Over the weekend, xoNecole teamed up with Toyota USA for our Made For Me: ATL event. The two-day event took place on March 19th and 20th in honor of Women’s History Month. Attendees participated in workshops and wellness experiences that focused on the mind, body, and spirit. Special guests included astrologist Dani Simone, Christian psychologist Dr. Alduan Tartt, financial consultant, and yoga teacher Dr. Nicole Garner Scott, entertainment host Gia Peppers, and Meagan Good, who was the keynote speaker.
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Meagan is a veteran actress who is often admired for her beauty, style, and down-to-earth personality. But what stands out about the Harlem star is her spirituality and her connection with God. The 40-year-old actress took to the stage alongside Gia and opened up to the xoNecole audience exclusively about her faith, how she deals with rejection and how she really feels about the recent social media attention she’s been receiving since announcing her divorce from DeVon Franklin.
Meagan Good On How She Deals with Rejection:
“It was very concise, specifics like, it’s just not you and I had to learn very young that it had nothing to do with me. I had to learn very young that nine times out of ten I’m going to get a no, but that one yes is the one that was divinely meant for me and have peace of mind about that and to learn along the way what I uniquely bring, nobody else brings and what someone else uniquely brings, no one else brings.
"So, having that peace of mind there will be alignment and the right things will come to me at the right season and then celebrating my sisters when things come to them even if it’s something that I wanted. Just celebrating them because it was theirs. It wasn’t mine. And I think rejection is God’s protection. Every time that I didn’t get something that I wanted I got something that was better suited for me. And I ended up in a space where I was like, ‘oh this is why I was meant to be here. Got it.’"
On Rejecting Something That No Longer Serves You:
“That was probably a harder thing for me to learn because I’m so sensitive and I hate to hurt people’s feelings. I hate to disappoint people. I hate to be the one that told them no. I’m like ‘well, what’s going to happen to them?’ And, ‘are they going to be okay?’ A lot of that honestly is like a savior mentality. You don’t realize it because you think you just [have] a good heart but sometimes if you have too much of a bleeding heart, you’re not serving that person. You’re actually hurting that person. You’re not helping that person and you’re always putting yourself out of alignment if that’s not what God called you to do and so I had to learn.”
On How She Finds Comfort In the Discomfort of Rejection:
“You just have to trust God. I think throughout my life and my personal experience being a woman, being a Black woman, being an actress, being in ministry, all of those things I’ve experienced tremendous amounts of rejection. Feeling misunderstood, feeling judged, feeling attacked all those things and the thing that sustained me is just trusting God. Even if someone else doesn't get me or doesn’t love me or doesn’t like me. I know that God gets me. I know that He knows my heart. I know that He knows exactly who I am. I know that He doesn’t reject me and if He doesn't reject me, well then, what are we talking about? What other people have to say, and not to say that those things don’t still hurt your feelings or that you’re not still affected, but you have to have the baseline and the bottom line which is the only person you’re sent here to approve you is God. And if God approves you and He’s for you, then it doesn’t matter what anyone else has to say.”
"You just have to trust God. I think throughout my life and my personal experience being a woman, being a Black woman, being an actress, being in ministry, all of those things I’ve experienced tremendous amounts of rejection. Feeling misunderstood, feeling judged, feeling attacked all those things and the thing that sustained me is just trusting God. Even if someone else doesn't get me or doesn’t love me or doesn’t like me. I know that God gets me."
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Meagan Good On the Social Media Attention She's Received Since Announcing Her Divorce:
“In this particular season, it warms my heart a bit because I try not to look too much to either side because–I forget what the statistic is but you see something negative it affects you twenty times more than something positive. And so, I’m careful to not let the positive or the negative determine anything about how I feel. But I will say that it has been very heartwarming to see so many people rooting for me and wishing the best for me and wanting to see me live my best life and loving on me and pouring into me. That, I appreciate.”
On How She Deals with Public Opinion:
“Well, y'all know I’m 40 so I’m in a different space. I don’t care as much as I used to. I used to care so much and– it’s nice because it’s freeing. I wrote this poem and it’s on my Instagram page and it was just like what I was feeling. But it was like, I, for years, felt like I was at the edge of a cliff, and people were poking and prodding me and all I was trying to do was just not fall. And then one day, I jumped. When I jumped, I started flying. So, I’m in a season now where it’s like, yes, I’m sensitive to certain things, but at the end of the day, at the core of me and anybody who knows anything about me knows no matter what, I’m going to do what I’m going to do. It doesn’t matter if I’m going out to the firing squad or not. I’m always going to be myself and I’m always going to be authentic, but I used to be a lot more sensitive about it and I think now at this junction, especially in this past year, I just don’t care.
“When I create something as a director, as a producer, something that I participate in, I’m hoping that it influences somebody in a positive way. I’m hoping that it inspires somebody. I hope that it says to someone, you are enough as you are and you are beautiful and you are perfectly imperfect and I hope that those messages are coming through especially for something that I’m creating like as a producer, as a director. But there will always be times when people don’t receive it or don’t like it or don’t think it was great or whatever it is and I think everything else along the way has prepared me for those things. Whatever it is, all those things have prepared me for this moment and I’m thankful. I’m thankful to now hit 40 and be like ‘girl you free.’"
On How She Practices Self-Confidence:
“Everybody that is here, there is nobody in the world like you. There’s nobody in the world that is like you and the world needs what you can give that nobody else can give the way that you can give it. And I think stepping into our identity, stepping into our power, choosing our self-love–and I’m not saying it’s always easy. I have days where I feel insecure, feel not good enough, especially in the season where I’m like ‘oh, man I’m struggling.’ But I know how loved I am by God and that’s the base that I build everything on. And that helps me grow to love myself and then I remind myself there is nobody in the world like you. Somebody else might be better, well-spoken than you are, somebody else might be a better actress, more talented or more beautiful or people look up to or whatever it is, but nobody is me and I am enough and I choose to see that about myself.
"I have days where I feel insecure, feel not good enough, especially in the season where I’m like ‘oh, man I’m struggling.’ But I know how loved I am by God and that’s the base that I build everything on. And that helps me grow to love myself and then I remind myself there is nobody in the world like you. Nobody is me and I am enough and I choose to see that about myself."
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“I choose to work towards the reality of that identity that already is every single day and I’m not saying it’s easy but I’m saying the things that for me that I do is [having a] relationship with God, whatever that means for you. Meditation, just getting in tune. I used to hate meditating because I’m like, ‘but I’m about to fall asleep right now,’ but the more that I have [meditated] over the years and just getting in tune--just even waking up and just breathing and meditating to get oxygen to my brain has made a difference in my endorphins and my peace of mind when I start the day. Then for me, [it] is reading my word, reminding myself who God says I am, not who I think I am because I feel unworthy in the moment or because of whatever I may feel whatever is going on in life but who God says I am, period.
“That’s the only thing that matters and then living my day with just loving on myself and choosing myself at times and then choosing others when I feel spirit-led. At the end of the day, we are worthy and we are perfectly imperfect, and we are God’s children, and He did put us here for a specific reason and we have a potential to live up to in this life. We’re not here for a long time, but we’re here for a moment and in that moment, we all have purpose in our lives and we all have a specific reason why God created us and gave us the parents He gave us, grew up in the town that we lived in, had the desires that we have in our heart which I believe are always connected to our purpose.
"We gotta accomplish that in this life and so I let those things be the guiding light and just my center and my core and my base.”
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Featured image by Marcus Ingram/Getty Images
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.”
Credits
Director of Content: Jasmine Grant
Campaign Manager: Chantal Gainous
Managing Editor: Sheriden Garrett
Creative Director/Executive Producer: Tracey Woods
Cover Designer: Tierra Taylor
Photographer: Ally Green
Photo Assistant: Avery Mulally
Digital Tech: Kim Tran
Video by Third and Sunset
DP & Editor: Sam Akinyele
2nd Camera: Skylar Smith
Camera Assistant: Charles Belcher
Stylist: Casey Billingsley
Hairstylist: DaVonte Blanton
Makeup Artist: Drini Marie
Production Assistants: Gade De Santana, Apu Gomes
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