Shockwaves rippled through the Black community last spring when actress Gabrielle Union and her husband, retired basketball star Dwyane Wade, were spotted rallying around their daughter Zaya, as their parade float rode through Miami's annual pride event. At the time, the world knew Zaya as Zion. Over the next few months, we gained insight into Zaya's full story as she revealed her true essence to the public with the vocal support of her parents lighting her path. The Wades were framed as the standard for modern day Black familial acceptance by some, and condemned as blasphemers to those with hateful homophobic and transphobic ideologies.
Although celebrity tends to take up space in identity narratives, there are millions of families like the Wades all over this country. Social activist, entrepreneur and author Jodie Patterson is a proud member of this cohort. Her son, Penelope, told Patterson that he was a boy at 3 years old. Since that moment, the mom of five has worked relentlessly as an advocate for trans people and their families.
xoNecole spoke to Patterson about her family, the Black community, and why we have to adjust our language and understanding of gender to ensure the health and happiness of current and future generations of Black children.
xoNecole: There was uproar in our communities when Gabrielle Union and Dwyane Wade expressed support for their trans daughter, Zaya Wade. Why do you think Black people can be so resistant to parents accepting their kid for who they are?
Jodie Patterson: The time that I spent looking at it and thinking about it, it's not our people--it's just people. I think people have a harder time changing from one pattern to the next. I think people have a hard time going outside of their perspectives. But Gabrielle Union and Dwyane Wade and my family and millions of families are seeing our old habits no longer apply. The language we use around 'he' or 'she' and the associations we put to 'he' and 'she' no longer apply. And particularly, they don't apply to our children. Our children are asking us to see things differently, to say things differently, to live differently. And if we don't, if we aren't flexible like Gabrielle and Dwyane and others, we just we won't be with our children. We just won't be with our kids anymore.
What constructs of this adjustment did you personally battle with? Were there any beliefs you had to undo?
In my family, girls and boys have always done great things. Women have run businesses. Men have raised children. We are all very involved in our families and in our economic strength and in our community. But underlying underneath that there were certain biases that I held. You know? I was speaking to my girls in one way, and I was talking to my boys with a sterner voice. I was buying butterfly diapers for my daughter, and I was buying superhero diapers for my son. I had to not only change my language, but change the way I interacted with the world. I had to let all of my children experience all of life. And when I started doing that, I had to do the same thing because I realized I was holding myself back. I was trying to think of what a good woman should do--what a responsible wife was supposed to be saying and what a 50-year-old woman looked like. And in reality, I want to do everything in life. Not just the things carved out for 50-year-old women. So like this whole bias and all of the breaking down of barriers and constructs, it doesn't just apply to my trans kid it applied to all of my children and to myself and to the world.
Courtesy of Jodie Patterson
"I had to not only change my language, but change the way I interacted with the world. I had to let all of my children experience all of life. And when I started doing that, I had to do the same thing because I realized I was holding myself back. I was trying to think of what a good woman should do--what a responsible wife was supposed to be saying and what a 50-year-old woman looked like. And in reality, I want to do everything in life. Not just the things carved out for 50-year-old women."
How did you shield your child from feeling uneasy if you were uneasy or unsure about any of it?
It's difficult and tricky to figure out what to share with your children and what not to share, and then what to share with the world and what not to share. Like my life seems very open on social media, but not everything is expressed in the moment. Sometimes I take a step back to be quiet, to process, put it in perspective, to sort it out in my own brain and in my own heart, and then I start to share with my kids or with the world.
How did your husband react at the time? Were there any quarrels you all had to resolve as a couple to be on the same page for what raising Penelope looked like?
We were on the same page in love. The reason why I married him was because we all believed in family so deeply. But we weren't always on the same page. I wanted to go really fast. I wanted to be public. I wanted to share with everyone I knew. Dad was very respectful of the questions he still had, and what he wants, but much slower. It took us some time to find a middle ground. Our relationship didn't last as a couple, but the family structure around our children was never broken, ever. And it didn't break. You know, the fact that Penelope is transgender absolutely wasn't going to break us as a family.
Did you have your own “mourning” process? I’ve heard some folks describe accepting their child/partner’s trans identity felt like a loss to who they thought they were in some ways?
I know that that is a reality for many people. But I would say I did not experience any loss. In fact, we've never taken down pictures. Penelope never wanted to change his name. In fact, he said, "Why would I change my name? That's my grandmother's name, and I love her." I mourn some of the time that I hadn't understood. I mourn some of the time that I was confused; I mourn the time when I just wasn't getting it.
Courtesy of Jodie Patterson
"Penelope never wanted to change his name. In fact, he said, 'Why would I change my name? That's my grandmother's name, and I love her.' I mourn some of the time that I hadn't understood. I mourn some of the time that I was confused; I mourn the time when I just wasn't getting it."
You said there were behavioral differences in Penelope before he explained he was a boy. Is there any behavior you would advise parents to look out for in case their child can’t articulate how they are feeling yet?
We should ask ourselves, what is our child rejecting? Because Penelope would stomp on a dress and grab and reach for [his] brother's pants or brother's shirt. Penelope would throw the pink toothbrush out in the bathroom and pick up [his] brother's Spiderman toothbrush. So look for disruption. Look for anger. Look for bullying. Penelope had actually become a bully--pushing kids and pushing siblings around, really an angry kid. Well, he was angry with the place that we were putting Penelope in.
You had a Ted Talk called “Gender Is Obsolete”. How do you talk to people who still hold the belief that anatomy and gender are one and the same?
There's no amount of talking I can do or sharing I can do if the individual doesn't take one step in, one step on their own, to do some basic research. The basic research shows that scientifically that gender is not found in our anatomy. So even without my womb, I'm a woman--even without my breasts, even without my fallopian tubes, I'm a woman. And so when we look at the science around identity, it is in the brain. Identity is formed in the brain, not with trans people or certain people, but for all people. My identity is not in my vagina. So that's awesome.
"Even without my womb, I'm a woman--even without my breasts, even without my fallopian tubes, I'm a woman. And so when we look at the science around identity, it is in the brain. Identity is formed in the brain, not with trans people or certain people, but for all people. My identity is not in my vagina."
What advice would you give to soon-to-be mothers about labeling their child “boy” or "girl” before birth? Would you have done anything differently?
If what we think about our children turns out to be inaccurate, just shift. It's OK. Think about, "How flexible can I be? How flexible is my mind?" We have African naming ceremonies, like my children's father is from Ghana, and we did African naming ceremonies for each one. And there is a lot of that that I would do again and again and again if I could have my children again. And we would do some of the same ceremonies and rituals. And then, if it came to a point when it felt that I was inaccurately making assumptions of my kid or my kid was telling me, "Mom, that's not who I am," I would shift.
The Bold World: A Memoir of Family and Transformation is available on Amazon now. Patterson also has a children's book coming out called "Born Ready", which details Penelope's perspective on himself and his community.
Featured image courtesy of Jodie Patterson
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Amber Riley Is In Her Element
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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Queen Latifah On Her Journey To Self-Acceptance: 'I've Been Trying To Maintain My Freedom To Be Me'
Actress and rapper Dana "Queen Latifah" Owens is defying societal standards by refusing to be confined in a box regarding her personal and professional life.
Owens, who has been a part of the entertainment industry for over three decades, is widely recognized for her empowering songs and the variety of acting roles she has obtained throughout her career, among other things. The list includes Living Single, Set It Off, Chicago --with which she earned an Oscar nomination-- Just Wright, Girls Trip, and most recently, The Equalizer series on CBS.
Owens is also very tight-lipped about her personal life. However, in 2021, The Last Holiday actress showed appreciation to Eboni Nichols, who is reportedly her partner, and their son Rebel after receiving a Lifetime Achievement Award.Since then, Owens has revealed why she doesn't want to be defined as anything but herself and how she maintains her sense of freedom. In a resurfaced video from theGrio Awards, Owens opened up about those topics when she accepted the Television Icon Award for her past contributions
In a clip uploaded on theGrio's Instagram account last week, Owens explained that she often had to fight to be herself because "the world" kept trying to put her in a box based on what society thought a woman should be.
"My whole life, I feel like I've been trying to maintain my freedom to be me. And the world is trying to put these things on me to stop me from being who I am," she said.
Further into the speech, Owens explained that although many would have their own opinion about her from what the media spews out, she would continue to be herself by wearing "beautiful gowns and dresses," playing in the dirt, participating in basketball games with men and loving who she loves because that's what makes her happy.
The Beauty Shop star also added that despite her celebrity status, she would continue to show respect for others because that's who she is as a person and how she was raised.
"So I wear these beautiful gowns and dresses because I want to because that's part of me. I play in the dirt. I play basketball with the boys because that's me,” she stated. "I love who I love because that's me. I love all of you who have supported me. I give you your respect. I don't have to be above you because that's me. I know me."
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