For years, the cocktail industry has been dominated by men. But women, especially women of color, are taking their rightful place on the throne and are doing what we do best - being a boss! Recently, we sat down with some of the leading mixologists that are literally shaking up the cocktail industry.
From winning cocktail competitions, becoming the first of their kind to publish a cocktail book, and to being booked and busy by some of the world's most influential brands, these women know a thing or two about the art of mixology.
These women have all worked their way through the trenches, are self-made bosses, and in their own unique way, have built companies that have notably disrupted the game.
Because we can definitely appreciate a good cocktail or two, we couldn't help but to connect with these ladies and of course, we asked them to give us the tea on how they got started and what they've done to achieve the success that they have now. Keep reading to get to know these leading mixologists and learn how they are stirring up far more than just well-crafted cocktails.
The mixologist that you and your favorite brand love to book:
Jessica Robinson of JusTini Cocktails
Courtesy of Jessica Robinson
How did you get started?
I've been a mixologist for 12 years. I started when I was in college at Southern University. A classmate of mine started talking to me about a job at a bar she was working at. At the time, I didn't know much about liquor, just really the basics - I would just mix up Malibu and pineapple juice. But my friend convinced me and said that she would be able to help me get the job. So I started working there and that's how I got started. I fell in love with everything that came with the job, from the atmosphere to the people. Once I got started working as a mixologist, I never stopped.
Before I graduated from Southern, I actually started working in retail, and was juggling being a manager, going to school, and bartending on the side. Once I graduated, I got a job in my major which was doing marketing for a McDonald's franchise and I was also still bartending at night. I ended up getting laid off from McDonald's because they were downsizing and during that time is when I started building JusTini Cocktails. Shortly after that, I worked in HR doing contract work which allowed me to get started with bartending full-time. Now, I've been running Justini's for about a year and a half now.
What makes you unique?
I typically get a mix of both weddings and corporate/social events. I've done events for Essence, Pepsi, and the Urban League.
In my business, my brand is more than just a drink. I create an experience for my guests, from the presentation of my drink, to the name of the cocktail, and the fact that my drinks are actually really good.
What has been your biggest challenge and how do you stay motivated?
I think in the beginning, the biggest challenge that I went through was branding myself to show the need for my type of service. Once I was able to show the need, I was able to get the clientele that I wanted. A quote that keeps me motivated is by Elizabeth Gilbert and it says, "The women I love and admire for their strength and grace did not get that way because shit worked out. They got that way because shit went wrong and they handled it. They handled it a thousand different ways on a thousand different days, but they handled it. Those women are my superheroes."
The mixologist creating Instagrammable cocktails that’ll give your friends extreme FOMO
Kimberly Hunter of Potent Pours
Courtesy of Kimberly Hunter
How did you get started?
Potent Pours launched two years ago but I've definitely been a mixologist for longer than that. Potent Pours was actually birthed from my kitchen bar area. I would often make cocktails for myself, my sister, and friends when we couldn't get to happy hour because of rush hour traffic. When my sister and friends would come over, I would create really potent and beautiful cocktails for them using gorgeous glassware and over the top garnishes.
After a while, my sister actually suggested that I consider making cocktails professionally because of the beauty, attention to detail, and energy that I would put into every drink that I would make. When I started thinking about working in the industry, I tried to figure out where my place would be and how I could start working in it. Because of my schedule with my children, I always knew that working late nights at a bar wouldn't be ideal. From there, I did some research and started looking for a way to bring craft cocktails to the masses and saw that there was a booming market for mobile mixologists. I went ahead and did more research, got my license, and then started working on my brand.
What makes you unique?
My secret sauce is really the whole Potent Pours experience. Every person that has had my cocktails love how I create really potent, over-the-top, Instagrammable cocktails that overall makes the whole experience in indulging so much better. Also, my clients and their guests can always count on me to create original, unique cocktail recipes that they haven't seen or had anywhere else.
Since I launched my company, a lot of my business actually comes from social media. Typically, I've found that clients will book me after seeing their friends post about my cocktails. One thing about my cocktails is that I'm obsessed with making every single drink very potent, very pleasing to the eye, and really something that you would be excited to share with friends on social media.
What has been your biggest challenge and how do you stay motivated?
One of the challenges that I've faced is getting the right client. It's important for me to service clients that really appreciate all of the work and creative energy that goes into my business. Whenever I'm booked for an event, I never show up with a bunch of alcohol and pre-made, store-bought mixers. Literally, every cocktail that I make is handcrafted and are my original recipes. All of my cocktails are also made with juices or add-ons that are all created in-house. None of my cocktails have extra preservatives or anything like that. Finding the right client to appreciate all of this and the work that goes into creating the cocktail has been a challenge. I've been able to find awesome clients that get it, but every now and then, I run into some that don't.
A quote that keeps me motivated when I'm having long days is, "Just do that shit!" Whenever I'm scared to launch a new product or when I get overwhelmed, I tell myself to really "just do that shit" and it gives me the motivation that I need to keep pushing and to just get it done.
The #Blackgirlmagic mixologist duo putting Charleston on the map
Johnny Caldwell & Taneka Reaves of Cocktail Bandits
Courtesy of Johnny Caldwell & Taneka Reaves
How did you get started?
Taneka:Cocktail Bandits ended up becoming a business because we were living in Charleston and we saw the food and beverage industries growing. Even though we saw it growing, we didn't really see a place for us in it. At the time, I was working at an urban bar and they didn't care about being creative with the cocktails. It was really about just making rum and coke or gin and juice drinks.
When I would make my cocktails really creative, my boss didn't like it because they were unable to recreate the drinks when I wasn't at work. So I started trying to find work at a high-end bar, but I couldn't find work there because of my appearance (I was natural). In Charleston at the time, we had over 400 bars downtown and maybe 5 Black mixologists. In 2012 and 2013, a lot of people weren't used to the natural look from people of color so it was hard for me to get a job. Since no one was responding back to my job applications, Johnny and I decided to create a lane for ourselves by launching our own brand.
What makes you unique?
Johnny: We talk about spirits in a very approachable way. I think in the beverage market, buying spirits can be very intimidating. Sometimes a lot of people speak about cocktail spirits in a very elevated way that most consumers don't understand. We work hard on exposing people to new things, and on educating, entertaining, and empowering the consumer so that when they go to the bar, they are confident in what they are ordering.
What has been your biggest challenge and how do you stay motivated?
Taneka: I think one challenge for us has been figuring out the budget cycles for companies. We learned that every company pretty much has a different budgeting cycle so we've been working on figuring that out for companies we're interested in. Whenever we run into challenges, one quote that keeps us motivated is to not look at anything like an obstacle but look at it as an opportunity.
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Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.
Credit: Ally Green
The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.
Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”
Credit: Ally Green
Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.
Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”
“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."
If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.
The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”
There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.
In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."
The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.
Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."
“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”
Credit: Ally Green
At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.
This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.
. . .
We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.
On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.
“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."
This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.
When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.
Credit: Ally Green
If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.
Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”
“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”
"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”
Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”
Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”
As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.
Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.
“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.
Credit: Ally Green
“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”
Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.
“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.
If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.
She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”
Credit: Ally Green
"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”
With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.
She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”
After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”
Credits
Director of Content: Jasmine Grant
Campaign Manager: Chantal Gainous
Managing Editor: Sheriden Garrett
Creative Director/Executive Producer: Tracey Woods
Cover Designer: Tierra Taylor
Photographer: Ally Green
Photo Assistant: Avery Mulally
Digital Tech: Kim Tran
Video by Third and Sunset
DP & Editor: Sam Akinyele
2nd Camera: Skylar Smith
Camera Assistant: Charles Belcher
Stylist: Casey Billingsley
Hairstylist: DaVonte Blanton
Makeup Artist: Drini Marie
Production Assistants: Gade De Santana, Apu Gomes
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In the later years of her career, after the release of her studio albums The Electric Lady in 2013 and 2018's Dirty Computer, many began to notice the shift in Monáe's artistry and fashion, which some widely praised.
Although the now 37-year-old rarely addressed the reason behind the transformation over the years, that would all change when Monáe sat down with radio personality Angie Martinez on her IRL podcast earlier this month.
During the interview, Monáe --who was promoting her latest album, "The Age of Pleasure"-- opened up about her mental health struggles, how she would cope, and why she chose to live in freedom.
Janelle On Why She Stopped Wearing Her Signature Suits All the Time
Janelle Monáe
Photo by Frederick M. Brown/Getty Images
In the May discussion, the "I Like That" vocalist revealed she suffers from anxiety, which she claimed would occur around "winter to spring."
Monáe added that when she has her bouts with anxiety, she tends to turn to food as a coping mechanism. Further in the interview, the "Lipstick Lover" singer disclosed that her emotional eating habits caused a weight fluctuation and that she could no longer fit into the suits she once wore earlier in her career.
Monáe explained that even though she tried to diet and exercise to return to her smaller figure, she ultimately stopped and made peace with herself with the help of therapy because she acknowledged that she isn't the same person she was nearly a decade ago and shouldn't try to be even if it was a highly "celebrated" version.
"I'm petite, but it can get thick... When I couldn't fit them suits anymore, and I was like, 'Oh my God, what is going on?' I would be dieting, running, or exercising, trying to fit into [it]. I'm just like, 'No. No, we're here. This is where we are.' We [are] not about to be utilizing life trying to be an old version of ourselves. No matter how celebrated that version of me was. I'm here. I'm here," she said.
Janelle On Freedom
As the topic shifted to freedom and what that meant to Monáe, the "Primetime" vocalist shared that in this new era of her life, she enjoys it because she can boldly express herself however she wants and honor who she is as a person right now.
Monáe also revealed that she had found ways to become a better artist and the best version of herself because of her freedom.
"What is the new version of freedom? What does that feel like? That's usually when I feel the most free is when artistically, I can honor exactly who I am right now," she stated. "I feel most free as a human when I can honor exactly who I am right now."
Monáe's fourth studio album, The Age of Pleasure, is set to be released on June 9.
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