Egypt Sherrod isn't your average real estate agent.
Turn your television to the latest episode of HGTV's Property Virgins and you'll likely catch her showing half million dollar homes for her first-time home buyers in a stylish pair of pumps. Her favorite pair? Green crocodile Casadei heels that she admits she hardly ever wears. Her shoe game will surely make any retail addict go into relapse. “I like to buy really nice things, but on sale," she assures me. “I believe in treating yourself, and I don't feel guilty at all."
And that she shouldn't.
The award-winning agent works hard for her money, and is no stranger to finding the best deals and turning them into long-term investments. Her motto:
Egypt Sherrod on "Flipping Virgins."
In fact, she's made a career out of it. She recently landed a new show on HGTV called Flipping Virgins, where she helps buyers purchase, flip, and sell lower priced homes at high profit margins. Add that to her broad portfolio of careers including radio, television, real estate, author and philanthropist, and it's clear that the wife and mother of one certainly knows how to finesse her skill sets both on and off camera.
For Sherrod, the key to wealth lies within the ability to have multiple streams of income—at least that's what has been the foundation of her success.
“My mentor told me early on, if you want to have longevity. You have to have a Plan A, Plan B, and Plan C and work them all at the same damn time!"
Talking with Sherrod, it's easy to see why she's been able to have longevity in multiple industries. I'm immediately drawn in by her warm personality and “sister girl" demeanor, and have decided that if I ever purchase a home in her current city of Atlanta, then she would be my go-to realtor. It's not just the fact that we share an appreciation of quality homes, but as our conversation would later reveal, it's also her confidence in knowing who she is and what she's talking about it.
Egypt Sherrod on "Flipping Virgins."
Earning a spot as one of HGTV's coveted show hosts takes time and dedication of learning the game, and Sherrod's certainly no novice to the real estate streets. A brief look at her resume would reveal that during her 20s the young Temple University graduate could be found buying dilapidated homes to renovate and resale, allowing her to sock away funds for rainy seasons when radio would no longer pay bills.
“I would get some money, and instead of putting it into some shoes and pocketbooks, I would put it into buying properties."
It was that hustling mentality that kept her pockets cushioned during periods of unemployment before being called back into radio to work the primetime slot at New York's WBLS 107.5. Unwilling to part with her more stable source of income, she chose to keep both career paths moving and rebranded herself as the go-to real estate girl, picking up a high profile list of clientele including athletes, celebrities, and record label executives. Although she was successfully balancing her careers in entertainment and real estate, she couldn't ignore the feeling that there was something more that would bring her fulfillment.
“Radio had been excellent to me, but I was growing out of it. I definitely was growing out of the gossip, I really didn't care who was doing who…I hated that I had to do entertainment and gossip reports. But unfortunately it was something very popular that I had become known for."
Determined to take her career to the next level she auditioned for Property Virgins, and in 2010 snagged the role as the show host—it was just the big break that she needed to begin her transition from radio to real estate.
Egypt Sherrod on set of "Flipping Virgins."
But her excitement quickly came to a halt after learning she was pregnant four episodes into shooting the first season. During a time when she should've been celebrating her motherhood, the mom-to-be found herself hiding her pregnancy in fear that her growing belly would lead to her termination. In radio she was used to competing against the youngest and the next best thing, and she was sure that being on primetime television was no different.
“I wasn't trying to be dishonest, I was just trying to make it just like everybody else. You want to fulfill your dreams, but you want it all. And I wanted my baby, and I wanted my happiness, but I wanted my dream too."
To her surprise, and relief, she was wrong. “I laughed and I cried because they were like we don't care we were waiting on you to tell us."
Her second obstacle came in the form of a snowstorm during October 2011. As a mother-to-be juggling two careers, being trapped in her home gave her a case of cabin fever. She decided that it was time to take her talents to another city, pitched the team at HGTV to move Property Virgins to Atlanta, landed a new role at WVEE V-103, and relocated south with her husband and four-week-old daughter.
It was a necessary move that also came with heavy consequences. The boss mom struggled to balance her marriage, motherhood, and a new territory in both radio and real estate. She describes this period one of the most challenging times in her life.
“I'm not going to say I failed in the radio industry, but it was wrong of me to try to take it all at once. I was forced to choose, and I chose to take a leap of faith and leave the business that I had ran for almost 20 years."
Already desiring a change in her career made the decision to leave easier. She was also battling postpartum depression due to breast feeding, sleepless nights, and working multiple jobs.
"And priority number one was my daughter, she was the single most important thing in my life that I am the most proud of. So she had to come first."
Focusing solely on real estate gave Sherrod just the balance that she needed, and enabled her to give time to both her career and family, and, of course, herself. Now when she wants a little personal time, she hits the gym or does a little meditation. She also finds balance in her friendships, keeping a positive group of lady friends who pour into and challenge her to not settle for mediocrity. There's no room for “yes women" in her circle.
Through the Egypt Cares Family Foundation—a non-profit dedicated to financial empowerment and awareness—she's able to give back to her community, and her priceless real estate advice, as detailed in her book Keep Calm…It's Just Real Estate, has become the go-to guide for homebuyers who are looking to get the most bang for their buck, both in their home and their realtor.
As a future homebuyer, I drill her with questions. How much money should I save for a down payment? How do I find a good real estate agent? I'm looking to add another stream of income, how do I become a real estate boss, too?
Her first piece of advice? Don't take advice from people who have no experience in real estate.
"Be careful who you listen to and get real estate advice from," she warns. "Sometimes our family members really want what's best for us but they don't realize they're giving us bad advice. In some cities the real estate market is booming! While in some cities it's still doing really, really bad. So why would we take advice from Auntie Vera who living in California if we're living in New York City?"
Point taken.
The rest of the answers to my questions? Well, they're all detailed in the book. No spoilers here.
One thing I can say about Sherrod is that she definitely knows her stuff. She's a woman that many women aspire to be: career-driven with a relentless work ethic, humbly confident and purposefully passionate. Even her definition of what it means to be a woman is an accurate reflection of her mentality.
“I realized I had gone from being a girl to womanhood when I start taking responsibility for my actions and not being afraid to apologize, being okay with starting over being 100% comfortable in my own skin, learning the importance of humility, and being well-rounded as a person, not one dimensional."
Find out more info on Flipping Virgins on HGTV.com.
All images courtesy of Egypt Sherrod
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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.”
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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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