatedly. Her attempts at THE PRESS

grabbing the brass ring were often thwarted by many of the white men who led her college classes at the Philadelphia College of the Arts (now known as the University of the Arts). “I was one of three women in the [photography program] when I was an undergrad,” she said. “One of my professors told me that I was taking up the place of a good man. He kept on beating me down with the experience of being the black girl in the class. There were 18 men in the class and yet I was taking up a place of a man. That was really difficult.” When she wasn’t being instructed by small minded who couldn’t understand her drive and love for photography, Willis said that representation was equally discouraging at times. “Studying [the history of] photography and not seeing black faces was difficult,” she said. Willis never let this discourage her though. In this class, she decided that she would take matters into her own hands and find the people of color that have contributed great work to the field of photography. “I thought it was time to create a moment where we have voices in visual images of black people,” she said. “I found them. At the time the Black Photographer’s Annual was being published. I also used to read the black press all the time. I found the names of black photographers. I also looked at ads and took a look at city directories which would have an asterisk next to these names indicating that they were colored.” She would press on through college, completing her pet project of discovering the unrecognized world of black photographers right there in her home city. Upon graduating, Willis decided that she would go to Pratt for her Master’s, where she says she had the same experience all over again. At Pratt, she was one of two women in the 65

school’s photography program, and the only black woman. “The two of us had a difficult time with a male professor who basically said ‘you need to go to photo 101 and learn how to take photographs,” she said. “And I’m glad he did that. Because I ended up studying with a woman photographer by the name of Jean Locey who ended up teaching at Cornell. She wanted me to tell a story in a way she taught her undergraduates. [My professor] thought it was a punishment, but it was the best experience because I had someone that cared about teaching me and talking to me about my work. Studying with her was really important for me.”

palette. But she truly believes that this kind of exposure is what makes a learning photographer knowledgeable. She also said that her efforts have had meaningful impacts on the lives of many of her students. “My son and I gave a talk together to freshman at NYU last year, and one of the students said ‘thank you. I grew up in Texas and I never knew that there were black civil war soldiers. Why am I just graduating from high school and never knew this?’” Willis said that its was all the proof she needed to see that lack of representation in all things including photography and history, is still an issue all these years later.

A Place For Black Voices Willis’ experience as an undergrad and graduate student only fueled her drive to excel in her field and her desire to see more black faces in modern photography. She would go onto earn her Master’s in Photography in 1979, a Master’s in Art History from City College and a Ph.D. from George Mason University’s Cultural Studies program in 2001. She has also earned numerous honors of great prestige including two NAACP Image Awards for Outstanding Literary Work. She has written nearly 30 books and is currently Chair of the Department of Photography and Imaging at Tisch School of the Arts of New York University. She has been an advocate for highlighting the importance of preserving black vision in photography. The Press asked Willis to elaborate on why she thinks it’s important to see black subjects photographed by black photographers, to which she said “sensitivities.” “I find that it is in the heart of the photographer that a story is told”. She brought up that the work of Bruce Davidson, a civil rights photographer during the 60s, stood out among his peers because of his ability to see what the movement was about. “He understood looking at black faces. He understood the sense of pride and joy that black people experienced in fighting for their voting rights. He wasn’t objectifying them. What happens when racist photographers who were there looking to find black people as othered, they tended to find images that demean black people and project their camera that way.” As a professor, Willis is very conscious of what she presents to her students. She tries to expose them to all perspectives and to consider the ideas and opinions of exemplary women in the field. She requests that her students quote at least five black women in their research paper, a tactic she picked up from an academic organization called Sister Scholars Advisory Council. “They need to find the sources and the voices of black women,” she said proudly. “Men are always quoted. They are always the master voice. When my studio class is writing, I make sure my students go see shows uptown. That they go to the Chelsea galleries that show black photographers. That’s how I create that dialogue to make sure that they go out there.” She admitted that there are students who occasionally push back against this concerted effort to diversify a student’s

The Future of Black Photography That’s not to say she hasn’t taken notice of how far the culture has come. “I think that [the younger generation] has taken the experiences that they’ve had in college and with others in their travels to say I’m coming to the table,” Willis said. “They aren’t asking to be at the table, they are making room for themselves at the table. I really love what I see happening. The sense of creating new ways and new narratives to tell our stories. There are new platforms that have developed” She looks at social media as one of many extensions of that vision young people have brought to the forefront. Her personal favorite is Instagram. “I love Instagram,” she said. Willis noted that many of the photographers she’s come to appreciate in recent years have used these new age tools masterfully to both share and incorporate into their work. She listed off Trevor Stuurman, Omar Victor Diop and Adama Delphine Fawundu as just a few of the photographers she admires, the last of which she personally mentored. “I think Instagram has gotten a hold of getting people to post images and people like them because they feel good about them or they post them because they feel good about what they’ve experienced. I think that that’s an exchange that is important.” Most recently, one of Willis’ former students, Tyler Mitchell, made headlines when he was personally selected by music icon Beyonce to shoot her recent feature in the September issue of Vogue Magazine. This marked the first time a black photographer’s work was featured on the cover of the publication. Willis told The Press that prior to his recent breakthrough, she knew to keep an eye out for his next big move. But just as important as his accomplishment, is Beyonce’s role in insistence on employing and showcasing black talent. “For Beyonce to do that, we hope that this isn’t a one time thing,” she said. “We need someone that is going to take the lead. We hope that editors will now pay attention to this and wonder why they haven’t done it before.” With trailblazers like Willis who have worked endlessly to ensure that black talent doesn’t go unrecognized now the same way it did decades ago, it seems as though the final part of this equation is getting those in power to recognize the importance of who we let portray black beauty. “I think this is really important,” she said. “It takes one person like Beyonce or someone else to make this the new norm.”

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BEHIND THE LENS

The Press asked three photographers to submit two photographs that capture the essence of their photography style. In a world where everyone is a photographer, these professionals are creating their own space and capturing stories of black life in America today. THE PRESS

Myles S. Golden Myles S. Golden is a gendernonconforming trans-femme visual artist and poet raised in Hampton, Virginia, currently residing in New York City. Goldenâ&#x20AC;&#x2122;s work centers mediums of photography, poetry, and zine-making to dissolve binaries that exist around gender, race, and sexuality.

Name Myles S. Golden Location New York What do you hope to express through your photography? In my work, both visual and performance, I try to create a world that acknowledges and centers black queer realities. A universe in which an abundance of intersections within blackness refuse, combat, and challenge the idea of a monolithic black experience; yet ruminates on black historical etymologies and black queer legacies in the same frame. My art practice is both indexical and futuristic, as it makes precedence black queer peoples existence as the norm; its own symbolic nation through visual language production. To do both the work of creating dialogue with the past and the present, images and imagines a future for black trans/gender queer individuals that is outside of only tragedy: an abundance of infinite life experiences & moments, from the quotidian to the performative. What are your favorite subjects to shoot? Myself, my (fraternal) twin brother, & other black queer individuals. If my people are not habitually the centerpieces of my work, I no longer am creating artworks with my community in mind. Who has inspired you most in your work and your life? The love of storytelling in an isolated image is what excites me always about photography. My work has been, and always will be, inspired by black people. Specifically my family (Mom, Dad, Cam, and Twin) and my black queer art/ poetry friends. So whenever I plan a shoot I think about how bountiful our lives are & it inspires me to document, stage, and/or create an image that memorializes the people that surround me.

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THE PRESS

Laura Alston Laura Alston is a multi-disciplinary artist best known for her photography, creative direction and graphic design. She is a graduate of Columbia University where she studied abroad at Central Saint Martins and London College of Communication. She has been listed as i-D Magazine’s 10 emerging photographers presenting fresh black narratives, and runs What do you hope to express through your Afrobaby Movement. photography? Photographs exude an energy. Being intentional in how I want the viewer to translate that energy, I create work that I hope instills peace and prompts introspection. Therapy and self care are often ignored as media prioritizes shock, pain and anger. I want to make art that is calming, highlights the powers of nature and allows the viewer to be in their thoughts. What are your favorite subjects to shoot? Friends of friends. I like to have a familiarity with whom I’m shooting with but also value getting to know a person through photography without assuming their personality, interests, and ways of expression. Who has inspired you most in your work and your life? My family has been the core inspiration behind my work. They have shaped how I have contextualized my identity, my heritage and the importance of embracing my culture. For the past 10 years I have been traveling to the homelands of my family members, and each time walking away with a newfound outlook on myself and the narratives I want to spend the rest of my life sharing. Is there anything else you’d like to share in regards to your work or life? If possible could you mention my IG @LILFEDX 70

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THE PRESS

Temi Coker Born Temiloluwa Coker in Lagos, Nigeria, Temi’s creativity became apparent at an early age and since then he has been feeding this creativity which yielded growth on so many levels. Temi is a Digital Artist and Photographer in Texas. He currently one of the seven Adobe Creative Residents for the 2018/2019 year.

Name Temi Coker Location Dallas, Texas What do you hope to express through your photography? I want people to be captivated by the beauty and story of my subjects. My job isn’t to make my subjects beautiful. They already are, and I just aim to capture it in a creative way so people can see it. What are your favorite subjects to shoot? I love portraits. I love photographing people because there are so many stories to tell from their eyes, posture, environment, clothing, etc. Who has inspired you most in your work and your life? As a Christian, I give credit of my creativity to God. He’s the greatest creative ever and knowing that he created me, allows me to tap into that creativity. I’ve also been fortunate enough to meet amazing individuals that took time to help me in my creative journey and support me. People like my wife (Afritina Anderson Coker), Joshua Kissi, Gary Williams, Ray Neutron, Magdiellopez, Asiyami Gold , Dara Oke and many others. They walked this creative journey with me and were always available to help me and support me. Is there anything else you’d like to share in regards to your work or life? I want people to know that you can make a living being a creative. I come from Nigeria and was always encouraged to pursue being an accountant, doctor, lawyer, etc. I chose to study digital media, and I’m so glad I did. I feel empowered and I know that my story will inspire others, especially those in my country.

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THE PRESS

Avery Wilson: Life after The Voice

BY MIA JACKSON

Avery Wilson (born July 18, 1995) is an American singer-songwriter, dancer, and the youngest of three children. Wilson started singing at the age of 8 years old, then he became a YouTube sensation in his teen years. Life changed quickly for the product from Connecticut. Wilson started his career in 2012 as a contestant on season 3 of The Voice. Wilson definitely was more than a shooting star. Prior to The Voice, Wilson had regional hit songs playing in rotation for the Connecticut, New York and Massachusetts markets. In 2015, he released “If I Have To”, the first single from his debut album which he also performed as a non-competitor on season 8 of The Voice when he was 16 years old.

Creative Director: Mia Jackson Photographer & Editor: Charlie Hawks Stylist: Mia Jackson Mua/Male Groomer: Jessica Flores Stylist assistant: Majestic Ross Stylist intern: Kenya Tracey Stylist intern: Kiana Holden

He performed on Team Cee Lo Green and made it to the knockouts. Wilson was a favorite to win the competition, but was eliminated on October 29, 2012 after his performance of Yeah 3x. Avery’s elimination was called a major upset by numerous publications and he later signed with Clive Davis, the legendary RCA Records executive. BLACK BEAUTY ISSUE 01

THE PRESS

Today, six years later, Avery is 23 years old and back with new music along with a new direction. I had the opportunity to sit down with him and talk about the journey back and many other things.. Mia Jackson: How did it feel being on the hit TV show on NBC: The Voice? Avery Wilson: Being on The Voice was an amazing whirlwind of an experience. I had the opportunity to share my gift with the world, not to mention compete with other talented artists. My main intent was to allow people to be able to hear my voice and grow as a music artist. Being on a television show can change and teach you many things about life, self, and your career goals. MJ: Who and what inspires you musically and personally? AW: I would say, just in a nutshell, my family. They have been in my corner since day one. My family is the driving force in my life and I’m forever grateful for them. Musically, people like Tevin Campbell, Jodeci, After 7, and the legendary Michael Jackson inspired me. I’m a real lover of R&B music and am into people that can really sang their hearts out. All these artists have produced amazing moments in music that still touch people today. MJ: Due to your music contract did you feel like your contract kept you in a cap place in regards to projects and releasing music? AW: That’s a really good question. Maybe doing products. For me personally, I did record music but the situation never transitioned into that space of releasing during that time. My journey was a good and bad process; I respect the process it taught me about people, the experience changed my life. A deal that capped me into a box was the worst thing I could vie ever imagined. I always view experiences are in place to teach you, as an music artist which i had to learn and comprehend who i was, and their are and still is people who will try to change you but it is up to self to stand firm in who you are and your direction. 76

MJ: On a lighter note, How did it feel to work with rapper, songwriter, and actor KYLE on his single “open doors” - can you share incite on the music process? AW: Kyle and I have been cool for some time, He reached out to me via twitter and asked me if i wanted to get on the new record, told me that moment “I already have studio session in place, I went to the session we each played our music, lastly he played me - open doors and the fit was right for me. It was quick session i laid the part down in 30 mins and it was magic. MJ: If you had to choose three music artists to collaborate with, who would they be and why? AW: I would have to say the queen Beyoncé. No one can do what she does at all on any level. She’s a triple threat and beautiful vocalist. Secondly, I would have to say Kendrick Lamar. The level of content he brings to the world is captivating and sending a message on conscious music. Third and Fourth, Rihanna and Chris Brown. Ii know you only said three but i think the level of artistry has to be monumental and all the artist i mention brings that each and every time. MJ: What advice do you have for people who want to pursue a career in music? AW: I would have to say, be true to self and do your research. I would say lastly you have to put in hard work and sweat into your craft. Most importantly, stand firm and by what makes you special. MJ: Wrapping up….What’s next since you’re officially a free agent? You ready for this rise and grind? AW: It’s always been rise and grind. But I want to create more music and go on tour. I am releasing a new EP in October, and that will allow my fans to know about me on a more personal level. BLACK BEAUTY ISSUE 01

THE PRESS

BLACK BEAUTY ISSUE 01

I remember the first time my grandfather greeted me with “Hey my BB.” He said the “BB” was short for Black Beauty. I never realized how impactful that was for me growing up as a young, dark-skinned Black girl. By Ashlí Patrice

BLACK BEAUTY ISSUE 01

THE PRESS