In this How We Met story, I had the pleasure of speaking to two New York-bred artists: Crystal T. Williams and Alfred E. Rutherford. You may notice Alfred from Lifetime’s Keyshia Cole: This is My Story, All Blk’s LACE, or the currently trending Tubi movie Killer Beat. Crystal is also an actress and working producer who spends a lot of her time making movie magic.
But what many people may not know is that when they aren’t on set, the pair are together every day, proving that true connection is the real magic. The path wasn’t always easy, but they were both intentional about walking it. Check out this exclusive conversation with xoNecole to find out how a chance encounter, an uncomfortable prank, and two unique perspectives led to a happy marriage.
Let’s start at the beginning. How did you two meet?
Crystal: We have very different answers to that question. I first saw him at a screening where I was supporting fellow actors. But when I first met him in person, I actually walked up to him and introduced myself, told him how great he was at the screening, and gave him my card. But he never called. That was our first physical interaction. It was my way of telling him I thought he was attractive. Also, he was talking to a young lady, and I wasn’t sure what was going on there. They were really close. So I kinda stepped in and was like, ‘Sorry, did I interrupt?’ And once she said no, I just kept talking.
Alfred: Yeah, a lot was going on for me. As she said, we didn’t technically meet the first time, but I remember seeing her, and I loved her green eyes. I remember repeatedly asking my friends, ‘Who is the girl with the green eyes? Then when she came up to me at the actor workshop, I was like, “It’s the girl with the green eyes!’
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Okay, now how did it progress? Did y'all start talking on the phone after that?
Crystal: He never called me. I just kept seeing him randomly. I mean he was everywhere – auditions, a barbecue, everywhere. Long story short: he had a girlfriend. But this particular time I saw him, he was with a group of known actors, and I noticed there was an attraction between him and a beautiful super, talented actress who is a friend of ours, and she was interested in how we knew each other – so I uncomfortably answered, ‘well he’s kinda stalking me.’ I made it so uncomfortable. Then I walked off. I was just trying to block that situation.
Down the line, he messaged me on Facebook, which is interesting because he had my number. But still, nothing really happened. Finally, I saw him on 14th Street in Manhattan one day, tapped him on the shoulder, I said ‘hi,’ and we organized a date.
Alfred: In other words, she sabotaged my situation that I may have had going on. You see how much of a good guy I was? So even though I found her attractive, I had to make sure I was playing my cards right. The barbecue situation was hilarious to me. Everybody else looked shocked, but I loved it. That was the first time I really started to focus on her. I think some people would’ve been offended, but it was such a prank, and I found it cool. I tried to call her over to me that day, but she didn't turn back around (laughs).
What was the first date like? Do you remember anything that stuck out?
Crystal: Well, I was living in Brooklyn at the time, and he was moving to Brooklyn from the Bronx. So we met in Williamsburg at a popular restaurant called Taku Taku, that’s no longer around. I’m very funny about time, and he was over an hour late. I was fuming and wondering if I was being stood up. But he kept answering my texts. By the time he got there, I was MAD.
Alfred: Just to let everyone know, before I was a full-time actor, I was sports director at the YMCA – with all the little children. And there was a random crisis in the building going on. You know I love the kids, so I had to take care of that! To all the guys out there, you gotta know your purpose comes first.
So there was a post-work crisis, late to the date vibe going on. How did the energy change?
Crystal: Well, I liked him, and I knew I really wanted to get to know him. I felt like the chaser. I had been super outspoken and gave him my card. Plus, I feel like everybody gets a pass. So, that was his.
Alfred: I don’t feel like she chased me, but she did let it be known that she was interested. However, my grandmother and my mother raised a southern gentleman, so you know, I had to handle that situation the right way at the time.
But yes, on our date, she was visibly upset at first. I was wondering if I was going to have to go to the bathroom and leave because she was giving me such an attitude. But then she warmed up when I explained what happened. After that, it was a lot of fun. I made her laugh, and it all worked out.
I don’t feel like she chased me, but she did let it be known that she was interested. However, my grandmother and my mother raised a southern gentleman, so you know, I had to handle that situation the right way at the time.
Beautiful. Now, talk to me about the courtship. How did the journey develop?
Crystal: Listen, I had the key in like 30 days.
Alfred: Okay, wait a minute. I have a reputation to protect (laughs). Let me defend myself again. So when I moved to Brooklyn, she, of course, was already familiar with the area and used to ride her bike around there for exercise. And I didn’t want to have her just riding around outside. If something happened, her father was going to look at me. So I gave her the key and said if I wasn’t there, she could still go inside. That was the reason - just being a gentleman (laughs).
So that feels like exclusivity. Did y'all have “the what are we talk,” or did it just happen naturally?
Crystal: No, we never had that conversation. Well, not like “Will you be my boyfriend?” Or “Will you be my girlfriend?” We just knew we were in love with each other. I was in my early twenties, and I remember I asked him if he knew what “143” meant and he said it back (laughs).
Alfred: I had to ask my kids at the YMCA what it meant.
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As things developed, what challenges did you have to overcome together, and how do you think it affected your relationship?
Crystal: I grew up with a lot of siblings - and brothers. So I was very boyish. I was always used to doing certain things myself. And my father raised me to be very independent and to never rely on men for anything. But I had to learn to come back to myself as a woman and realize, hey, you have an actual physical man here. I had to learn to let him lead and guide.
Alfred: So again, I’m an actor, and I was moving to L.A. at the time. L.A. has some beautiful women but I also have a beautiful wife now, right? So the challenge, I think, for us was the things people said, ‘Well, girl, you know, he's going to be out there and it’s not gonna work.’ And I do think temptation plays a real important role in how the relationship is going to unfold. But I just started to live a bicoastal life. I was living in L.A. but spent more time in New York. So that was able to actually help us, and once we got serious - I moved.
Crystal: I have to add to that, I always said I would never do long distance. We really had to decide to make it work. I had a job that was remote so I could travel anywhere. We got to explore L.A. together, and it ended up being a blessing.
Alfred: And it turns out, living in L.A. wasn't for me. So you have to allow yourself room when you're in a relationship, and your partner gives you room to be – because we had an impasse. There was a night where we had a very real conversation about if we were going to break it off. But we decided to give it a shot. I'm of the mind that people make happen whatever they want to make happen. Everything else is an excuse. Distance is an excuse. It's not saying it's not going to be difficult, but anything worth having is worth fighting for. Me knowing what I wanted made it an easy choice.
I have to add to that, I always said I would never do long distance. We really had to decide to make it work. I had a job that was remote so I could travel anywhere. We got to explore L.A. together, and it ended up being a blessing.
What about day-to-day challenges? What do you typically argue about?
Crystal: Alfred grewup with a lot of women in his house, and he grew up in a way that wonderful West Indian women do things. Everything is in a certain place and done a certain way. I didn't necessarily grow up like that, although I do have West Indian roots. So he likes things structured. If anything is not where it needs to be or in the right place, that’s a conversation.
Alfred: Yeah, I'm a traditionalist, and I believe without order, chaos will ensue. I grew up in a household with West Indian women who were married for 50 and 60 years. And as a boy, I would be able to see them give my female cousins and aunts all these instructions about how to treat their husbands like I was at this university of relationships. I know at times I may seem like a very intense person to her, but I feel like I have very unique insight into why a lot of relationships falter. Some of it is systematic, particularly in our community. We just don't have things in order, and we weren't raised to be in successful relationships.
It’s interesting hearing how your backgrounds shaped different aspects of your relationship. I’m curious, what’s a focal shared value?
Alfred: I think one of the things that we’ve shared and actually impressed me a lot about Crystal was her view on family values. Not to be stereotypical, but she’s half Italian and half Jamaican – and both cultures are known to be big on that. Like during Christmas, we shop for everyone, even the little nephews. I’m always like why are we shopping for all these people? But secretly, I really like that because I come from a matriarch where my grandmother made clear that everything was God first and then family immediately after.
Finally, what do you love most about each other?
Crystal: I love how he loves me. But I also love who he is as a man, how structured he is, and how he tells me what’s best for me even when I don’t want to hear it.
Alfred: The reality is that she has the biggest heart that I’ve ever come into contact with in a romantic sense. I can be mad at her, and the second I see her in pain – I go to mush. It’s priceless. I don’t have children yet, but I understand how fathers melt when their little girl’s face melts. Plus, I’m an artist and a bit intense. You know how that goes. We have self-destructive tendencies sometimes. But I can honestly say that whenever you see me, I represent not only myself but my wife, my family, my mother, and my roots.
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A Goddard College graduate, who earned an MFA from Pratt Institute and was awarded an honorary doctorate from Marymount Manhattan College, Mahogany offers unapologetic realness with a side of grace and empowerment. "I started touring locally. I started creating chat books so that those poems will go in the hands of the people who were sitting in the rooms," she shared.
"And then I started facilitating poetry workshops, so I used my chat books as curriculum. And that, in turn, allowed me to further invest in my art and show the community and people who were hiring me that it wasn't just a one-off, that it's not just, you know, a fly by night—that I am invested in this art as much as I am invested in your community, in your children's learning, in our growth."
Mahogany has a special way of moving audiences, and her superpower sparks shifts in perspective, post-performance introspection, and strengthening of community bonds, especially among Black women. (One can undeniably recognize her gift for arousal of the spirit and mind merely from her listening to her insights from the other side of a Google Hangout call. I can only imagine the soul-stirring, top-tier sensory encounter when watching her perform in person.)
In this chat with xoNecole, Mahogany reflects on sustaining a creative career, the aftermath of writing a banned book, and using poetry for both healing, community-building, and activism.
Anthony Artis
xoNecole: What are three key things that have laid the foundation for a sustainable creative career for you?
Mahogany L Browne: What has helped me is that I'm willing to go in being an expert at knowing poetry and knowing the way in which art can change the landscape of our lives, not just as a poet, but also as a poetry facilitator. How you move through classes, those things are mastered, right? So when I go into another space that's maybe tech-heavy, I don't mind learning and being, you know, a student of the wonder of how we can make this magic, work together.
Two, you’ve got to know how to pivot. Sometimes we say, ‘Alright, this is what my life is going to be. I'm going to be a New York Times best-selling author. I'm going to, you know, have an album that's Grammy-nominated. And then, say you get dropped from your record label. That doesn't mean you can't make an album anymore. You can also still create an album that can be submitted to the Grammys. So, what does a pivot look like as an artist who doesn't have an institution behind them? Pivot being a student of the wonder.
Relationships also really help. How do I serve the community? And in turn, that tells me how the community can show up. For me, I have long-standing ties with a community that will outlast my one life. So, what does it mean to create space where these relationships can develop, can be nurtured, can be rooted, can be cultivated? Creating space—it happens through relationships.
xoN: With today’s economic challenges, what does your current creative process look like, and what are you working on?
MB: I’m always thinking five years ahead. I just reviewed the pages for two children’s books and recently released a YA novel. I’m drafting an adult fiction manuscript now.
Anything I create is founded with the root of poetry, but it can exist in captions. It can exist in commercials. It can exist as a musical. So that's where I’m at now.
xoN: You started performing "Black Girl Magic" in 2013, had an acclaimed performance of it via PBS and the work went on to viral success shortly after. Talk more about the inspiration. And what do you think about the continued relevance more than a decade later?
MB: I wrote it as a rally cry for the mothers who had been keeping themselves truly in harm's way by, you know, being a part of the community right after the death of their child or their loved one. They are usually mothers of victims of police brutality—and just seeing how they showed up in these community spaces, they are devout to the cause but obviously still grieving.
"I wanted this poem to be just a space of reclamation, of joy and of you, of your light, of your shine, of your brilliance, in any which way in which you fashion. Every room you enter is the room you deserve to be in. What does it mean to have a poem like that that exists?"
And the first time I did the poem, the Weeping that occurred, right? It was like this blood-letting of sorts. The next time I performed it, I'm moved to tears because I'm seeing how it's affecting other women who have just been waiting to hear, ‘You belong. You deserve. You are good. We see you. Thank you, despite everything that they said to make you regret being born in this beautiful brown, dark-skinned, light-skinned, but Black body.’
Black women are the backbone—period. Point blank. And so, that that poem became a necessity, not just to the fortitude of Black women in the community, but like you know, in service of healing the Black women.
xoN: One of your books was banned at a school in Boston, and it was later reinstated due to parental and activist support. What was that experience like?
MB: Well, I think it happened because they were racist. That's it. Point blank. The reversal of it was empowering, right? I realized, oh, I thought we just had to sit here and be on a banned book list. But no, parents are actually the leaders of this charge.
So to see that, the parents said, ‘Nah, we're not gonna let you take this book out of my baby’s school just because it's a Black kid on the front saying, ‘Woke’ and they're talking about being a global citizen. They're talking about accountability. They're talking about accessibility. They're talking about allyship, and you don't want them to have compassion or empathy or have even an understanding, right? So no, we rebuke that, and we want this book here anyway.’ To see that happen in that way. I was, like, reaffirmed. Absolutely.
xoN: You recently organized the Black Girl Magic Ball at the Lincoln Center in New York. Honorees included author and entrepreneur Rachel Cargle and National Black Theater CEO Sade Lythcott. What impact did it have and what expanded legacy do you hope to leave with your creative works?
MB: I was really interested in not celebrating just the book, but celebrating the community that made the book possible. And so I gave out five awards to women doing that thing, like, what does it mean to be a Black girl in this world?
I just thought it was gonna be an amazing time. Everybody's gonna dress up—we're gonna celebrate each other. And boom, I then realized that it responded to like a gaping hole. There was a missing thing for Black girls of all walks of life, all ages, right?
"It's very intergenerational. That was intentional to come together and celebrate just being us."
You have all these instances where just being you is either the butt of a joke or it's diminished and not worthy of a specific title in these larger institutions. So what does it mean to just to be loved up on and celebrated?
It felt like a self-care project at first. You know, for the first couple of years, folks were coming and they were getting that sisterhood. They were getting that tribe work that they were missing in their everyday lives.
I love the Black Girl Magic Ball because we got us. If I go out with a bang, they'll remember that Mahogany worked her a** off to make sure all the Black girls everywhere knew that she was the light. We are the blueprint.
For more information on Mahogany L. Browne, her work, and her future projects, visit her website or follow her on IG @mobrowne.
Featured image by Anthony Artis
“I think for me, an all-American girl, for some reason, brings me back to when I was younger, and just like playing at my grandma’s house and just being outside,” Kennedy told xoNecole ahead of her attendance at the 2025 BET Awards.
“I just feel like when I was younger, you know, you don’t have as many responsibilities. There’s not as much weighing you down, and so I kind of go back to that mindset. Like, even now, being 27, I’m trying to get back to that younger girl.”
The 2025 BET Awards, hosted by Kevin Hart, took place in Los Angeles at the Peacock Theater on Monday night (June 9). The star-studded event was filled with tons of surprises, including a trip down memory lane with a 106 & Park reunion, coupled with performances by artists that dominated the top spots during the music video countdown show’s reign from 2000 to 2014.
Kennedy, who received her first nomination alongside Tanner Adell, Brittney Spencer, Reyna Roberts, and Beyoncè in the BET Her category for “Blackbiird,” the reimagination of the original The Beatles of the same title (minus the extra i), invited xoNecole to get ready with her as she prepared for her first-ever BET Awards.
Beauty Rituals Inherited From Her Mother.
Rather than booking her makeup artist ahead of the big night, Kennedy decided to go on a budget and do the task herself, something that isn’t too out of her norm. She noted how she incorporates some of the things she witnessed her mother do while growing up in her routine.
“I remember being younger and seeing all the makeup laid out on my mom’s counter,” the “I Look Good In That Truck” singer recalled. “I don’t even think she knows this, but there were moments where I would like to go and steal her makeup. She would have Mac. I think it was some kind of foundation powder, and I would go in there and I would put it on, and I’m like I hope she doesn’t see.”
She added, “My mom is very natural with her makeup, so even though I’ve got these big lashes on, I always gravitate towards just neutral looks… I don’t do anything too fancy.”
Tiera Kennedy’s Holy Grail of Products.
Kennedy took it upon herself to take a class to ensure that she’s prepared for nights like these, where she’s the one responsible for bringing her glam look to life.
“We are independent,” she said, reminding us that she is no longer tied to a big machine when it comes to her work as an artist. “We ball on a budget. I have to do my makeup for award shows, events, all the things, and so my makeup artist that taught me how to do all of this, Hailee Clark, she put me on to Nars, the foundation. I don’t know exactly what the name of it is, but I love it.”
“I don’t know all the fancy technicals, but I know that it makes me just look kind of airbrushed, and so I love it. Then, I always use this Laura Mercier [setting] powder because I get real shiny, so I’ve gotta reapply that quite often.”
“We are independent. We ball on a budget. I have to do my makeup for award shows, events, all the things, and so my makeup artist that taught me how to do all of this, Hailee Clark, she put me on."
Her Decision To Wear Hanifa For The Big Night.
Intentionality is essential for Kennedy, which is why she jumped at the opportunity to support Black designer Anifa Mvuemba with a dress from her fashion brand, Hanifa.
“Takirra on my team helped me pick out the dress. I really like to represent in country music, and being in Nashville, I like to represent Black culture through the things that I wear, and I was excited to get to wear a Black brand to the BET Awards,” said Kennedy.
“She was telling me about this brand, Hanifa, and we were on FaceTime just scrolling through the website, and she was like this looks like you. This feels very rooted, like fits those natural tones, and so she bought the dress and was like, ‘This is what you’re wearing.’”
The look was a Raven Knit Dress in Eggplant/Dark Brown Mesh from Hanifa.
Tiera Kennedy in her younger years.
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Kennedy also nurtured her inner child for the look, taking it back to her roots with one small detail in her hair that she had her mother carry out before she hopped on the flight to LA.
“I had this vision of wearing beads in my hair because when I was younger, my mom would always do that, and I didn’t love it, but now I’m like, it would be really beautiful to tie all of that together, and the Hanifa dress just fit perfectly.”
“Just even in the past couple of days, I’ve had to take a second, and just look back at all of the awesome things we’ve gotten to do,” said Kennedy when asked what baby Tiera is feeling in this moment.
“I had this vision of wearing beads in my hair, because when I was younger, my mom would always do that, and I didn’t love it, but now I’m like, it would be really beautiful to tie all of that together, and the Hanifa dress just fit perfectly.”
“I dreamed of having a record and having this team that was doing all of these things for me, and now, being an independent artist, and being in control of my career, I’ve gotten to build an awesome team behind me that helps me get to where I am. It’s been a lot of hard work, and I think when I was younger, I would have never imagined that I could do all of these things, and so, yeah, to be here, I don’t even think I would believe it.”
Although “Blackbiird” didn’t win in the BET Her category during Monday night’s show, Kennedy’s future is brighter than ever, which she attests to her faith playing a huge role in guiding her next steps as she continues to rise to stardom.
“Thinking about the next thing, I think that can be really daunting when you’re an independent artist. It’s like you have to be thinking of what’s coming next, to prepare for that, but I think the way that I like to walk through life in general is letting the Lord lead,” Kennedy said.
“I know that a lot of time when I have a vision of what I want things to look like in my head, He always exceed my expectations. So, I think the plan is to continue to release music, and continue to show up as my authentic self. Getting to have these moments like the BET Awards is so awesome, but also, at the same time, that’s not what I do this for. I do it for the humans that are listening to my music, that are [having] fun and healing through my music, so I hope that I can just continue to do that.”
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