Despite 2020, and the beginning of 2021, being the endless dumpster fire that it was, we have to admit one thing: it did a hell of a thing for one's creativity. With all the time in the world to be stuck at home, musicians put paper to pen, voices to mics, and now we can reap the benefits of its creative wonders. Kicking the summer off right, artists have released new music to fit all of your sunny adventures.
Whether you're looking for a song to bring in the morning ("Formwela 4"), revive your day ("Tonight Tonight"), or one to close out the night ("Thot Shit"), this week's new releases are sure to keep you moving:
1.H.E.R - "We Made It"
If anyone is said to be having fantastic 2021, it has to be her—excuse me, H.E.R. Between the Grammys and the Academy awards, H.E.R. has been coming out with one bop after the next. "We Made It" naturally has H.E.R. spend some time basking in that glory. While it is possibly a love song that H.E.R smoothly sings to lover, I like to think of it as something that she sings to close friend, or family member. She has spent sleepless nights working and slaving for this career she has created. Along the way, the people who loved her have been her confidants and support. Now that she has made it, she wants them to know that she couldn't have done it without them.
2.Megan Thee Stallion - "Thot Shit"
Straight out of the rejuvenation pod, and almost college, is Meg on her "Thot Shit." Similar to her lively singles before, "Thot Shit" requires open space, good knees, and the ability to move your hips. With a fast triplet flow, Megan Thee Stallion raps about embracing and feeling herself, while telling those who don't "f" off with all disrespect. With over 8 million views on YouTube, "Thot Shit" came out just in time for the hot girls to return to the summer's dance floor.
3.Amindi - "Haircut"
Come on, I have that moment. You have that moment. Oh, you know the moment when you just got hair done and your feeling yourself. Whether it's braids, locs, wigs, perms, or just a simple "Haircut," you start to look at yourself with a new glow and whimsy. Amindi is no different. Just getting a haircut with a "fade down to the sides," Amindi sings laxly with a lullaby-like ease. Feeling self-confident, Amindi openly loves herself. So much so, that she takes herself on a date and offers the treatment she hopes others would offer her. Nevertheless, instead of doing so mournfully, she seems just happy enjoying her own company.
4.Celeste - "Tonight Tonight"
Celeste. Celeste. Celeste. You've done it, again and then some. If you don't know who this artist is, it's about time you do. After the sultry ballad "Strange"received recognition on Apple's Ted Lasso, Celeste is back with a new single from the album Not Your Muse. Unlike "Strange," "Tonight Tonight" is a wonderful sultry track that feels like a delightful groove from the past. Although, that does not negate the new age spin that Celeste has added to her repertoire. Tell Alexa to play "Tonight Tonight" and sway those hips.
5.Jon Batiste - "Freedom"
This song makes me want to slide throughout my living room in a shimmy, funk fashion. It makes me want to shake, wobble, and hop around erratically despite those watching. Maybe it's because Jon Batiste is sporadically and happily dancing around the city. Maybe it's because it is nice to see a Black man enjoying himself while singing about feeling of being carefree with oneself. Maybe it's because the song feels like freedom. Whatever it is, it's simply delightful and a must to add to the beginning, middle, and end of your summer playlist.
6.Ivy Sole - "Dangerous"
Aside from Tierra Whack and Chika, there hasn't been anyone more slept on than Ivy Sole. Here with her single "Dangerous," Sole raps and sings with the flow and realizations of a 90's poet. With melancholy lyrics, "Don't have to love me back/You know that I'm dangerous/Lord knows, I'd do me bad," Ivy Sole discusses the process of "embracing the shadows" while internalizing "a deep acceptance of [her] wholeness as modeled through the radical love and care [she] received from [her] community of Black revolutionaries, Black queer people, and Black healers." The song features R&B/Soul artist Kingsley Ibeneche.
7.Esperanza Spalding - "Formwela 4"
Created in her Songwrights Apothecary Lab, an experimental space that seeks exploration of music and musicianship as means of healing, Esperanza Spalding and Corey King release their newest single, "Formwela 4." When asked about her inspiration for the song, Esperanza says that the song is meant "to remind listeners that loving and self-giving are not individual undertakings; that even in the most intimate circumstances, ancestors and earth's support forces are in attendance, for the honoring of their beauty via the truth of how you really are, and what you really need." The song is nearly five minutes of pure musical healing. With the gentle picking of King's guitar, rustling of the wind and leaves, and Spalding and Kings soulful voices, close your eyes as you enjoy the warm summer sun against your skin.
8.Diana Ross - "Thank You"
Just a couple of days ago, Diana Ross announced that she would be releasing her first single in 15 years, titled "Thank You." With just an eight-second sample, "Thank You" seems like another summer bop to add to the playlist. With the hopeful lyrics, playful piano, and air-like vocals, Diana's Ross's single "Thank You" is a great song to play on your road trip with the ones you love.
9.Polo G & Nicki Minaj - "For the Love of New York"
It is highly unlikely that Polo G and Nicki Minaj's "For the Love of New York" will be the song of the summer or overplayed in the clubs. Though, this is not a knack on what the song is, but of what it is not. Despite being used to the club anthems by the two, this song flows on top of a Caribbean island-like beat that allows for relaxation and appreciation that a club song would not. Nevertheless, the song is not as calming as one would think, well into the song, it is quickly noticed that Polo G is like just any other guy out there. Aware that he is messing with someone's emotions, he seems incapable of stopping himself from making "heartless" mistakes. Which only forces Minaj to experience the consequences of those decisions when she is left broken and alone.
10.Amber Mark - "Competition"
The video: art.
The artist: under-appreciated.
Amber Marks has arrived with her newest single "Competition." "Competition" talks about Mark's desire to put the people that she cares about on the map. Instead of seeing them as competition, she sees them as allies, people who she is willing to help, if only they are willing to accept it. Whether she is singing that it is not a competition because she believes that they can succeed together, or that she is in a league of her own, "Competition" is a song that requires every bit of your attention. It's catchy. It's a vibe and its visual is just so damn nice to look at. This might not be a competition, but if it had been, Marks definitely has her eyes on the grand prize.
Featured image via Giphy
Taysha Robinson is a writer and high school English teacher, based in metro-Atlanta. A self described philomath, you can find her reading books and articles of every genre, attending educational conferences, and hiking wherever the terrain will allow.
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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