LETTER TO THE READERS
Sonia Montalvo, Editor-In-Chief
NAVIGATING TRAUMA
An Article by Vanessa Johnson
NEW LEADERSHIP AT THE BRIDGE
A Conversation with Amber Smith
THE LOCAL ROOTS AND GLOBAL IMPACT OF KIMBERLY HAYES
An Article by Sarad Davenport
GO-GO MUSIC IN CENTRAL VIRGINIA
An Article by Sonia Montalvo
DICHOTOMY OF BEING A BLACK WOMAN
An Article by Khaliliah Jones
When I think of the word “culture” I am often enamored at how a term originally meant to give name to and encapsulate shared beliefs, traditions, and behaviors among a group of people, has transformed itself into a word that seems to belong to and positively define what Black people have given the world. Phrases like “do it for the culture,” or “culture watch,” or any variation of the sort, now in 2024 may feel like buzzwords, but it was the efforts of Black people around the globe who pushed the noun rightfully into its mainstream popularity. While the word culture can still be used to describe the customs of groups at large, I’m reminded of how our efforts in showcasing the beauty and diversity of Blackness have played a pivotal role in making this term as famous and influential as it is today.”
In this issue, we are putting the scope on Charlottesville’s residents and their contributions to culture take center stage. Whether it be a look at how entities like The Bridge Progressive Arts and their team are pushing the narrative of inclusion amongst the arts, or the work of Charlottesville based musical acts spreading joy throughout the city, we know without a doubt that this city is a part of the conversation on what it means to define culture as we know it for ourselves.
VHM readers, the beauty of this moment lies in our real-time collaboration to enrich humanity’s collective experience. There are countless stories yet to be told that will certainly add to the ongoing narrative that we are creating for the generations after us. Simply put, we are continuing to make history. I hope this issue provides as a glimpse into some of the amazing work we are doing, and serves as fuel to further foster understanding and appreciation of our diverse customs.”
Sonia Montalvo
Sonia Montalvo Editor-In-Chief
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by vaNessa JohNsoN
Working in the Human Service Field for approximately 15 years, the more I serve children and families, the more I realize the significant role that trauma plays in their lives. In the field of communitybased services, 90% of the families that are in services have some level of personal, cyclical, or multigenerational trauma within
their families. Trauma within families has increasingly become a tragic legacy passed down from generation to generation, creating a society of individuals who have become burdened with the pains of their past, and as they try to create a life worth living; they discover that it becomes increasingly difficult without healing. This can make the very
act of living difficult and overwhelming.
It is important to understand how childhood trauma can impact the life of a child which could consequently impact their emotional and mental health into adulthood. Experiencing trauma at a young age can cause a child to see the world only through the lens
of trauma which can cause a level of distrust and create a lack of desire to contribute positively to the world around them. Children exposed to trauma are prevalent with more than two-thirds of them experiencing some type of traumatic event during their childhood. More than one type of trauma is happening to one-third of our children and as a result, 20% of trauma-exposed children develop mental health issues like posttraumatic stress disorder. Along with posttraumatic stress
disorder, children also experience depressive and anxiety symptoms which can cause substantial impairment in their daily functioning and overall well-being.
There are major factors that contribute to the development of problems in children like significant behavioral problems within the school system.
Many people, including those in the human service field, do not realize the significant impact that trauma has on the body, in particular the brain. Journal articles that explore childhood trauma history have linked it to abnormal brain activities, particularly in individuals with major depressive disorders (MDD), show findings of the dramatic primary association of the brain’s resting state network and its connection to abnormalities in those with a history of childhood trauma. Childhood trauma
that includes physical, sexual, or emotional abuse causes disorders like MDD to manifest. MDD symptoms include impaired daily function and suicidal ideation, insomnia, and disruption in cognitive functions like attention and memory. MDD is just one disorder that has been attributed to trauma. Other disorders linked to MDD include posttraumatic stress disorder, bipolar disorder, and severe anxiety disorders. Obtaining knowledge of how the brain is impacted or even fractured in some senses as a result of trauma is important for those who are called to provide counsel and therapy to victims. This knowledge is important as we assist clients with their reconstruction and healing process.
My very own traumatic past has made me a lifelong student of trauma and its significant impact on the mind, body, and spirit. The work of understanding trauma can enlighten and educate a generation of people who look at children and adults with mental and emotional health issues as just people with problems. We as a society need to understand and recognize that their lives included experiences that they did not ask for and there is a real struggle to navigate through a myriad of dysfunctions and diagnoses that erupt as a result of experiences that someone else forced on them. It is not easy for society to discuss,
but that does not mean it is not necessary. Our perspective of these individuals is often tainted by the behaviors that we see or the possible impact to our own lives, but I ask myself almost daily if that perspective would be different if they could see them through a trauma informed lens. Would it be seen as more significant if it happened to someone in the household or extended family? What will it take for society to aid more and condemn less; to complain less and contribute more? If it were you, what would you want society to do?
Vanessa Johnson has worked in the Human Service field since 1993. She holds a Bachelor’s degree in Psychology and a Master’s degree in Human Service Counseling with a focus on crisis and trauma. Vanessa is passionate about working with children and families in the Greater Charlottesville area and surrounding counties. Currently pursuing her Doctorate degree in Community Care and Counseling (Traumatology) at Liberty University, her ultimate goal is to educate other human service professionals on the emotional and mental impact of trauma on individuals. To find out more about Vanessa Johnson, please visit thrive2healservices.com
Anica Marcelino
A chance encounter at a community event opened the door to Amber Smith’s time at The Bridge Progressive Arts Initiative in 2022. The Bridge
Progressive Arts Initiative is a vital hub for Charlottesville’s artistic community, offering dedicated studio spaces and
a
versatile event and co-working space.
Artists can collaborate, network, and access resources in this dynamic environment. The adaptable event space hosts exhibitions, performances, workshops, and community gatherings, thus promoting a supportive and inspiring atmosphere for artistic and cultural exchange.
Smith joined the staff as an Operations Manager. Amber states, “I mentor children through Integrity Mentoring, and I was doing a visit [with one of my mentees.] It was the first night of Soul with C-Ville… I happened to see that they were doing a community mural, but I didn’t know that it involved The Bridge or anything like that.” Smith shared that a mutual colleague of hers and Jay Simple, Executive Director of The Bridge at the time, introduced them.
She shared that a colleague informed her about an opening for an Operations Manager at The Bridge. At that time, she was committed to running her own business and had promised herself never to return to
a full-time job. The part-time, 20-hour-perweek position fit perfectly into her schedule. When she submitted her application, she didn’t realize it was going to the person she had met at Soul of C-ville.
Smith, a Charlottesville native with a background in administrative processes, still owns her own business, CAMPed Administrative Services, and has generously made room for both entities to exist in her personal mission, on top of continuing her work in youth development through mentoring. In her new additional role at The Bridge, Amber worked under Jay Simple until his departure at the top of 2024. Smith notes that there were some learning curves when joining The Bridge Progressive Arts Initiative team.
Q: Do you feel like there were any large leaps or any learning curves for you at all?
Amber Smith: Jay had already started the process of moving The Bridge into this
particular location that we’re in now, working on how to revamp those things. I can’t ever take credit for any of that. There were lots of learning curves. Um, what I do for my own business is provide administrative services, so a lot of that work is dictated by the person that’s giving it to you: how they want it to look, what they want it to say, um, how they want to come across. People are dictating to you exactly what they need. There’s not really a lot of room or necessity for extreme ideation at that point. You know, the creativity that I had been used to up until that point as it relates to businesses like this was very
contained—you fit within a box. The growing part was me recognizing that we’re not trying to create a box; we’re trying to create open air and equity for artists that look like me and artists who wouldn’t otherwise have a voice. Not saying that I was the box, but... sky’s the limit and being able to think outside of that. There were a few times where I was like, “Well, I don’t know,” or “What should I do?” The question thrown back to me was, “What do you think?” and I had never been asked that. As it relates to moving an organization forward... we were given a blank slate kind of, and I don’t want to say a blank slate like The Bridge wasn’t something magnificent before, but in moving into this new space, we were given more of a blank space to really extend all of the things that The Bridge was doing and transform it into being able to create equity and space for artists to actually create.
The work Amber was able to accomplish under her Operations Manager title landed her the role of The Bridge’s new Chief Operations Officer (COO) in April of 2024. Adamant that she does not do this work alone, Amber emphasizes the importance of partnership in achieving the organization’s goals. She is committed to nurturing a collaborative environment where
contributions are valued and integral to the success of The Bridge. Her leadership style focuses on empowering others, encouraging innovation, and maintaining open lines of communication. As COO, Amber plans to continue driving the initiative’s mission forward, ensuring it remains a thriving space for creative artists as a whole, while also shining a light on Artists of Color throughout Virginia.
Q: You’ve seen an influx of artists of color coming in. What is that like? And what have you been able to see happening as a fly on the wall in this space?
Amber: Oh man, we have so much untapped talent in this town. My goodness, so much untapped talent. I just struggle with the fact that there’s somebody in charge of art. I struggle with that because art encompasses everything that we do right in life. Everybody demands art and wants art, but sometimes we don’t know how to really facilitate the conversations behind it… The project that we’re working on right now, with Hamilton Glass, he’s been able to transform what it is that he loves to do. Um, if I’m not mistaken, his background is in architecture. He was able to transform whatever it is that he does into actual artistic work. And he’s been able to work as a sustaining artist. So, being able to put other artists in front of people like that to
say, “Well, what did you do?” and [it is helpful in] encouraging people.
Glass, a muralist residing in Richmond, spent time at The Bridge in June to share his work in collaboration with Star Hill Pathways and the Equity Center by serving as an instructor for a youth-centered mural camp. Glass and other artists of color are utilizing time at The Bridge Progressive Arts Initiative to expound upon their creative visions, develop new projects, and engage with the community in meaningful ways. Amber shares, “I did have someone ask me one time, ‘Um, is The Bridge a Black space?’ And I had to let them know, no, we serve every facet of the community: Black, white, Jewish, Muslim, Christian, atheist, agnostic, Mormon, LGBTQ+, straight, minding their business; we serve every facet of the community. I do think that having people of color within a nonprofit arts organization that has the voice that The Bridge has been extremely helpful to other Black businesses and organizations, as well as other folks and people of color in our community. I don’t want to say we set out to necessarily target a specific community, but we also understood that being in places of leadership and being able to take whatever it is that we have as The Bridge, as influence, and being able to work with organizations that serve people of color, has been greatly beneficial.”
BY SARAD DAVENPORT | FEATURED PHOTOS BY ANICA MARCELINO
Kimberly Hayes took some time to sit down and talk with us about her journey from being a small-town girl from Charlottesville to a woman and a professional making moves on a global scale. We chop it up to look into her life, her achievements, and the values that have guided her path.
Charlottesville is a place where everyone seems to know everyone and there are very few degrees of separation—especially in the Black community. Kimberly’s grandfather, Apostle Emeritus Rufus Hayes, Sr. was a preacher with a commanding voice on the radio, and her family was deeply rooted in the community. This close-knit environment shaped her early years and instilled in her a sense of responsibility and service. “I come from a place of seeing a pathway where service is the rent we pay for being here,” she says, reflecting on her upbringing and the influence of her grandfather.
Her journey to higher education was marked by determination and a bit of
Divine intervention. Hampton University was her top choice, but she initially received a rejection letter. However, a bill from the university arrived a few weeks before Fall classes were scheduled to begin, leading to confusion and hope. Her grandfather, who attended the Hampton Ministers Conference annually, took the bill to the conference and shared it with people in his large national network of preachers and administrators at Hampton University, and soon after that conference, Kimberly was admitted. “I was given the shot. I went to Pre-College. I got into the Summer Bridge Pre-College program. So, you got six weeks to show your chops,” she recalls.
At Hampton, Kimberly majored in Political Science and was actively involved in various student organizations. Her time there was transformative, thanks to the supportive network of friends who kept her focused. “I met a group of friends who were very focused and smart. They had me in the library, they had me kind
of on track,” she says. This network played a crucial role in her development, helping her secure a prestigious White House internship during the Clinton administration. Yep, you read that right.
Kimberly’s professional journey is a testament to her versatility and ambition. After graduating from Hampton, she worked at Citibank in their commercial business loan department. However, her career took a significant turn when she moved to New York and entered the world of television. A chance encounter at Rockefeller Center led to a job at NBC Studios, where she started as a receptionist and quickly moved up the ranks to become integral to all parts of television production.
Kim’s television career included stints with Judge Judy and Maury, but it was her time at MTV that truly highlighted her giftedness. At MTV, she worked in sales
and marketing, traveling extensively to pitch clients and launch new services.
“MTV was great. You can imagine the connections. I’m a social person. I’m an extrovert. I said to myself, this is where I belong,” she says.
Even though Kim found success in television, her journey was not without its challenges. She left MTV to become the Executive Director of a nonprofit in San Francisco, a role she eventually left due to the politics involved. Returning to New York without a job, she faced a tough job market but eventually landed a position at Goldman Sachs. “I get the bag as the kids say, you know,” she says, highlighting her ability to bounce back even from moments of adversity.
Kimberly’s ability to balance multiple roles is one of her most remarkable traits. While working at Goldman Sachs,
she continued to nurture her passion for entertainment by working award shows and managing talent on the side. This multisector career path allowed her to work with some of the biggest names in the industry, including Stevie Wonder. “Stevie is the biggest talent that I’ve worked with during all of these award shows,” she says, recounting her surreal experience at the Grammys.
Her professionalism and dedication have earned her the trust of many in the industry. “The same professionalism, the same dedication, the same confidentiality that I had when working at the White House and sensitivity around things,” she explains, emphasizing the qualities that have made her successful in both finance and entertainment.
Service to the community has always been a cornerstone of Kimberly’s life.
about. “I just visited Ghana for the first time with Delta back in November and we did a mission trip there and visited all of our international projects there, which was great,” she says.
I come from a place of seeing a pathway
She is a member of Delta Sigma Theta Sorority, Inc. and serves on their National Social Action Commission. Her role as a delegate to the United Nations for Delta Sigma Theta focuses on issues relevant to Black women and girls, Africa, and Haiti. “We are the first NGO in the Divine Nine to have NGO status with the UN,” she says proudly.
Her commitment to service extends to her hometown of Charlottesville, where she is involved in various initiatives, including the Charlottesville Sister Cities Commission. Hayes was recently appointed as the City Representative for their sister city in Ghana, a role she is particularly excited
Kimberly Hayes and her brother “Chucky” have taken up the mantle of their family’s legacy by continuing their grandfather’s long-running radio show, “Gospel Sermonette,” on WINA. The show, which has been a staple in the community for over 50 years, features a blend of gospel music, prayers, and sermonettes. During the COVID-19 pandemic, when many activities were halted, Kimberly and her brother stepped in to keep the show alive. They play tapes of sermons from their grandfather, interspersed with gospel songs, prayers, and scripture readings. The 30-minute program airs every Sunday morning at 9:00 am, maintaining a cherished connection to the community and honoring their family’s commitment to faith and service.
Kimberly’s sense of responsibility to her family’s legacy is evident in her efforts to honor her grandfather. She successfully campaigned to have a street named after him, a project she completed just weeks before the sensitive period of the summer of hate in 2017. “As much as my granddad poured into the community, he was able to see the love shown back to him,” she says, reflecting on the significance of this achievement.
Her journey from Charlottesville to the global stage is a testament to her resilience, versatility, and unwavering dedication to her community.
Disclaimer: This narrative is not the complete history of Gogo music in Charlottesville. This article serves as an in-depth look at the perspectives of Gogo music enthusiasts and community members who have contributed to its evolution and presence in Charlottesville. It aims to highlight their experiences, insights, and contributions to the vibrant and growing Gogo music scene within the city.
Gogo, the offspring of funk and soul music, originated in Washington, D.C. in the 1970s. Innovators like Chuck Brown, widely respected as the ‘Godfather of Gogo,’ paved the way for the music genre. Heavily influenced by African culture and characterized by its use of congas and timbale drums, which set the percussive tone of the sound, Gogo has become a cultural staple in the states of D.C., Maryland, and Virginia, also
Interview by Sonia Montalvo | Photos by Tristan Thompson
known as the DMV area. Comical debate on the internet has displayed the divided opinion amongst residents of the National Capital Region on what areas of Virginia are considered a part of the [V] within the DMV. Depending on who you ask, the delineation between what constitutes the broader state of Virginia, and the core DMV area can vary. Places like Charlottesville and its surrounding rural counties are often overlooked as they tend to differ in culture and distance from the bustling artistic influence of the DMV. However, Charlottesville’s longstanding Gogo bands, Ebony Groove and 100 Proof, beg to differ. Both bands recently sat down with Vinegar Hill Magazine to share just what they mean.
As the decades of the 1970s and 1980s progressed, Gogo music flourished with bands such as Rare Essence, Backyard Band, EU, and many others, carrying forward Chuck Brown’s legacy and gaining momentum as it expanded its reach. Ivan Orr states, “It’s like, I don’t remember a time where there wasn’t Gogo around [in Charlottesville].” Orr, a group member of Charlottesville’s pioneer Gogo band, Ebony Groove, took to the strong influence that Gogo’s hardhitting ongoing percussion and traditionally rooted call-andresponse music had to offer. The band, began as a pep band for the basketball games at Charlottesville High School.
Ebony Groove is recognized by city residents as this area’s first homegrown Gogo band, and its founding members Kyle Reaves, Christopher Redd, Ivan Orr, Curtis Kenney, Jesse Turner, and Raymond Brooks met at Charlottesville High School in the marching band. With Jesse Turner and Chris Redd playing trumpet, Ivan Orr on saxophone, while Raymond, Kyle and Curtis were members of the drumline. A predominantly white high school around 1984, Ebony Groove members recall being some of the only Black members of a band with over 200 students. “Oh yeah. When we started, we were the first drum line [in the city] to play Gogo at halftime,” shares Curtis Kenney. Their impromptu performance next to the cheerleaders in the stands catalyzed the band’ to take their craft more seriously, and thought they officially formed in 1987, their drumline performance created fans that have followed them throughout their musical careers. Kenney states, “[Before], you sat in the stands and played and be quiet. But we,
uh, got them to break the mold, didn’t we?”
While it is unclear just how Gogo entered Charlottesville’s town of 40,000 plus citizens, there are a few factors that have contributed to its spread and integration. The presence of the University of Virginia and Howard University, where students from both cities exchanged cultural influences, played a significant role. Jeff Louderback Sr. and Billy Wells of 100 Proof band recall vivid memories of Chuck Brown performing at UVA when they were younger, while members of Ebony Groove were introduced to early funk and Gogo albums like Trouble Funk, by family members who attended Howard University or lived in Washington, D.C. in general. “My sister lived in D.C. while we were in high school, and I would go to visit, but I mean, if you think back before that, though, like when we were kids, Gogo was here. I think all of us could say we had relatives there. So, they would come, you know, for visits, or we’d go and hear the music,” says Ebony Groove bandmate Raymond Brooks. This exposure fueled their passion and inspired them to master the music.
James Cain, a Howard University alum, and son of Charlottesville’s first Black woman lawyer, Margaret Cain, considers Charlottesville and D.C. the Pompeii and Rome of our time. Respected by Charlottesville Gogo enthusiasts for his historical insight, Cain sees strong parallels between the two cities. He explains that much like Pompeii looked to Rome for political and economic influence, Charlottesville aligned with D.C. from the 1970s to the 1990s, shaping its Gogo sound. Ebony Groove shares similar sentiments as they state that cultural cues for Charlottesville in their upbringing did not come from Virginia’s capital of Richmond, but rather from Washington, D.C. Ivan Orr states, “And what’s wild is, y’all can correct me if I’m wrong, but for us, we didn’t take our cues from Richmond. Everything, fashion, how we talked, it was all D.C. So, we looked at Richmond like bammas. Even when I went to school at VCU in, in 1989, people in Richmond didn’t even know
what Gogo was.”
Cain attributes part of Gogo’s introduction to Charlottesville to the distribution of live cassette recordings from D.C. bands. He recalls following his cousin Kerry McLeod, who began distributing tapes to residents and DJs in 1981, as one of the key figures in spreading the sound in this method. Kerry, a D.C. native, spent time in Charlottesville’s historic Prospect Neighborhood with family, forging connections throughout the city and providing access to Gogo’s biggest players, which proved to be crucial in helping to embed Gogo music into Charlottesville’s social structure.
Ebony Groove would go on a strong run for the next 14 years, playing for the likes of the aforementioned Gogo legends like Rare Essence and EU as opening acts. The group has played
While it is unclear just how Gogo entered Charlottesville’s town of
40,000 plus citizens, there are a few factors that have contributed to its spread and integration.
all over, bringing fans young and old together to share in their sound. The band members as a collective believe that their playing style pays homage to the D.C. native sound while still putting their spin on the change-making music of Gogo.
The band played together officially until 1997 when life and its obligations for the respective members pulled them all in different directions, sending the beloved sound of Ebony Groove into hiatus until 2017. During the two decades in between their reunion, the spirit of Gogo and its influence in Charlottesville did what it could to keep its roots watered, with several bands emerging before and after Ebony Groove’s pause, such as Seductive Sounds, Reset Band, Double Faces, the X Band, and others. Herman Jones, an original member 100 Proof before its recreation and the Reset band, is working on shedding more light on the exhaustive history of Gogo in Charlottesville and hopes to create
a documentary in the near future to tell the story. In the 2010s, a new Gogo band by the name of 100 Proof would emerge, and in 2024, they are still helping to spread the joy of Gogo throughout the city and across the East Coast.
100 Proof, comprised of band members Billy Wells, Jeff “J-Bug” Louderback Jr., Varina Taylor, Mark Williams, Tre Turner, Jeff Louderback Sr., Eric Johnson, Earl Anderson, and Vinny Lewis are committed to the sound of Gogo and upholding its rich legacy. Wells and J-Bug, original members of the group, have seen the band go through changes in their decade-plus run, but hold fast to their goal of showing up no matter what. 100 Proof members all have obligations outside of their time spent with the group in practices and shows. Some members are in several other bands, and others have familial obligations and full-time jobs, but what has always been clear for the group is that while their commitment takes sacrifice, there is
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a collective consensus among their members that Gogo is a necessity. “I got to have it, I got to hear the crank, right? With the drums, with the hi-hat going wild, and the conga. You know what I’m saying? It does something [to me],” says Wells.
To understand 100 Proof’s sound is to understand that they are a physical manifestation of standing on the shoulders of giants. Each member grew up musically inclined, stating that the church and familial encouragement were key aids in making them musicians today. The band also respects their predecessors, Ebony Groove, for what they’ve directly and indirectly contributed to the Gogo scene of Charlottesville and to them as a band. Bandmate Eric “EJ” Johnson, keyboardist for 100, hilariously acknowledges his full circle moment of their influence by sharing that Christopher
Redd from Groove was his music teacher. The big brother, little brother dynamic of the two bands fosters a fresh camaraderie that highlights the developing family tree of Gogo in the town. J-Bug shares, “I think last year when we did the show together, we made sure that [people knew], they’re owed this. Like, come on, let’s do this, you know what I’m saying? Yeah, I don’t know too many people that, as far as Gogo bands around here, have shown what they have shown. We wanted to reach out to them and give our dues and respect, like, hey, it wouldn’t be possible. It might have been possible, but, like, we respect y’all, and thank y’all for showing us the way y’all do it, creating the way y’all do, so we have to respect that.
”
Though the band shares their love for their antecedent, it is beautiful to see that there is no
Meet people. Try a dance or exercise class. Join a band. Enjoy live music or a cup of coffee. Volunteer. You’ll find 150+ programs six days a week!
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compromise to the originality that Proof brings to the table. A mix of vocally trained notes from Mark Williams and Varina Taylor, the study and execution of the rap cadence from Billy Wells, the focus on clean notes from guitarist Jeff Sr., the diligence EJ provides on the keys, Vinny on the conga drums, and the equally yoked sound between the drums and the cowbell from Louderback Jr. and Tre Turner. Their chemistry has packed events across the DMV, but it’s right here at home where 100 Proof has solidified its mark as a cornerstone of Charlottesville’s music scene. Charlottesville, though observed as a liberal city, has seen its fair share of hardship. A town still navigating the effects of racial zoning, razing of communities, systemic oppression, and neo-Nazi-fueled riots, both 100 Proof and Ebony Groove have managed to somehow create spaces of joy for C-ville residents through the crank. 100 Proof has managed to pack nightclubs and event spaces from shoulder to shoulder with the public ready to see what they have to offer. Williams and Taylor believe Gogo is music in its rawest form. Say backyard music.
“It started in the backyard. Basically, people, buckets, you know, putting drumsticks on buckets. Hitting cowbells, hitting whatever they can find,” Mark exclaims. Varina echoed Mark’s enthusiasm by sharing her memories. “That’s what I remember, like walking on the top of the hill on Prospect, and all of them would be at a certain specific house that was always lit, and they would just be tapping on whatever.”
Williams states, “It just goes back to the aspect of how, as a community, if you wanted to hear music, you played it back then… music wasn’t about, ‘Oh, you gotta have the best voice or you gotta sing the best.’ It was a communal thing. It was a spiritual thing. Everyone sang back then. Everybody played. It’s like a form of language. Now, now music has dumbed down because of that. Because people feel like they gotta have the prettiest voice. So they feel like they have to monetize it and things like that, and it was just really people just being raw. [Gogo,] It’s just raw and it’s uncut.”
Hey friends! I have been confronted with a few situations lately and had something on my heart that I wanted to share. I know that my Sisters and all the GWORLS (if I may use a cute colloquialism), can relate. If you’re a Black woman, you’ve probably found yourself walking a tightrope that feels like it was designed by some twisted circus master. You’re told “you’re too loud,” but also asked why you’re so quiet. You’re praised for your resilience but chastised for your attitude. In the world of fashion, the workplace, relationships and heck, in society in general, Black women are navigating a maze that’s often invisible to
everyone else. Let’s break it down.
Fashion: Serving Looks and Stereotypes
Black women have always been trendsetters. From banging out braids and amazing afros to making streetwear chic, we’re the blueprint. Here’s the kicker: while our style is constantly imitated, we’re often criticized for it. Have you ever been told your natural hair is unprofessional? Or that your curves are too much for the office? Welcome to my world. It’s a diabolical ride trying to stay fly while battling stereotypes. You see a white girl in cornrows, she’s considered “edgy.” You wear them, and
by Khalilah Jones
it’s “ghetto.” We’re expected to tone down our essence to fit into a mold that was never meant for us, but guess what? We’re done dimming our light. It’s 2024, and I encourage you to unapologetically embrace your style, whether it fits mainstream standards or not.
The Workforce: Boss Moves and Backhanded Compliments Now, let’s talk about work. Black women are out here making boss moves, climbing the corporate ladder, and slaying glass ceilings, but let’s keep it 100—it’s not always a fair game. We’re often overqualified yet overlooked. You’re either the “token diversity hire,” or you’re not “a good fit.”
Then there’s the infamous “angry Black woman” trope. Dare to speak up in a meeting? You’re aggressive. Stay silent? You’re not engaged. It’s exhausting playing this never-ending game of “professionalism” that feels like it was designed to keep us on our toes and jumping through endless hoops, but here’s the tea: Black women are rewriting the rules. We’re creating spaces that celebrate our voices and pushing for diversity that’s not just a box to tick but a fundamental change in culture. Relationships with Men: Love, Loyalty, and Liberation
On to relationships. If you’re like most Black women, you’ve likely been bombarded with all sorts of mixed messages. Society tells us to be strong but submissive, nurturing but independent. It’s like they want us to be superheroes with no room for vulnerability
Dating as a Black woman can feel like a minefield. We’re either fetishized or disregarded. Some men see us as exotic trophies, while others buy into stereotypes that paint us as undesirable. However, I will let you in on a secret—Black women are and always will be, magic. We bring love, loyalty, and a depth of understanding that’s unparalleled. The key is finding partners who see us as equals, who respect our strength without trying to diminish it.
Our Role in Society: The Backbone and the Spotlight Black women have always been the backbone of society. We’re the ones holding it down in our communities, advocating for change, and setting trends that everyone else follows. Yet, our contributions are often minimized or ignored. It’s a
wrap for that jack! We’re no longer waiting for validation. We’re claiming our space, telling our stories, and demanding the recognition we deserve. Whether it’s in activism, art, business, or politics, Black women are leading the charge. And we’re doing it with that special razzle dazzle that’s uniquely our own. Embrace the Dichotomy
Living at the intersection of too much yet not enough is a balancing act that only Black women truly understand. We’re constantly told to shrink ourselves while being expected
to carry the weight of the world. She walks with the universe on her shoulders and somehow, seamlessly makes it look like a pair of wings. It is in this dichotomy that we find our strength. We’re redefining what it means to be a Black woman in every space we occupy. So, to all the Black women out there: keep being too much! Keep breaking barriers and challenging norms. Because in a world that often tries to tell us we’re not enough, we are everything and more.
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