In xoNecole's "How She Got Here", we uncover the journey of fearless, ambitious women at the top of their game with unconventional not-so-everyday careers. Instead of asking them about their careers, xoNecole dissects the hardships, rejections, and nontraditional roads traveled by these women to create the positions they have today.
Ever since I've been brought onto the REVOLT team as a freelance writer, I've had the pleasure of watching and recapping REVOLT Black News, a series spearheaded, produced, and hosted by the one and only Eboni K. Williams. As a co-host on REVOLT's hip hop talk show State of the Culture and the newest addition on Bravo TV's Real Housewives of New York City, it's amazing how she balances it all in legal affairs, entertainment and journalism, and still manages to be as snatched and professionally poised as she is. By kickstarting her broadcast career as a talk radio host for Los Angeles' KFI AM640, Eboni K. Williams set herself up for future positions as an anchor with hosting and correspondent roles for FOX Sports, NBA 2K, CBS News, HLN, CNN, and NFL Network.
Most recently, Williams announced the delivery of her "love child" that's been baking for two years, her podcast Holding Court with Eboni K. Williams. With the help of The Black Effect Podcast Network, a new partnership between iHeartMedia and Charlamagne Tha God, Williams alongside Dustin Ross, will be cross-examining mainstream news cases Law and Order-style while using her legal and entertainment lenses. With a J.D. from Loyola University New Orleans College of Law and background as a public defender and private defense lawyer, Eboni K. Williams is clearly the perfect woman for the job.
For the first installment of "How She Got Here", xoNecole spoke with the Pretty Powerful: Appearance, Substance and Success author about her recent announcement as the first Black female cast member on Real Housewives of New York, her hopes for the longevity of REVOLT Black News, and how she's never received the word "no" in her ministry. Check out our conversation below!
On ‘Holding Court with Eboni K. Williams’:
"Holding Court with Eboni K. Williams has been on my heart and head to bring to life for about two years now, so I'm thrilled that we're finally releasing and we'll be dropping every Wednesday. Holding Court is my opportunity to talk to everyday folk. We're talking to Black people, but all people who are interested in Black culture. We are talking about all of the legal going on whether it be celebrity justice or social justice stories. Everybody knows the headlines, but what does this stuff mean? That's what Holding Court gets to: it breaks down the complicated legal issues into teachable moments, and that then our audience––everyday Americans and across the world, really––can use in their everyday life. We keep this show fast-paced, informative, interesting and entertaining."
On ‘REVOLT Black News’ and how her previous roles led her here:
"Mr. [Sean] Combs decided during this pandemic that there was a clear need in the culture for an unapologetically Black lens as it relates to all breaking and important news, social justice and politics alike. Even post-election, REVOLT will maintain its commitment to REVOLT Black News because the need for a Black lens on breaking global and national news persists beyond this election. My hope and intention for this show is to continue to meet the needs of our people.
"I take my skills as a trained litigator coming from the criminal law court and then I apply that skill set of being extremely intellectually curious, of having a stronghold knowledge of law and justice in our society, of understanding how Blackness and minority status impact law and justice in our society, for our people in our community. Then, I add my lens that I acquired during news in my broadcasting career. You add all of that up - my experience as an attorney, news anchor, and as a political and legal analyst - I bring all of that to REVOLT Black News. Every week, our audience is getting as close to a 360-perspective on the issues as possible."
On how her fields align with her life purpose:
"I knew I wanted to be an attorney when I was five- or six-years-old and that was largely because my mother, at a very young age, found herself in a bit of trouble and unfortunately just did not have the resources [and] had no support as to how to navigate a very complicated legal system. She was a very young woman with a nonviolent offense; she was a first-time offender and she was incarcerated and separated from me for a year of my early life. That's a lot and what I learned very early is who represents you at that trial and in that courtroom matters and the consequences are high. I decided to be an attorney at that point because I wanted to be a voice for the voiceless, I wanted to be an advocate, I wanted to understand these things so there would be less young people, young Black people and young Black women being unfairly and disproportionately punished as my mother was.
"I transitioned to broadcasting about ten years ago because it wasn't good enough for me to be on the inside helping just one client at a time because it's a very slow moving process. I needed to transition to a larger microphone [by] entering talk radio and then to television, so there was a very wide access point to the knowledge and information required in our country to be able to deal with the criminal justice system."
Official 'Holding Court with Eboni K. Williams' Podcast Artwork
Eboni K. Williams/GP Media
On a typical day as Eboni K. Williams:
"Let's just go with today. First and foremost, I'm a businesswoman, so I had to do some business. On an upcoming episode on Holding Court with Eboni K. Williams, we talk about how as creatives, it's very easy to get caught up in being the talent because that can be the fun part, but you have to be tight on the business. Top of the morning, I opened up with doing housekeeping business, creating invoices, distributing those to vendors who require my services for public speaking or other content that I create. Then, I transition to some phone calls with my team which includes my publicist, my podcast consultant, my digital manager, all the people that make this thing work with me.
"I did some fantastic press interviews with outlets that wanted to talk to me about being the first Black housewife of Real Housewives of New York as well as Holding Court with Eboni K. Williams. Then, it was time to create content so I went ahead and went to a studio to record some pickups, the docket, and social media teasers. I came back and had a Board of Directors meeting for Safe Horizon, and then I had a couple press interviews including this lovely one I'm having with you."
On the major challenges she encountered when she first broke into her career:
"As far as the challenges in law, I don't want to overstate what the challenges of that were. This is what you would expect with being young, Black and a woman. Of course, you go into courtrooms and people think you're the paralegal or the secretary. I don't know that that's uncommon. It sucks and it's sh*tty, but I was totally prepared for that.
"Breaking into broadcasting in general has had challenges in the sense two-fold: I didn't go to journalism school, I didn't come from Columbia J-School, so entering CBS News as a national correspondent was a big deal and it was very difficult. I cut my teeth, wasn't quite good when I got there and it was humbling going from being at the top of my game as an attorney to starting over in a new profession. When you decide to transition careers, which I have done several times throughout my trajectory, you're gonna eat some humble pie at various points. You're not gonna be good, so don't even expect to be, but what you can expect to do is get better and better."
"When you decide to transition careers, which I have done several times throughout my trajectory, you're gonna eat some humble pie at various points. You're not gonna be good, so don't even expect to be, but what you can expect to do is get better and better."
On bouncing back from major mistakes in her career:
"I can't say, knock on wood, that I've made a major mistake that I couldn't bounce back from. What I have done in my career is make major consequential choices that I knew would be devastating to the sustaining of that particular role. For example, during my time at FOX News, I made a choice to write and deliver something called "Eboni's Docket" about President Trump's, in my opinion, dangerous and cowardly response to Charlottesville. When I did that, I knew it would more or less be the wrap of my career at FOX News and it was a totally calculated decision. I knew that in that moment and at that time, if I was going to be on that network, if I did not say what I said, I shouldn't be there. It was that simple. I did it, I knew it would have great consequences for the rest of my tenure at FOX News, and I was fine with that because that's exactly how it played out."
On turning a big ‘no’ into a resounding ‘yes’:
"Girl, I get told 'no' everyday a million times and it's fine. The biggest 'no' I got last month was when I was up for a massive platform, that you, me and everyone else watches, and close to it, but no, they went with another incredible talent. That sucks, but my faith system is strong. Finally, I've totally surrendered to it and it took me a while to say, 'I'm type A, I can be controlling, and God really is at play at a higher level.' It has taken well into my late 30s to surrender to that. Now, I trust him emphatically.
"When I get told 'no' on major projects that I've prayed for, hoped for, knew was for me and clearly God had another plan, I was disappointed but I wasn't as devastated as I would have been early in my career. I just was like, 'It would have been great, but clearly there's something at play that I can't even see that God is looking at and I'm actually going to trust it.' Didn't know what it was at that time and literally three weeks later, I got the call about RHONY so it was all good."
On self-discovery as a career woman:
"I can't do it alone––I think that's what I learned about myself. I am an only child, my mother's a single mother and I've lived a very chosen isolated existence professionally. When I practiced law, I've been at firms and on teams, but ultimately it's you in that court. It's not like a team of lawyers. What I now learned about myself and was made to learn about myself if I want to plateau at mediocrity, good; I can continue to do it that way in a vacuum. If indeed I'm serious about ascending to the highest level of my career in this profession and doing things that have never been done before, I gotta figure out how to create a team, work with a team, and sustain a team with my leadership."
On whether ambition, creativity or confidence is the most important quality in her career:
"Confidence. Bar none, and it's because confidence is a result of competence. When you are competent at what you do - I don't care what you're doing - you will be confident in it. Ambition is the desire to be great, but who cares? Desire means nothing unless you have the competence to support it."
On advice she has for women who want to pursue a similar career path:
"Stay in the game. Very simple. Who cares about a 'no'? Everybody gets 'no': Oprah gets 'no', Obama gets 'no', LeBron gets 'no'. It's the 'yes' that you're looking for and in pursuit of. You can't get to the 'yes' if you take yourself out of commission and out of the game. Hang around the hoop, work on your drills, and work on that competence so it will give you the confidence that executives and partners are looking for in creatives."
Eboni K. Williams/GP Media
"You can't get to the 'yes' if you take yourself out of commission and out of the game. Hang around the hoop, work on your drills, and work on that competence so it will give you the confidence that executives and partners are looking for in creatives."
On how she got here:
"Somebody prayed for me and somebody's still praying for me. My mother prayed for me before I was born."
On being the first Black housewife on 'Real Housewives of New York':
"RHONY is way behind. The fact that there were 12 seasons of this show without a single Black housewife is diserroneous and just egregious. I think there has been a very deliberate effort on the parts of Andy Cohen and Bravo to remedy that. The fact that they ultimately chose me, I'm honored and very humbled by that. I don't take it lightly at all. I think it's a very benevolent and important responsibility that I have to represent not only myself as an individual, but Black womanhood. I will not be trying to seek perfection, I'm human and I'm not perfect, but I will be constantly putting forth every effort to show and see Black excellence on this platform and in life."
For more of Eboni K. Williams, follow her on Instagram. Holding Court with Eboni K. Williams is now available and streaming on all platforms. Tune into REVOLT Black News every Thursday at 9 PM EST on YouTube to see Eboni K. Williams in action as host and executive producer.
Featured Image Provided by GP Media/Eboni K. Williams.
On set inside of a mid-city Los Angeles studio, it’s all eyes on Chlöe. She slightly shifts her body against a dark backdrop amidst camera clicks and whirs, giving a seductive pout here, and piercing eye contact there. Her chocolate locs are adorned with a few jewels that she requested to spice up the look, and on her shoulders rests a jeweled piece that she asked to be turned around to better showcase her neck (“I feel a bit old,” she said of the original direction). Her shapely figure is tucked into a strapless bodysuit with a deep v-neck that complements her décolletage.
Though subtle, her quiet wardrobe directives give the air of a woman who’s been here before, and certainly knows what she’s doing. At 24 years young, she’s a “Bossy” chick in training— one who’s politely unapologetic and learning the power of her own voice.
“I'm hesitant sometimes to truly speak my mind and speak up for myself and what I believe,” she later confessed to me a couple of weeks after the photoshoot. “It's always scary for me, but now I'm realizing that I have to, in order to gain respect as a Black woman— a young Black woman— who's still navigating who she is. And you know, I'm realizing that closed mouths don't get fed. And if I keep my mouth shut just because I'm afraid of what people's opinions of me will be or turn into, then that's not any way to live.”
For Chlöe, the journey into womanhood is about embracing who she is, without succumbing to the perceptions of what others think of her. From the waist up she’s everything you’d imagine. A gorgeous goddess with the kind of sex appeal that some work hard to embrace but fail to exude. But unbeknownst to anyone not on set, her bottom half is covered by a white robe, surprising coming from the girl who boasts “'Cause my booty so big, Lord, have mercy” on her first hit single “Have Mercy.”
But that’s the beauty of Chlöe. There’s more to her than meets the eye. More than what a few sensual photos sprinkled throughout an Instagram feed could ever tell you. Just like the photo-framing illusion of her portrayed from the waist up, what we know about the songstress is just the tip of the iceberg. There’s so much more beneath the surface.
Some hours later Chlöe leans back in a high chair as her locs are transformed from a formal updo to a seemingly Basquiat-inspired one. It’s pure art, and at her request, no wigs are a part of the day’s ensemble. She’s fully embracing her natural hair, a decision that wasn’t always a socially accepted one.
In the suburbs of Atlanta, Georgia, (Mableton, to be exact) Chlöe began to explore the foundation of her self-image. At an early age she and her younger sister, Halle, demonstrated a vocal prowess and knack for being in front of the camera that caught their parents’ attention. Soon after, they were sent on a parade of local talent shows and auditions, and eventually broke into the digital space with song covers on YouTube.
It was during these early years that Chlöe first learned that the entertainment industry could be unforgiving to those who didn’t fit a particular beauty standard. Despite the then three-year-old snagging a role as the younger version of Beyoncé’s character, Lilly, in Fighting Temptations, casting agents requested that her natural locs be exchanged for more Eurocentric tresses. Ironic, considering that growing up Chlöe saw her hair as no different than that of her peers. “I remember specifically in pre-K we had to do self-portraits and I drew myself with a regular straight ponytail, like how I would put my locs in a ponytail,” she says. “I just never saw myself any different.”
Chlöe would also learn the true meaning of a phrase that would later become an affirmation posted on her bedroom mirror: “Don’t Let the World Dim Your Light.” After attempting to wear wigs to fit in, the Bailey sisters instead chose to rock their locs with pride, which undoubtedly cost them casting roles. Yet they would have the last laugh when making headlines as the “Teen Dreadlocked Duo” who landed a million-dollar contract with Parkwood Entertainment, and the coveted opportunity to be groomed under the tutelage of a world-renowned superstar.
Credit: Derek Blanks
While that could be the end of a beautiful fairytale of self-empowerment, the reality is that it’s just the beginning of the story of her evolution. For most girls, the transition into womanhood takes place in the comfort of their own worlds, often limited to the number of people they allow to have access to them. But for Chlöe, it’s happening in front of millions of critiquing eyes just waiting for an opportunity to either uplift or dissect her through unwarranted commentary.
Many in her position wouldn’t be able to take that kind of pressure. But Chlöe is handling it with grace. “I feel like all of us as humans, we have the right to interpret things how we want,” she says. “I put art out into the world and it's up for interpretation. I'm learning that not everyone is going to always like me and that it's okay.”
Chlöe isn’t the first artist to receive criticism for her carnal content, and she certainly won’t be the last. In 2010, Ciara writhed and rode her way to banishment on BET when the then 24-year-old released her video for “Ride.” In 2006, 25-year-old Beyoncé received backlash for “Déjà Vu."
"I put art out into the world and it's up for interpretation. I'm learning that not everyone is going to always like me and that it's okay.”
So much so that over 5,000 fans signed an online petition demanding that her label re-shoot the video because it was “too sexual.” Even 27-year-old Janet didn’t escape critical headlines when she shed her image of innocence for a more risqué appearance with the 1993 release of janet.
It’s almost as if public reproach is a rite of passage for young Black women R&B singers on the road to stardom. Good girls seemingly “go bad” whenever they embrace the depths of their femininity, and fans only like you on top figuratively. But Chlöe has learned not to bow down to other people’s opinions, but to boss up and control the narrative. As the saying goes, well-behaved women seldom make history. If sex appeal is her weapon, she wields it well.
On set, Chlöe exudes the energy of Aphrodite in an apple red, off-shoulder dress with a sexy high split. In between shots, she mouths the lyrics to Yebba’s “Boomerang” as it echoes throughout the space in steady repetition at my recommendation. The hour grows late, yet Chlöe is heating things up as eyes stare in deep mesmerization of the girl on fire.
Credit: Derek Blanks
Through music, she explores the depths of her being, a journey that seems to be, at its foundation, rooted in self-discovery. Whereas their debut album The Kids Are Alright (2018) boasts a young Chloe x Halle empowering their generation to embrace who they are while finding their place in the world, their second album Ungodly Hour (2020) shows the Bailey sisters shedding the veil of innocence for a more unapologetic bravado.
What fans looked forward to seeing is who Chlöe shows herself to be on her debut solo album In Pieces. In an interview with PEOPLE, she confesses that releasing her first project without her sister was “scary.” "It was a moment of self-doubt where I was like, 'Can I do this without my sister?’”
Chlöe has never been shy about sharing her insecurities or her vulnerabilities, all of which are laced throughout the 14-track album. “I want people to have fun when they listen to it and to just realize that they're not alone and it's okay to be vulnerable and raw and open because none of us are perfect; we're all far from it. And I think it's healing when we all admit to that instead of putting up a facade.”
The gift of time has given the self-professed “big lover girl” more encounters with romance and heartbreak. Love songs once sung for their beautiful riffs and melodies become more than just abstract lyrics and are replaced by real-life experiences, which she tells me is definitely in the music.
In her single “Pray It Away,” for example, she contemplates going to God for healing instead of going at her ex-lover for revenge for his infidelities. “With anything dealing with art, I am completely vulnerable,” she says. “I'm completely myself, I'm completely open and transparent. So it's pretty much all of me and who I am right now.”
Has Chlöe been in love? That still remains to be said. Of course, she’s been linked to a few potential baes, but dating in the digital age isn’t as easy as a double tap or drop of a heart-eyes emoji. It requires a level of trust and vulnerability that’s hard to earn, and easy to mishandle. To let her guard down means to potentially set herself up for disappointment. “It’s difficult dating right now, honestly, because you really have to kind of keep your guard up and pay attention to who's really there for you. And you know, I'm such an affectionate person and I love hard.
"So when I meet the one person that I really, really am into, it's hard for me to see any others and I get attached pretty easily. And you know, I don't know, it's…it's a scary thing.”
Credit: Derek Blanks
“With anything dealing with art, I am completely vulnerable. I'm completely myself, I'm completely open and transparent. So it's pretty much all of me and who I am right now.”
While broken hearts yield good music (queue Adele), what’s in Chlöe’s prayer is the desire to be happy. What does that look like? Well, she’s still figuring that out herself. “Honestly, I'm the type of person who I don't truly learn unless I experience it. So it's like I can view and watch my parents and watch the loving relationships that I see in my life and be like, ‘Oh, I want that. I would love to have that.’ But then I also have to experience [love] on my own and see what my flaws or my faults might be or see what my good things about myself are. I feel like it's really all about self-reflection. And even though our base is our family and that's our foundation, we are still our own individuals and we have to find out specifically the things about ourselves that may be different from what we saw from our parents when we were growing up.”
Her ideal beau, she tells me, is someone she can feel safe to be her fun, goofy self with, but who also gives her the space to be the boss chick chasing her dreams. A man who understands that just because the world compliments her doesn’t mean she doesn’t want to hear those words from his lips or feel it in his touch. A bonus if he shows up on set after a long hard day of work with vegan cinnamon rolls. You know, the basic necessities. “I like whoever I'm with to constantly tell me they love me and that I look beautiful because I do the same. I am a very mushy person, and if I see something or you look good, I will never shy away from saying it out loud. And I want whoever I'm with to do the same, be very vocal. Tell me that you love me. Tell me what you love about me because I'm doing the same for you because that's just the person I am.”
Noted.
Until she meets her match she’s married to the game, and for now, that seems to be perfect matrimony.
Credit: Derek Blanks
On stage at the 2021 American Music Awards, Chlöe solidified her position as a force to be reckoned with. It was a full-circle moment. In 2012, bright-eyed and baby-faced Chloe and Halle would walk onto the set of The Ellen Degeneres Show and blow the audience away as they bellowed out their future mentor’s song. Ellen would present the sisters with tickets to attend the AMAs, assuring them that they would be back and had a promising future. Nine years later, Chlöe descends from the sky cloaked in a snow-white cape and matching midriff-baring bodysuit for her debut performance. It’s the first time she’s graced the stage of the very award show that she was once an audience member of.
As she shakes and shimmies and boom kack kacks out her eight counts, it’s clear that she’s in her element. Just like her VMA performance a couple of months prior, and the many more stages she’ll continue to grace, she brings an energy that has earned her comparisons to the beloved Queen Bey herself. An honorable statement, considering few R&B songstresses are getting accolades for their entertainment capabilities. It’s on these very stages, in front of hundreds of astonished eyes and millions more glued to their televisions at home, that she tells me she feels most sexy. Powerful, even.
But off stage, it’s a different story.
It’s more than just the commentary about her image and media-flamed rumors that get to her. Mentally, she’s in competition with herself. The desire to be the best burns at the back of her mind with every performance, every production, and every time she steps into the booth. Before, she could share the weight of this burden with her sister. Being a part of a duo meant she could turn to Halle for quiet confirmation and encouragement without a word being exchanged. But lately stepping on the stage means stepping out on her own. And despite being a breathtaking, five-time Grammy-nominated star, Chlöe doesn’t escape the reality that sometimes we can be our own worst critics.
Over the last year, she’s been coming to terms with who she is on her own while overcoming the fear of failing to become who she’s destined to be. While the world waits to see how Chlöe wins, the real triumph is in every day that she chooses herself and continues to walk in her purpose. “I don't really have anything all figured out, honestly. But what I try to do, a lot of prayer. I talk to God more and I just try to do things that calm my mind down and just breathe.”
To whom much is given, much will be required. She’s been chosen to walk this path for a reason. Once she fully embraces that everything she’s meant to be is already inside of her, she’ll be an unstoppable force. “My grandma, Elizabeth, she just passed away and my middle name is her [first] name. So I feel like I truly have a responsibility to live up to her legacy that she's left on this earth. I hope I can do that.”
There’s no doubt that she will. With a role in The Fighting Temptations at three years old, a million-dollar record deal, a main role on five seasons of Grown-ish, five Grammy nominations, a number one solo record in Urban and Rhythmic Radio, a debut solo album, and starring roles in recently released movies Praise Thisand Swarm (just to name a few), Chlöe’s certainly already made her mark, and she’s just getting started.
No flex.
Credits
Photographer & Creative Director: Derek Blanks
Executive Producer: Necole Kane
Co-Executive Producer: EJ Jamele
Producer: Erica Turnbull
Digitech: Chris Keller
DP: Alex Nikishin
Gaffer: Simeon Mihaylov
Photo Assistant: Chris Paschal
2nd Photo Assistant: Tyler Umprey
Features Editor: Kiah McBride
Special Projects: Tyeal Howell
Hair: Malcolm Marquez
Makeup: Yolonda Frederick
Fashion Styling: Ashley Sean Thomas
For More: Cover Story: Issa Rae Comes Full Circle
