
Tonya Lewis Lee's Hulu Documentary 'Aftershock' Investigates How To Reduce Black Maternal Mortality

Black women take center stage in April, celebrating International Black Women's History Month. In addition, April 11-17 sheds light on Black Maternal Health Week to raise awareness of the disparity of mortality rates among Black women compared to their non-Hispanic white counterparts. The discussions surrounding Black maternal mortality are becoming more mainstream with Baby Dove joining Sista Midwife Productions, "a birth advocacy, training, and consulting agency," to comprise a comprehensive list of the Black Doula Directory.
Tonya Lewis Lee has become a staunch advocate of ensuring that the American public is cognizant of alarming statistics that show "Black women are three times more likely to die from a pregnancy-related cause than White women" even though 80% of "pregnancy-related deaths in the U.S. are preventable," according to the Centers for Disease Control and Prevention. Bias, racial and gender inequities are prevalent in the American healthcare system, including other disparities such as "quality healthcare, underlying chronic conditions, and structural racism," all impair marginalized patients from having the same opportunities to receive care to uphold their "economic, physical, and emotional health," the CDC reports.
According to the organization's report, approximately 700 women die in the U.S. from pregnancy or various other pregnancy-related complications. Recently, in Detroit, Michigan, Alona White, a 25-year-old mother, died after giving birth to her second daughter; White succumbed to an emergency craniotomy that caused her brain to bleed. As a patient at Ascension St. John Moross, White underwent a C-section, a medical procedure that Lee’s documentaryAftershock also explores and shows the financial benefits hospitals and doctors reap from this particular surgery, even though it may not be conducive to the birthing process.
Lee, who co-directed and co-produced with Paula Eiselt, discusses through her documentary Aftershock about Black maternal health and places several human faces to those victimized by this growing health crisis. The Hulu doc, which is a part of the streaming service's Onyx Collective, initially premiered at the 2022 Sundance Film Festival in the U.S. Doc Competition and was awarded the Special Jury Award: Impact for Change. Aftershock follows Omari Maynard and Bruce McIntyre, who both lost their partners, Shamony Makeba Gibson and Amber Rose Isaac, during childbirth, and how the two men, along with other family members, are in the streets providing advocacy and activism to eradicate this epidemic.
Using her background as a former human rights attorney, a spokesperson for the U.S. Department of Health and Human Services Office of Minority Health, and an author of the children's book Please, Baby, Please—which she co-wrote with her Academy awarding-winning husband, Spike Lee, she uses her platform to heighten the conversation of Black maternal health.
L-R Omari Maynard and Bruce McIntyre
Photo courtesy of Onyx Collective
xoNecole: Based on your research, what are the factors causing Black women's death in most hospitals? The documentary did expound on it, but if you can say it in your own words.
Tonya Lewis Lee: First, I want to say that most of these deaths happening with Black women from childbirth complications are preventable. When we were making the film, 65% of these deaths were preventable. Since then, a new statistic has come out that says 85% of these deaths are preventable. When you asked me what we discovered in our research about why this is happening? First and foremost, what keeps coming through is very clear that Black women are being dismissed and ignored when they express pain or discomfort or something is not right. A lot of these deaths are postpartum.
It's frustrating because it's not like women aren't seeking help, as you see in Aftershock. The two families that we cover, the two women who passed away, each of them were seeking help from their healthcare providers. Unfortunately, their calls for help were dismissed, minimized, and ultimately led to their death. I will say that what tends to happen is there is either too little intervention too late, or there tends to be too much intervention done too soon, which, unfortunately, often causes these deaths.
xoN: Is this something that residents are taught in medical school because, like the doc pointed out, the founder of gynecology J. Marion Sims, believed Black women don't feel pain? Is this ideology still continually introduced in medical schools?
TLL: My understanding, and I've heard, anecdotally, that it is still taught in med schools today that Black people do not suffer or have the same kind of pain that white patients do, which is insane to me that we're still having these conversations. I empathize with doctors because I think they are trained in such a way--it's a patriarchal, technocratic system. They go through rigorous training, which is great, but they're also kind of dehumanized doctors, when they're going through a process so that by the time they get to their patients, they often inadvertently treat their patients in the way they have to rush, let's get through to the problem. What's the problem? Let's solve it.
I'll go back to the question you asked before about what's causing these deaths also, is that [birthing] is not woman-centered, and what I mean by that is, when a woman is giving birth, as opposed to listening to her desires and how she wants to give birth and who she needs in the room, what is she doing and how is it working for her? Unfortunately, a lot of times, it's more on the doctor's schedule, what works for the doctor, and what's efficient for the doctor. Why do we lay on our backs and put our legs up? Well, because it's easier for the doctor to get in there than allowing a woman to move around during her labor to help the baby work its way down. So the baby gets in position, and she's able to do what she wants to do. I think that a lot of education works against the natural birthing process.
xoN: Regarding the medical schools, is there any way we can change how they're instructed? How can we upgrade their curriculum on how they handle Black maternity?
TLL: I agree with you, and I will say, at least some of the good news; I see that with Aftershock, we've been invited by medical schools to bring the film. We were at Harvard and Columbia [to show the film] to their residents and converse with me, my co-director, and the film's protagonist. To your point, they need to be educated; differently, they're beginning to understand that and are looking at it [but] it's going to take a little bit of time to turn the ship. But at least there's a conversation that is starting to happen, but I completely agree with you that med schools need to start thinking about how they teach maternal care.
And again, even the midwifery programs, too, because I am a big advocate for midwives. Yet, they're not enough midwives in general in the United States, and they're certainly not enough Black midwives. So, to that point, we also need to work on the pipeline of doctors, obstetricians, and gynecologists, because there's a shortage of doctors. There's a shortage of nurses, and certainly Black nurses and doctors. We want to think about who's going to med school and how we cultivate them so that we have a workforce that can care for all of us.
Photo courtesy of Onyx Collective
xoN: To add to that point, maybe there should be a movement to have Black owned hospitals. Many Jewish communities have their own doctors and ambulances. Is that also something we need to start putting on our agenda to start creating Black-owned hospitals in these cities with a high Black population?
TLL: I think we can [have] Black hospitals; we're talking about education in general. Our issue as a community is whether we need more resources or we need to focus the resources in that way. It's worth thinking about. Looking to our HBCUs, our Black students, bringing them through to get us to a place where we could create that kind of thing. I don't think it's a bad thing. A study showed that when Black doctors treat Black infants, they have better outcomes. So I think a movement towards ensuring that we have more Black doctors, more Black nurses, a robust Black health care system to begin with, or at least doctors. Having an awesome Black hospital that's important for us would be amazing because we do not have the resources to do that.
xoN: How can we change policy as it relates to the health of Black women when they're giving birth? What can we do?
TLL: Well, the good news is policies are moving through Congress right now, the Momnibus bills, its pieces of legislation, a group of bills. One in particular that is great that I believe recently passed is making sure that women have Medicaid coverage through their first year of birthing; I think it's important that we deal with women a year postpartum because, again, as I said earlier, most of these deaths do happen postpartum. Many women who don't have coverage get lost, and they don't see doctors thereafter or are not seen. We need to ensure policies that make sure that women have the support they need. For example, doulas get covered by insurance companies and Medicaid as well.
I think midwives are really important to this process; the United States is the only industrialized nation that does not have midwifery care at the center of women's health care. So we need to ensure that when women go to midwives, they can get reimbursed. So those are some policies that can have an impact. I will say voting matters because our politicians, locally at the federal level, but particularly locally, and our state and local governments are the ones that drive the policies and our communities around birthing. I think, as individuals, we need to be out there voting, ensuring women can get the support they need.
Also, to the voting piece because many hospitals in the Black communities have been divested from [offering] the services, if they do have maternal health care at all. They don't have a lot of services. So we want to make sure that our hospitals and our communities are well-resourced so that they can provide the care they need for people, especially when they're in distress.
Photo courtesy of Onyx Collective
xoN: What was your experience when you gave birth to your children?
TLL: I appreciate that question. It's interesting. When I gave birth to my children, my daughter is now 27; my son is 25. I didn't know about midwives. So I had a wonderful doctor who was a friend of the family. But even then, I look back with a little frustration because my water broke, I went to the hospital, my family was there, and it was like, 'We can just move this thing along, let's get you on Pitocin get you going,' and I did that and stayed in the hospital overnight. Then the contractions were coming hard, as they do, especially when you're on Pitocin.
They suggested that I have an epidural, which I had. Then, my lips started to numb because they told me I was only supposed to be numb from the waist down. But I was beginning to feel numb over my entire body. I told my anesthesiologist to turn it down, my lips were numb, and she kept saying, 'Well, no, if I turn it down, I have to turn it off, and you're gonna feel pain.' I was like, I need to feel something because I'm now not feeling anything. I had to get nasty with her and didn't want to do it. Because you're laying there, you're vulnerable; I couldn't move. My mother and sister were there, and then they started noticing my oxygen levels were getting weird. I was like, 'You need to turn it off, and I had to get nasty for [the nurse to] finally turn down the anesthesia so that I can at least feel something. Thank God everything was fine, and my daughter was fine. Similarly with my son, a different doctor this time, by the way, both Black women, lovely people, but in a system, right?
With my son, the same thing happened; similarly, my water began to leak, and I was saved in a way by the nurse because at one point I was pushing, and the doctor was like, 'Okay, his umbilical cord is around his neck, his shoulders are stuck,' and she just stopped. The nurse said, 'This may hurt a little bit,' She put her hands on my stomach and pushed my son out. Again, I was fine, thank God, and the children are fine, but in retrospect, I wish I had allowed my body time to do what it wanted to do, and I think I would have been fine. I don't think I needed Pitocin. I don't think I needed the epidural if I had done it that way. But that's the way I did it back then.
But I joke with my daughter that by the time she's ready, I'm ready, and we're going to get it right this time because I don't think that surviving birth is what it should be. I think we should thrive in our births and be able to have beautiful birthing experiences that are not with trauma. And I'm not saying they don't have pain, but I believe that the pain that one goes through is what we're supposed to go through. I don't think women should suffer. But as Helena Grant, the midwife in our film, says that when a woman is birthing a baby, she's not just birthing a baby, she's birthing a mother, and it's a rite of passage that we have to go through to get on that other side. So we are prepared to take care of this young life we've just brought here.
xoN: How can women protect themselves when pregnant or about to give birth in this environment?
TLL: First of all, shop around for your healthcare provider. If you go to a health care provider and you don't connect with them, then keep looking for that health care provider that is right for you. First and foremost, ask as many questions as you can ask. Remember that you're in the power seat, you should be empowered; you're about to go through something amazing. Make sure you get the support you need. No [woman] can be doing everything in the moment of labor and birthing.
So make sure you have the right energy and people around you who can advocate for you and support you the way you need during your birthing process. I was with these people through the process of this documentary. I was able to be up close and personal with people grieving from a loss but activated by the loss. I was able to be up close and personal with people going through the birthing process themselves, trying to figure it out for themselves as well. So it's been quite a journey.
Aftershock is now streaming on Hulu.
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Feature image by Keith Williams
'Black Girl Magic' Poet Mahogany L. Browne Talks Banned Books And The Power Of The Creative Pivot
You know you’re dealing with a truly talented and profound voice of a generation when the powers that be attempt to silence it. As a poet, educator, and cultural curator, Mahogany L. Browne has carved out a powerful space in the world of literature and beyond.
From penning the viral poem, “Black Girl Magic,” to writing Woke: A Young Poet’s Call To Justice (a book once banned from a Boston school library), to becoming the 2024 Paterson Poetry Prize winner and a poet-in-residence at Lincoln Center—her path exemplifies resilience, reinvention, and unapologetic artistry. She's published more than 40 works and paid the bills with her craft, a divine dream for many creatives seeking release, autonomy, and freedom in a tough economic climate.
A Goddard College graduate, who earned an MFA from Pratt Institute and was awarded an honorary doctorate from Marymount Manhattan College, Mahogany offers unapologetic realness with a side of grace and empowerment. "I started touring locally. I started creating chat books so that those poems will go in the hands of the people who were sitting in the rooms," she shared.
"And then I started facilitating poetry workshops, so I used my chat books as curriculum. And that, in turn, allowed me to further invest in my art and show the community and people who were hiring me that it wasn't just a one-off, that it's not just, you know, a fly by night—that I am invested in this art as much as I am invested in your community, in your children's learning, in our growth."
Mahogany has a special way of moving audiences, and her superpower sparks shifts in perspective, post-performance introspection, and strengthening of community bonds, especially among Black women. (One can undeniably recognize her gift for arousal of the spirit and mind merely from her listening to her insights from the other side of a Google Hangout call. I can only imagine the soul-stirring, top-tier sensory encounter when watching her perform in person.)
In this chat with xoNecole, Mahogany reflects on sustaining a creative career, the aftermath of writing a banned book, and using poetry for both healing, community-building, and activism.
Anthony Artis
xoNecole: What are three key things that have laid the foundation for a sustainable creative career for you?
Mahogany L Browne: What has helped me is that I'm willing to go in being an expert at knowing poetry and knowing the way in which art can change the landscape of our lives, not just as a poet, but also as a poetry facilitator. How you move through classes, those things are mastered, right? So when I go into another space that's maybe tech-heavy, I don't mind learning and being, you know, a student of the wonder of how we can make this magic, work together.
Two, you’ve got to know how to pivot. Sometimes we say, ‘Alright, this is what my life is going to be. I'm going to be a New York Times best-selling author. I'm going to, you know, have an album that's Grammy-nominated. And then, say you get dropped from your record label. That doesn't mean you can't make an album anymore. You can also still create an album that can be submitted to the Grammys. So, what does a pivot look like as an artist who doesn't have an institution behind them? Pivot being a student of the wonder.
Relationships also really help. How do I serve the community? And in turn, that tells me how the community can show up. For me, I have long-standing ties with a community that will outlast my one life. So, what does it mean to create space where these relationships can develop, can be nurtured, can be rooted, can be cultivated? Creating space—it happens through relationships.
xoN: With today’s economic challenges, what does your current creative process look like, and what are you working on?
MB: I’m always thinking five years ahead. I just reviewed the pages for two children’s books and recently released a YA novel. I’m drafting an adult fiction manuscript now.
Anything I create is founded with the root of poetry, but it can exist in captions. It can exist in commercials. It can exist as a musical. So that's where I’m at now.
xoN: You started performing "Black Girl Magic" in 2013, had an acclaimed performance of it via PBS and the work went on to viral success shortly after. Talk more about the inspiration. And what do you think about the continued relevance more than a decade later?
MB: I wrote it as a rally cry for the mothers who had been keeping themselves truly in harm's way by, you know, being a part of the community right after the death of their child or their loved one. They are usually mothers of victims of police brutality—and just seeing how they showed up in these community spaces, they are devout to the cause but obviously still grieving.
"I wanted this poem to be just a space of reclamation, of joy and of you, of your light, of your shine, of your brilliance, in any which way in which you fashion. Every room you enter is the room you deserve to be in. What does it mean to have a poem like that that exists?"
And the first time I did the poem, the Weeping that occurred, right? It was like this blood-letting of sorts. The next time I performed it, I'm moved to tears because I'm seeing how it's affecting other women who have just been waiting to hear, ‘You belong. You deserve. You are good. We see you. Thank you, despite everything that they said to make you regret being born in this beautiful brown, dark-skinned, light-skinned, but Black body.’
Black women are the backbone—period. Point blank. And so, that that poem became a necessity, not just to the fortitude of Black women in the community, but like you know, in service of healing the Black women.
xoN: One of your books was banned at a school in Boston, and it was later reinstated due to parental and activist support. What was that experience like?
MB: Well, I think it happened because they were racist. That's it. Point blank. The reversal of it was empowering, right? I realized, oh, I thought we just had to sit here and be on a banned book list. But no, parents are actually the leaders of this charge.
So to see that, the parents said, ‘Nah, we're not gonna let you take this book out of my baby’s school just because it's a Black kid on the front saying, ‘Woke’ and they're talking about being a global citizen. They're talking about accountability. They're talking about accessibility. They're talking about allyship, and you don't want them to have compassion or empathy or have even an understanding, right? So no, we rebuke that, and we want this book here anyway.’ To see that happen in that way. I was, like, reaffirmed. Absolutely.
xoN: You recently organized the Black Girl Magic Ball at the Lincoln Center in New York. Honorees included author and entrepreneur Rachel Cargle and National Black Theater CEO Sade Lythcott. What impact did it have and what expanded legacy do you hope to leave with your creative works?
MB: I was really interested in not celebrating just the book, but celebrating the community that made the book possible. And so I gave out five awards to women doing that thing, like, what does it mean to be a Black girl in this world?
I just thought it was gonna be an amazing time. Everybody's gonna dress up—we're gonna celebrate each other. And boom, I then realized that it responded to like a gaping hole. There was a missing thing for Black girls of all walks of life, all ages, right?
"It's very intergenerational. That was intentional to come together and celebrate just being us."
You have all these instances where just being you is either the butt of a joke or it's diminished and not worthy of a specific title in these larger institutions. So what does it mean to just to be loved up on and celebrated?
It felt like a self-care project at first. You know, for the first couple of years, folks were coming and they were getting that sisterhood. They were getting that tribe work that they were missing in their everyday lives.
I love the Black Girl Magic Ball because we got us. If I go out with a bang, they'll remember that Mahogany worked her a** off to make sure all the Black girls everywhere knew that she was the light. We are the blueprint.
For more information on Mahogany L. Browne, her work, and her future projects, visit her website or follow her on IG @mobrowne.
Featured image by Anthony Artis
Inside Tiera Kennedy’s BET Awards Night: Hanifa Dress, DIY Glam & ‘Blackbiird’ Nomination
This is Tiera Kennedy’s world, and we’re just living in it.
An Alabama native taking country music by storm thanks to her features on Beyoncé s Cowboy Carter and her recently released debut, Rooted, Kennedy is much more than just a woman living out her wildest dreams; she embodies the role of all-American girl with ease.
“I think for me, an all-American girl, for some reason, brings me back to when I was younger, and just like playing at my grandma’s house and just being outside,” Kennedy told xoNecole ahead of her attendance at the 2025 BET Awards.
“I just feel like when I was younger, you know, you don’t have as many responsibilities. There’s not as much weighing you down, and so I kind of go back to that mindset. Like, even now, being 27, I’m trying to get back to that younger girl.”
The 2025 BET Awards, hosted by Kevin Hart, took place in Los Angeles at the Peacock Theater on Monday night (June 9). The star-studded event was filled with tons of surprises, including a trip down memory lane with a 106 & Park reunion, coupled with performances by artists that dominated the top spots during the music video countdown show’s reign from 2000 to 2014.
Kennedy, who received her first nomination alongside Tanner Adell, Brittney Spencer, Reyna Roberts, and Beyoncè in the BET Her category for “Blackbiird,” the reimagination of the original The Beatles of the same title (minus the extra i), invited xoNecole to get ready with her as she prepared for her first-ever BET Awards.
Beauty Rituals Inherited From Her Mother.
Rather than booking her makeup artist ahead of the big night, Kennedy decided to go on a budget and do the task herself, something that isn’t too out of her norm. She noted how she incorporates some of the things she witnessed her mother do while growing up in her routine.
“I remember being younger and seeing all the makeup laid out on my mom’s counter,” the “I Look Good In That Truck” singer recalled. “I don’t even think she knows this, but there were moments where I would like to go and steal her makeup. She would have Mac. I think it was some kind of foundation powder, and I would go in there and I would put it on, and I’m like I hope she doesn’t see.”
She added, “My mom is very natural with her makeup, so even though I’ve got these big lashes on, I always gravitate towards just neutral looks… I don’t do anything too fancy.”
Tiera Kennedy’s Holy Grail of Products.
Kennedy took it upon herself to take a class to ensure that she’s prepared for nights like these, where she’s the one responsible for bringing her glam look to life.
“We are independent,” she said, reminding us that she is no longer tied to a big machine when it comes to her work as an artist. “We ball on a budget. I have to do my makeup for award shows, events, all the things, and so my makeup artist that taught me how to do all of this, Hailee Clark, she put me on to Nars, the foundation. I don’t know exactly what the name of it is, but I love it.”
“I don’t know all the fancy technicals, but I know that it makes me just look kind of airbrushed, and so I love it. Then, I always use this Laura Mercier [setting] powder because I get real shiny, so I’ve gotta reapply that quite often.”
“We are independent. We ball on a budget. I have to do my makeup for award shows, events, all the things, and so my makeup artist that taught me how to do all of this, Hailee Clark, she put me on."
Her Decision To Wear Hanifa For The Big Night.
Intentionality is essential for Kennedy, which is why she jumped at the opportunity to support Black designer Anifa Mvuemba with a dress from her fashion brand, Hanifa.
“Takirra on my team helped me pick out the dress. I really like to represent in country music, and being in Nashville, I like to represent Black culture through the things that I wear, and I was excited to get to wear a Black brand to the BET Awards,” said Kennedy.
“She was telling me about this brand, Hanifa, and we were on FaceTime just scrolling through the website, and she was like this looks like you. This feels very rooted, like fits those natural tones, and so she bought the dress and was like, ‘This is what you’re wearing.’”
The look was a Raven Knit Dress in Eggplant/Dark Brown Mesh from Hanifa.
Tiera Kennedy in her younger years.
Courtesy
Kennedy also nurtured her inner child for the look, taking it back to her roots with one small detail in her hair that she had her mother carry out before she hopped on the flight to LA.
“I had this vision of wearing beads in my hair because when I was younger, my mom would always do that, and I didn’t love it, but now I’m like, it would be really beautiful to tie all of that together, and the Hanifa dress just fit perfectly.”
“Just even in the past couple of days, I’ve had to take a second, and just look back at all of the awesome things we’ve gotten to do,” said Kennedy when asked what baby Tiera is feeling in this moment.
“I had this vision of wearing beads in my hair, because when I was younger, my mom would always do that, and I didn’t love it, but now I’m like, it would be really beautiful to tie all of that together, and the Hanifa dress just fit perfectly.”
“I dreamed of having a record and having this team that was doing all of these things for me, and now, being an independent artist, and being in control of my career, I’ve gotten to build an awesome team behind me that helps me get to where I am. It’s been a lot of hard work, and I think when I was younger, I would have never imagined that I could do all of these things, and so, yeah, to be here, I don’t even think I would believe it.”
Although “Blackbiird” didn’t win in the BET Her category during Monday night’s show, Kennedy’s future is brighter than ever, which she attests to her faith playing a huge role in guiding her next steps as she continues to rise to stardom.
“Thinking about the next thing, I think that can be really daunting when you’re an independent artist. It’s like you have to be thinking of what’s coming next, to prepare for that, but I think the way that I like to walk through life in general is letting the Lord lead,” Kennedy said.
“I know that a lot of time when I have a vision of what I want things to look like in my head, He always exceed my expectations. So, I think the plan is to continue to release music, and continue to show up as my authentic self. Getting to have these moments like the BET Awards is so awesome, but also, at the same time, that’s not what I do this for. I do it for the humans that are listening to my music, that are [having] fun and healing through my music, so I hope that I can just continue to do that.”
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Feature image by Rob Latour/Shutterstock