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
- Conversations in Color: Jodie Patterson and Tiq Milan, November 9 ... ›
- Jodie Patterson (@jodie_GeorgiaNY) | Twitter ›
- Georgia by Jodie Patterson - Real Lives Of Working Women ›
- Jodie Patterson - Photos and Interview ›
- How Jodie Patterson's Personal History Affected Her Present With ... ›
- The Bold Jodie Patterson: An Interview with the Activist and Author ›
- Gender is obsolete | Jodie Patterson | TEDxMünchen - YouTube ›
- Activist Mom Jodie Patterson: How I Fight for My Trans Child ›
- The Bold World: Jodie Patterson discusses parenting memoir | EW ... ›
On set inside of a mid-city Los Angeles studio, it’s all eyes on Chlöe. She slightly shifts her body against a dark backdrop amidst camera clicks and whirs, giving a seductive pout here, and piercing eye contact there. Her chocolate locs are adorned with a few jewels that she requested to spice up the look, and on her shoulders rests a jeweled piece that she asked to be turned around to better showcase her neck (“I feel a bit old,” she said of the original direction). Her shapely figure is tucked into a strapless bodysuit with a deep v-neck that complements her décolletage.
Though subtle, her quiet wardrobe directives give the air of a woman who’s been here before, and certainly knows what she’s doing. At 24 years young, she’s a “Bossy” chick in training— one who’s politely unapologetic and learning the power of her own voice.
“I'm hesitant sometimes to truly speak my mind and speak up for myself and what I believe,” she later confessed to me a couple of weeks after the photoshoot. “It's always scary for me, but now I'm realizing that I have to, in order to gain respect as a Black woman— a young Black woman— who's still navigating who she is. And you know, I'm realizing that closed mouths don't get fed. And if I keep my mouth shut just because I'm afraid of what people's opinions of me will be or turn into, then that's not any way to live.”
For Chlöe, the journey into womanhood is about embracing who she is, without succumbing to the perceptions of what others think of her. From the waist up she’s everything you’d imagine. A gorgeous goddess with the kind of sex appeal that some work hard to embrace but fail to exude. But unbeknownst to anyone not on set, her bottom half is covered by a white robe, surprising coming from the girl who boasts “'Cause my booty so big, Lord, have mercy” on her first hit single “Have Mercy.”
But that’s the beauty of Chlöe. There’s more to her than meets the eye. More than what a few sensual photos sprinkled throughout an Instagram feed could ever tell you. Just like the photo-framing illusion of her portrayed from the waist up, what we know about the songstress is just the tip of the iceberg. There’s so much more beneath the surface.
Some hours later Chlöe leans back in a high chair as her locs are transformed from a formal updo to a seemingly Basquiat-inspired one. It’s pure art, and at her request, no wigs are a part of the day’s ensemble. She’s fully embracing her natural hair, a decision that wasn’t always a socially accepted one.
In the suburbs of Atlanta, Georgia, (Mableton, to be exact) Chlöe began to explore the foundation of her self-image. At an early age she and her younger sister, Halle, demonstrated a vocal prowess and knack for being in front of the camera that caught their parents’ attention. Soon after, they were sent on a parade of local talent shows and auditions, and eventually broke into the digital space with song covers on YouTube.
It was during these early years that Chlöe first learned that the entertainment industry could be unforgiving to those who didn’t fit a particular beauty standard. Despite the then three-year-old snagging a role as the younger version of Beyoncé’s character, Lilly, in Fighting Temptations, casting agents requested that her natural locs be exchanged for more Eurocentric tresses. Ironic, considering that growing up Chlöe saw her hair as no different than that of her peers. “I remember specifically in pre-K we had to do self-portraits and I drew myself with a regular straight ponytail, like how I would put my locs in a ponytail,” she says. “I just never saw myself any different.”
Chlöe would also learn the true meaning of a phrase that would later become an affirmation posted on her bedroom mirror: “Don’t Let the World Dim Your Light.” After attempting to wear wigs to fit in, the Bailey sisters instead chose to rock their locs with pride, which undoubtedly cost them casting roles. Yet they would have the last laugh when making headlines as the “Teen Dreadlocked Duo” who landed a million-dollar contract with Parkwood Entertainment, and the coveted opportunity to be groomed under the tutelage of a world-renowned superstar.
Credit: Derek Blanks
While that could be the end of a beautiful fairytale of self-empowerment, the reality is that it’s just the beginning of the story of her evolution. For most girls, the transition into womanhood takes place in the comfort of their own worlds, often limited to the number of people they allow to have access to them. But for Chlöe, it’s happening in front of millions of critiquing eyes just waiting for an opportunity to either uplift or dissect her through unwarranted commentary.
Many in her position wouldn’t be able to take that kind of pressure. But Chlöe is handling it with grace. “I feel like all of us as humans, we have the right to interpret things how we want,” she says. “I put art out into the world and it's up for interpretation. I'm learning that not everyone is going to always like me and that it's okay.”
Chlöe isn’t the first artist to receive criticism for her carnal content, and she certainly won’t be the last. In 2010, Ciara writhed and rode her way to banishment on BET when the then 24-year-old released her video for “Ride.” In 2006, 25-year-old Beyoncé received backlash for “Déjà Vu."
"I put art out into the world and it's up for interpretation. I'm learning that not everyone is going to always like me and that it's okay.”
So much so that over 5,000 fans signed an online petition demanding that her label re-shoot the video because it was “too sexual.” Even 27-year-old Janet didn’t escape critical headlines when she shed her image of innocence for a more risqué appearance with the 1993 release of janet.
It’s almost as if public reproach is a rite of passage for young Black women R&B singers on the road to stardom. Good girls seemingly “go bad” whenever they embrace the depths of their femininity, and fans only like you on top figuratively. But Chlöe has learned not to bow down to other people’s opinions, but to boss up and control the narrative. As the saying goes, well-behaved women seldom make history. If sex appeal is her weapon, she wields it well.
On set, Chlöe exudes the energy of Aphrodite in an apple red, off-shoulder dress with a sexy high split. In between shots, she mouths the lyrics to Yebba’s “Boomerang” as it echoes throughout the space in steady repetition at my recommendation. The hour grows late, yet Chlöe is heating things up as eyes stare in deep mesmerization of the girl on fire.
Credit: Derek Blanks
Through music, she explores the depths of her being, a journey that seems to be, at its foundation, rooted in self-discovery. Whereas their debut album The Kids Are Alright (2018) boasts a young Chloe x Halle empowering their generation to embrace who they are while finding their place in the world, their second album Ungodly Hour (2020) shows the Bailey sisters shedding the veil of innocence for a more unapologetic bravado.
What fans looked forward to seeing is who Chlöe shows herself to be on her debut solo album In Pieces. In an interview with PEOPLE, she confesses that releasing her first project without her sister was “scary.” "It was a moment of self-doubt where I was like, 'Can I do this without my sister?’”
Chlöe has never been shy about sharing her insecurities or her vulnerabilities, all of which are laced throughout the 14-track album. “I want people to have fun when they listen to it and to just realize that they're not alone and it's okay to be vulnerable and raw and open because none of us are perfect; we're all far from it. And I think it's healing when we all admit to that instead of putting up a facade.”
The gift of time has given the self-professed “big lover girl” more encounters with romance and heartbreak. Love songs once sung for their beautiful riffs and melodies become more than just abstract lyrics and are replaced by real-life experiences, which she tells me is definitely in the music.
In her single “Pray It Away,” for example, she contemplates going to God for healing instead of going at her ex-lover for revenge for his infidelities. “With anything dealing with art, I am completely vulnerable,” she says. “I'm completely myself, I'm completely open and transparent. So it's pretty much all of me and who I am right now.”
Has Chlöe been in love? That still remains to be said. Of course, she’s been linked to a few potential baes, but dating in the digital age isn’t as easy as a double tap or drop of a heart-eyes emoji. It requires a level of trust and vulnerability that’s hard to earn, and easy to mishandle. To let her guard down means to potentially set herself up for disappointment. “It’s difficult dating right now, honestly, because you really have to kind of keep your guard up and pay attention to who's really there for you. And you know, I'm such an affectionate person and I love hard.
"So when I meet the one person that I really, really am into, it's hard for me to see any others and I get attached pretty easily. And you know, I don't know, it's…it's a scary thing.”
Credit: Derek Blanks
“With anything dealing with art, I am completely vulnerable. I'm completely myself, I'm completely open and transparent. So it's pretty much all of me and who I am right now.”
While broken hearts yield good music (queue Adele), what’s in Chlöe’s prayer is the desire to be happy. What does that look like? Well, she’s still figuring that out herself. “Honestly, I'm the type of person who I don't truly learn unless I experience it. So it's like I can view and watch my parents and watch the loving relationships that I see in my life and be like, ‘Oh, I want that. I would love to have that.’ But then I also have to experience [love] on my own and see what my flaws or my faults might be or see what my good things about myself are. I feel like it's really all about self-reflection. And even though our base is our family and that's our foundation, we are still our own individuals and we have to find out specifically the things about ourselves that may be different from what we saw from our parents when we were growing up.”
Her ideal beau, she tells me, is someone she can feel safe to be her fun, goofy self with, but who also gives her the space to be the boss chick chasing her dreams. A man who understands that just because the world compliments her doesn’t mean she doesn’t want to hear those words from his lips or feel it in his touch. A bonus if he shows up on set after a long hard day of work with vegan cinnamon rolls. You know, the basic necessities. “I like whoever I'm with to constantly tell me they love me and that I look beautiful because I do the same. I am a very mushy person, and if I see something or you look good, I will never shy away from saying it out loud. And I want whoever I'm with to do the same, be very vocal. Tell me that you love me. Tell me what you love about me because I'm doing the same for you because that's just the person I am.”
Noted.
Until she meets her match she’s married to the game, and for now, that seems to be perfect matrimony.
Credit: Derek Blanks
On stage at the 2021 American Music Awards, Chlöe solidified her position as a force to be reckoned with. It was a full-circle moment. In 2012, bright-eyed and baby-faced Chloe and Halle would walk onto the set of The Ellen Degeneres Show and blow the audience away as they bellowed out their future mentor’s song. Ellen would present the sisters with tickets to attend the AMAs, assuring them that they would be back and had a promising future. Nine years later, Chlöe descends from the sky cloaked in a snow-white cape and matching midriff-baring bodysuit for her debut performance. It’s the first time she’s graced the stage of the very award show that she was once an audience member of.
As she shakes and shimmies and boom kack kacks out her eight counts, it’s clear that she’s in her element. Just like her VMA performance a couple of months prior, and the many more stages she’ll continue to grace, she brings an energy that has earned her comparisons to the beloved Queen Bey herself. An honorable statement, considering few R&B songstresses are getting accolades for their entertainment capabilities. It’s on these very stages, in front of hundreds of astonished eyes and millions more glued to their televisions at home, that she tells me she feels most sexy. Powerful, even.
But off stage, it’s a different story.
It’s more than just the commentary about her image and media-flamed rumors that get to her. Mentally, she’s in competition with herself. The desire to be the best burns at the back of her mind with every performance, every production, and every time she steps into the booth. Before, she could share the weight of this burden with her sister. Being a part of a duo meant she could turn to Halle for quiet confirmation and encouragement without a word being exchanged. But lately stepping on the stage means stepping out on her own. And despite being a breathtaking, five-time Grammy-nominated star, Chlöe doesn’t escape the reality that sometimes we can be our own worst critics.
Over the last year, she’s been coming to terms with who she is on her own while overcoming the fear of failing to become who she’s destined to be. While the world waits to see how Chlöe wins, the real triumph is in every day that she chooses herself and continues to walk in her purpose. “I don't really have anything all figured out, honestly. But what I try to do, a lot of prayer. I talk to God more and I just try to do things that calm my mind down and just breathe.”
To whom much is given, much will be required. She’s been chosen to walk this path for a reason. Once she fully embraces that everything she’s meant to be is already inside of her, she’ll be an unstoppable force. “My grandma, Elizabeth, she just passed away and my middle name is her [first] name. So I feel like I truly have a responsibility to live up to her legacy that she's left on this earth. I hope I can do that.”
There’s no doubt that she will. With a role in The Fighting Temptations at three years old, a million-dollar record deal, a main role on five seasons of Grown-ish, five Grammy nominations, a number one solo record in Urban and Rhythmic Radio, a debut solo album, and starring roles in recently released movies Praise Thisand Swarm (just to name a few), Chlöe’s certainly already made her mark, and she’s just getting started.
No flex.
Credits
Photographer & Creative Director: Derek Blanks
Executive Producer: Necole Kane
Co-Executive Producer: EJ Jamele
Producer: Erica Turnbull
Digitech: Chris Keller
DP: Alex Nikishin
Gaffer: Simeon Mihaylov
Photo Assistant: Chris Paschal
2nd Photo Assistant: Tyler Umprey
Features Editor: Kiah McBride
Special Projects: Tyeal Howell
Hair: Malcolm Marquez
Makeup: Yolonda Frederick
Fashion Styling: Ashley Sean Thomas
For More: Cover Story: Issa Rae Comes Full Circle
