

xoNecole's I Read It So You Don't Have To is a recurring series of self-discovery that breaks down self-help books into a toolkit of takeaways and tips that are meant to assist you in finding the best life you can live. Take what works for you, and leave everything else where it is.
I considered myself a bad feminist until I read Mikki Kendall's Hood Feminism. This is mostly due to the perception of what mainstream feminism characterized itself as. For example, January 2017 comes to mind when I think of feminism. I consider the time when 4.6 million women—the majority of whom were white—demonstrated around the United States in favor of gender parity and the difficulties we would unavoidably encounter under the newly elected Donald Trump. I remember the placards insisting that people should never "grab their pussies." The banners complaining that "we" only get paid 75 cents for every man's dollar, and the shouts demanding equal pay, despite this being the least of our problems.
Yes, I give its superficiality a lot of thought.
While many lamented that women only earn 75 cents for every dollar earned by white males, I considered the reality that Latina, Indigenous, and Black women make even less. I considered all the significant concerns that were overlooked since white feminist issues constituted a huge portion of the feminist vision. However, I was unaware of the degree and rationale behind this contempt until I read Hood Feminism: Notes from the Women That a Movement Forgot.
'Hood Feminism' by Mikki Kendallwww.shopatmatter.com
Hood Feminism introduced me to the several reasons why I believe my feminist credentials were inadequate. It gave me insight into the various areas that feminism should concentrate on to achieve success in my lifetime and that of my potential children. It taught me how to be a feminist in ways I've always wanted to be. This book covers all the issues and arguments that feminists should be paying attention to, to ensure that feminism is more than just a term. It isn't necessarily a call to action, but it is a playbook of how to create feminist movements that hold the ideals of all individuals involved.
To be an effective feminist, we must emphasize Hood Feminism, and Kendall provides us with a number of strategies to help us do just that.
"Solidarity" Is for White Women
"We can't afford to wait for equality to trickle down eventually."
The Problem: The feminist agenda has prioritized narrowing the pay gap as the top feminist concern. While the salary gap is undoubtedly a problem that has to be addressed, the feminist movement's decision to make it a central issue is the ideal illustration of the trickle-down method and how solidarityis truly for white women. The idea behind the trickle-down approach is that if all women band together to address the problems facing the majority, like equal pay, then they would be able to assist minority groups in fulfilling their objectives. In essence, we should scratch their backs before they scratch ours.
Nevertheless, this idea functions only proficiently in theory. Particularly when minority concerns like food poverty, child care, and gun violence demand more urgent attention and action, while some legal processes—like equal pay—take years to resolve. The mainstream media makes us believe that solidarity means forgetting that other problems need to be addressed first.
With the clear difference between abstract ideals and very real lives, there isn't a possible way all women can stand united, when fighting one issue worsens the survivability of another.
How It Can Be Solved: It is obvious how to handle this problem: take care of the larger problems first, and the smaller ones will be taken care of afterward. Work on bigger concerns like child care services, gun violence, and food poverty, which impact all women regardless of race, rather than the wage gap, when the majority of women barely even make the alleged 75 cents to a white man's dollar.
Hunger
The Problem: Two other feminism-related concerns that must be at the forefront of the movement are affordable housing and food poverty. Families' capacity to make ends meet is rarely given much concern, despite the fact that women have access to food stamps and public housing, among other government support programs. Hunger disproportionately affects women, with food insecurity being more common in families headed by single women than in those headed by married couples or single men.
Even worse, women make up 60% of the lowest-paid workers in the nation despite making up almost half of the workforce. In addition to all of this, the majority of their income is allocated to housing and child care, which leaves very little money for household maintenance and much less for food purchases, particularly in light of the ongoing inflation. Everything is simply unaffordable.
How It Can Be Solved: Call for lawmakers to be held responsible and to boost federal nutrition programs via practical measures. Nearly two-thirds of adult and senior participants in the Supplemental Nutrition Assistance Program (SNAP) are female, yet the program offers very few advantages. The monies allotted to each household hardly even cover the costs of keeping the mother and kids fed. Increasing the monthly SNAP payment should be a top goal for policymakers in order to help more women become food secure and escape poverty.
Then, one may mention the pay disparity. Even though they make up the majority of workers, women still earn a lot less than males. As a result, women head homes that spend a larger percentage of their income on costs than men. Enforcing lawmakers to reduce the pay disparity may lead to more accessible housing and a decrease in food insecurity.
"Fast Girls" and the Festishization of Fierce
The Problem: Black women must mature more quickly than other girls. This is either due to expectations—where society stops viewing young black girls as girls around puberty—or needs—like needing to raise siblings or take care of oneself before one should. In any case, the perception that young Black girls are "fast" prevents them from being recognized for what they actually are: children. Given the battle being waged against Black girls, this adultification bias misses the fact that black girls need to learn how to fight, escape, and protect themselves at a very young age.
Black girls become strong women as a result of this instant adultification, and they are typically portrayed as "fierce" for conquering their surroundings. Sadly, this simply makes matters worse because Black women are increasingly viewed as self-sufficient and capable of defending themselves. They can preserve themselves because they are powerful. Because it is assumed that Black women can and will continue to help themselves, violence is inflicted upon them more frequently and major difficulties are disregarded.
How It Can Be Solved: Regard Black women as simply put, women—not "strong," nor "fierce." Regard them as people who deserve to be taken care of, fed, shielded, and given consideration. Black women and other minority groups need to be supported and encouraged when they seek help; instead of it being assumed they are capable of taking care of themselves.
Gun Violence
"The bullets that didn't hit me, still changed me."
The Problem: It is difficult to go five yards in predominately Black communities, where poverty meets life, without someone bringing up the topic of how unsafe the neighborhood is due to gun violence. Nevertheless, the same could apply to anyone who chooses to enter a public space in America, such as grocery stores, malls, hospitals, or schools. For the unfortunate, unforeseeable future, America and gun violence are synonymous. However, this truth is disregarded or publicized as a racial issue because it is only thought to exist in the context of poverty and Blackness. Never mind the sad truth, that women are the main victims of gun violence, due to domestic violence, mass shootings, and gang violence.
How It Can Be Solved: Gun violence must be seen by feminists as a feminist issue as much as a "Black issue." Guns are a leading cause of death for children in the United States; when they don't kill them, they terrorize them instead.
Race, Poverty, and Politics
The Problem: Always the savior, never the saved. Ironically, Black women are frequently viewed as the Democratic party's saviors. Black women voted 94% for Hilary in 2016, 96% for Obama in 2012, and 93% for Biden in 2020. Therefore, Democrats appeal to Black women if they want to win. However, Black women and their promised policies are frequently overlooked while legislation is being produced. Rather, the laws that are always remembered have to do with restricting Black women's rights and limited authority.
The majority of them lead to gerrymandering, such as that which is occurring in Alabama, or the development of laws that further downplay the hardships faced by Black women, such as poverty. Even worse, the policies that are being imposed are the result of white women's votes, who hurried to support the undermining of the laws that granted them the same liberties.
How It Can Be Solved: It is imperative that white feminists recognize the ways in which racism affects elections and the growing disparity in voting rights and access. Furthermore, Black women must recognize and resist ongoing limitations on our right to vote as well as the rights of other groups whose voting rights have been curtailed, such as those of those incarcerated. Racism is being utilized to deny our voices a platform and make our votes insignificant, and we can no longer afford to ignore this. This includes combating policies that undermine the right to vote, or even the right to vote easily, and making protecting voting rights a priority.
To understand other various ways you can use Hood Feminism to combat other feminist issues, such as education, housing, parenting while Black, the reigning patriarchy, reproductive justice, allies, and more, give Hood Feminism by Mikki Kendall a read or listen.
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Taysha Robinson is a writer and high school English teacher, based in metro-Atlanta. A self described philomath, you can find her reading books and articles of every genre, attending educational conferences, and hiking wherever the terrain will allow.
Claudia Jordan, Demetria McKinney & Jill Marie Jones On 'Games Women Play' & Dating Over 40
What do you get when you mix unfiltered truths, high-stakes romance, and a few well-timed one-liners? You get Games Women Play—the sizzling new stage play by Je’Caryous Johnson that’s part relationship rollercoaster, part grown-woman group chat.
With a powerhouse cast that includes Claudia Jordan, Demetria McKinney, Jill Marie Jones, Carl Payne, Chico Bean, and Brian J. White, the play dives headfirst into the messy, hilarious, and heart-wrenching games people play for love, power, and peace of mind. And the women leading this story? They’re bringing their whole selves to the stage—and leaving nothing behind.
From Script to Spotlight
The road to Games Women Play started over 20 years ago—literally.
“This script was written 20 years ago,” Jill Marie Jones said with a smile. “It was originally called Men, Money & Gold Diggers, and I was in the film version. So when Je’Caryous called me to bring it to the stage, I was like, ‘Let’s go.’” Now reimagined for 2025, the play is updated with sharp dialogue and modern relationship dynamics that feel all too real.
Demetria McKinney, no stranger to Je’Caryous Johnson’s productions, jumped at the opportunity to join the cast once again. “This is my third time working with him,” she shared. “It was an opportunity to stretch. I’d never been directed by Carl Payne before, and the chance to work with talent I admire—Jill, Claudia, Chico—it was a no-brainer.”
Claudia Jordan joked that she originally saw the role as just another check. “I didn’t take it that seriously at first,” she admitted. “But this is my first full-on tour—and now I’ve got a whole new respect for how hard people work in theater. This ain’t easy.”
Modern Love, Stage Left
The play doesn’t hold back when it comes to the messier parts of love. One jaw-dropping moment comes when a live podcast proposal flips into a prenup bombshell—leaving the audience (and the characters) gasping.
Demetria broke it down with honesty. “People don’t ask the real questions when they date. Like, ‘Do you want kids? How do you feel about money?’ These convos aren’t happening, and then everyone’s confused. That moment in the play—it’s real. That happens all the time.”
Jill chimed in, noting how the play speaks to emotional disconnect. “We’re giving each other different tokens of love. Men might offer security and money. Women, we’re giving our hearts. But there’s a disconnect—and that’s where things fall apart.”
And then Claudia, of course, took it all the way there. “These men don’t even want to sign our prenups now!” she laughed. “They want to live the soft life, too. Wearing units, gloss, getting their brows done. We can’t have nothing! Y’all want to be like us? Then get a damn period and go through menopause.”
Dating Over 40: “You Better Come Correct”
When the conversation turned to real-life relationships, all three women lit up. Their experiences dating in their 40s and 50s have given them both clarity—and zero tolerance for games.
“I feel sexier than I’ve ever felt,” said Jill, who proudly turned 50 in January. “I say what I want. I mean what I say. I’m inside my woman, and I’m not apologizing for it.”
Demetria added that dating now comes with deeper self-awareness. “Anybody in my life is there because I want them there. I’ve worked hard to need nobody. But I’m open to love—as long as you keep doing what got me there in the first place.”
For Claudia, the bar is high—and the peace is priceless. “I’ve worked hard for my peace,” she said. “I’m not dating for food. I’m dating because I want to spend time with you. And honestly, if being with you isn’t better than being alone with my candles and fountains and cats? Then no thanks.”
Channeling Strength & Icon Status
Each actress brings something different to the play—but all of them deliver.
“I actually wish I could be messier on stage,” Claudia joked. “But I think about my grandmother—she was born in 1929, couldn’t even vote or buy a house without a man, and didn’t give a damn. She was fearless. That’s where my strength comes from.”
For Jill, the comparisons to her iconic Girlfriends character Toni Childs aren’t far off—but this role gave her a chance to dig deeper. “If you really understood Toni, you’d see how layered she was. And Paisley is the same—misunderstood, but strong. There’s more to her than people see at first glance.”
Demetria, who juggles singing and acting seamlessly, shared that live theater pushes her in a new way. “Every moment on stage counts. You can’t redo anything. It’s a different kind of love and discipline. You have to give the performance away—live, in the moment—and trust that it lands.”
Laughter, Lessons & Black Girl Gems
The show has plenty of laugh-out-loud moments—and the cast isn’t shy about who steals scenes.
“Chico Bean gets a lot of gasps and laughs,” Claudia said. “And Naomi Booker? Every scene she’s in—she’s hilarious.”
But the play isn’t just about humor. It leaves space for reflection—especially for Black women.
“I hope we get back to the foundation of love and communication,” said Demetria. “A lot of us are in protector mode. But that’s turned into survival mode. We’ve lost softness. We’ve lost connection.”
Claudia agreed. “We’re doing it all—but it’s not because we want to be strong all the time. It’s because we have to be. And I just want women to know: You can have peace, you can be soft. But stop bringing your old pain into new love. Don’t let past heartbreak build walls so high that the right person can’t climb over.”
Final Act: Pack the House
If there’s one thing this cast agrees on, it’s that this play isn’t just entertainment—it’s necessary.
“Atlanta is the Black entertainment hub,” Claudia said. “We need y’all to show up for this play. Support the arts. Support each other. Because when we pack the house, we make space for more stories like this.”
Games Women Play is more than a play—it’s a mirror. You’ll see yourself, your friends, your exes, and maybe even your next chapter. So get ready to laugh, reflect, and maybe even heal—because the games are on.
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It’s officially Miss Keri, Baby season again—and if you ask us, it’s been a long time coming. After 15 years away from the music scene, Keri Hilson has returned not only with a brand-new album, but also a captivating new role in Lifetime’s Fame—the latest installment in The Temptations film franchise.
Between the album We Need to Talk: Love and her leading role in Fame, this isn’t just a comeback—it’s a rebirth. The Grammy-nominated singer-songwriter turned actress is letting us into her world like never before, unpacking themes of vulnerability, healing, and inner strength with grace, grit, and raw artistry.
Now streaming on Lifetime, Fame follows two superstar sisters—played by Keri and singer/actress Keshia Chanté—as they navigate the cost of stardom, sibling rivalry, and the dark side of desire. The film also stars Romeo Miller, Ecstasia Sanders, Nathan Witte, and Sophie Carriere, and is executive produced by Derrick Williams and Adriane Hopper Williams of the Seven Deadly Sins franchise.
As for the music? We Need to Talk: Love is a three-part album (Love, Drama, Redemption) that tells the story of a woman who’s been through it—and has risen from the ashes. “It was time to speak for myself,” Keri says.
We sat down with Keri to talk about her return to music, her passion for acting, the emotional depth of Fame, and how she’s learning to care for herself amidst the chaos.
From R&B Queen to Drama Star: Keri Gets Into Character
“Even though she’s famous—as am I—it was really her humanity that I wanted to portray.”
Keri plays Cherish, one half of a superstar sibling duo who must confront their fractured relationship in the wake of a traumatic robbery. For Keri, the role was more than a character—it was a psychological study.
“I enjoy departures from reality. That’s why I love acting,” she shares. “Psychology is one of my favorite things in life. I became a writer because I’m an observer of human nature, emotion, and behavior. I think I did a good job showing her humanity.”
The Fame Isn’t Always Worth the Price
“Keep the main thing the main thing.”
Keri doesn’t sugarcoat the industry. When asked about what Fame reveals about the dark side of celebrity culture, her answer is clear:
“It’s a cautionary tale. It reminds you to keep your family close and not allow anything to come between them—especially in pursuit of success. Keep the main thing the main thing. For me, that’s family, love, spirituality, and values.”
Three Chapters, One Story: Love. Drama. Redemption.
“I’ve shed the fear. It was time to tell my own story.”
Released April 18th, We Need to Talk: Love is Keri’s first album in 15 years—and a deeply personal one at that. The three-part project (Love, Drama, Redemption) represents a timeline of healing and growth.
“I’m finally in a place where I’m able and willing to open up more,” she says. “For a while, I became really guarded—shell-shocked, even—after making mistakes in the public eye. Whether it’s all your fault or not, the scrutiny takes its toll. But now, I’ve shed that fear. It’s time to tell my story.”
Cooking, Walks, and Recalibrating in the Chaos
“I’m not doing the best job—but I’m doing what I can.”
Between eight-hour rehearsals, press runs, and music releases, Hilson admits she hasn’t quite figured out the balance yet—but she’s trying. For her, the key is carving out small rituals of normalcy.
“I enjoy cooking. That’s my sanctity,” she says. “I’ll go home, take my makeup off, put on my rehearsal clothes, and cook a meal. I take walks. I run. These little things help me feel like myself again.”
Art Imitates Life (and Album Tracklists)
“Cherish goes from Love… to Drama… to Redemption.”
Asked which album chapter her Fame character would fall into, Keri doesn’t hesitate. “She fits into all three,” she says. “You see her go from love, to drama, to redemption. That arc mirrors the journey of so many women who’ve had to navigate pain and find their way back to themselves.”
No Pressure, Just Art: Keri Wants You to Feel Something
“Just enjoy the art. That’s it.”
After all the time, patience, and healing, Keri isn’t asking for much. She just wants fans to press play—and feel something.
“I just want people to enjoy what they’re seeing and hearing. Enjoy me on screen. Enjoy me through their ears. People have waited, and I feel blessed by that. That helps me keep it all pure and simple.”
As Keri Hilson steps boldly back into the spotlight, it’s clear this era is all about alignment, artistry, and authenticity. With Fame airing on Lifetime and the first chapter of We Need to Talk: Love setting the tone, we’re more than excited to see what’s next.
As she continues to unfold the album’s next two chapters—Drama and Redemption—one thing’s for sure: this isn’t just a comeback. It’s a reintroduction. And we’ll be watching, listening, and cheering her on every step of the way.
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