Oh, Sheryl, Sheryl, Sheryl. Sis. Come get these flowers, girl. You deserve them all.
If you haven't heard by now, Sheryl Underwood was on the tail end of a Sharon Osbourne meltdown on The Talk this week. Basically, Osbourne lost her mind while standing up for her friend Piers Morgan, in the wake of backlash following remarks he made about Meghan Markle. And since, Osbourne has been whining to anyone who'll listen, that she's being accused of being racist (which Sheryl never alluded to and is what seems to be what she cares more about, versus actually listening).
Of course, she denies being racist blah, blah, blah, watch the clip below:
Chiiiiiiiiiile, the audacity. The demands. I can'ttttt.
Anyway, the conversation ends with Osbourne asking, "Why can't it be he just doesn't like her? Why does he have to be racist?" Which would be a legit question, if we weren't talking about Piers Morgan.
Upset, upset, mad, mad, tears, and tears, who cares, this post is about the Queen Sheryl Underwood, one of the most prolific, comedic gems of the culture. Let's give her some flowers, y'all.
Having joined CBS' The Talk in 2011, Sheryl Underwood, 57, is known for her big personality and stating her opinions. And she has been a vocal ally to disproportionate black issues, never letting up, and always ringing true. She has clawed her way out of her traumatic past, and has a mean pivot game. All the way to a legendary comedy career.
Here's why we love Sheryl:
She is an advocate for trauma survivors:
The Talk/CBS
Underwood has survived being raped, her husband's suicide, and developing multiple personality disorders to cope with her trauma.
"I will tell you this, sometimes certain disorders protect you. When I was younger, the things that were happening to me, I would separate. So there were two of us. Because I wanted to survive. So one was the fighter. One was, something was happening to me. So I hope that this helps people, and I hope that it helps people understand that the human brain will do whatever is necessary to survive. I really want women to understand: Don't ever let anybody take your power away from you."
On an episode with The Talk panel, while discussing her past trauma, Sheryl recounted the time she was raped, and having to think her way through the moment.
"I remember having a 'this is it' moment when I was raped. I just kept thinking, This ain't it. I am not going to die today. I refuse to die today. It's not going down like this. So the only thing I thought was: What do I do to survive? What do I do to survive? And I start talking to the guy and I said, 'Don't do this this way. Whatever you're going to do, finish what you're doing — don't kill me. And don't take my ID. They'll find you."
Despite her upbringing, she always knew she would be famous:
When asked how she has been intentional in building her brand, she touched on her inevitable fame:
"I knew I was going to be in the entertainment industry, even as a child; but along the way I told myself that I would be sincere, authentic, and trustworthy. Even when I've stumbled and made not-so-good comments like the one I made about natural hair, I've apologized because I work hard to serve my community. I'm intentional about building honest and sincere relationships.
She supports HBCUs tirelessly:
Underwood may have graduated from the University of Illinois, but that absolutely doesn't stop her from publicly advocating for HBCUs. Additionally, she was the international president of Zeta Phi Beta from 2008-2012. Sheryl understands the impact HBCUs have played in black culture, and she knows that now more than ever, HBCUs need financial support, even recently partnering with Metamucil to donate.
"I believe that once we show these large companies that it is mutually beneficial for them to engage HBCUs, maybe we can get them to do more. We want to make sure we do all we can do to keep our historically Black colleges and universities alive. I didn't go to one; but once I joined Zeta Phi Beta and got to see the chapters on the HBCU campuses, I knew that I had to advance higher education and work with companies that were trying to do that."
Underwood has fund-raised for multiple HBCUs through various vehicles, and we love to see it!
And most importantly, she has risen to the occasion of learning to embrace being a proud black woman on a large platform:
What I mean is this: Underwood comes from brokenness. She has been tormented for her features and looks since she was born. She has been called every negative thing under the sun. She has experienced the ridicule of colorism, in, and outside of the Black community. And she's had to learn some lessons as she goes, which we all have. But ultimately, our good sis cares about the culture--even in those moments where it may be easier to look away, Sharon Osbourne incident aside.
And for that, I fucks with her the long way. Come get these flowers, sis!
--
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Featured image by CBS
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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
Powered by: European Wax Center
The start to any flawless glam depends heavily on skin prep. Whether you are a cleanser, vitamin C, followed by SPF girly, or not, starting on clean, well-hydrated skin makes a huge difference in makeup that lasts. With both primer recommendations we highlight below, be sure to apply a hydration routine that works best for your skin type and concerns.
Secure The Sweat Waterproof Mattifying Primer
One/Size, the beauty brand founded by Patrick Starrr, launched the Secure The Sweat Waterproof Mattifying Primer. This makeup primer, according to the One/Size site, promises to be “sweatproof, waterproof, and shine proof.” Secure The Sweat delivers up to 12 hours "of oil resistance, shine control while remaining mattifying.” It is an aluminum-free formulation with “botanical alternatives to provide a skin-safe option to balance excess sweat.”
Secure The Sweat retails for $34, and the application process to reap the maximum benefits of the primer is simple, beginner friendly, and easy to follow.
Jorine Dorcelus/xoNecole
Jorine Dorcelus/xoNecole
How To:
You want to start on fresh skin using a dime size amount. Warm the primer up on your fingertips, then pat the primer into the skin.
This is the step you want to follow to the T to reap the full 12-hour benefits. Wait 1 minute before applying foundation or desired base makeup.
Jorine Dorcelus/xoNecole
Jorine Dorcelus/xoNecole
The final result is comfortable on the skin while maintaining a completely matte finish.
E.L.F Cosmetics Power Grip Primer
Jorine Dorcelus/xoNecole
The E.L.F Cosmetics Power Grip Primer is the primer of the year for 2023! The Power Grip Primer retails for $10 and is the best cost-effective way to get long-lasting makeup. The Power Grip primer leaves the skin with a super-hydrated natural finish. Great for dry skin types, it's packed with ingredients like hyaluronic acid, niacinamide, and glycerin.
Jorine Dorcelus/xoNecole
How To:
Like Secure The Sweat primer, the application is easy to follow. Apply evenly to the skin. Using your fingertips, warm the product and pat the product into the skin. Allow the primer 30 seconds to set before applying foundation or desired base makeup.
While the E.L.F Cosmetics Power Grip primer is exceptional and a personal favorite, I had to put Secure The Sweat to the test. I wore the primer for a full 12 hours.
My makeup after 12 hours with primer.
Jorine Dorcelus/xoNecole
As promised, my makeup was intact after a long day of running errands, a walk in 80-degree weather, and filming under studio lighting. I noticed some shine around my t-zone later in the evening, but nothing compared to how my unprimed routine would break down in a 12-hour time frame.
Whether you choose the Power Grip or Secure The Sweat, it's safe to be outside this summer because your makeup is not going anywhere!
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