We all started rocking our shoulders and swaying our hips to a natural beat and rhythm among the trees which connected all of us, women and nature in a deeply, moving, spiritual experience with the natural surroundings
Year after year in the United States, we have celebrated Financial Literacy Month in April. Yet it seems that we still lack a sufficient understanding of young people's experiences with and attitudes towards financial literacy.
Although not a deal-breaker, Combs' history is still relevant in the sense of the message it sends to those unable to actually hear him May 10. There are more reasons to give pause and maybe even the side-eye to Combs' appearance than to applaud the selection.
A survey released this month by the Council for Economic Education found that fewer than half of states require an economics course as a high school graduation requirement, and only 17 states require a personal finance course. Fortunately, I was already armed.
The City of Chicago without a doubt would be my first love. That city has given me so much and it pains me to watch the turmoil and unrest brewing in our very own country. What can we all do to change this?
Fifty years after the Civil Rights Act was signed into law, there are modern schemes to try and take away your vote. Well we at National Action Network will not sit by idly and watch as the fundamental rights so many fought and died for are being eliminated -- and neither should you.
Did those appointments signal the end of an era of segregation and discrimination, or were they simply an omen of the massive resistance state officials and Chancellor Kirwan intend to mount against efforts to bring the Maryland higher education system into compliance with the law?
Affirmative action has helped to provide the diversity that provided truth, even if not perfectly. Until we had a more perfect route to telling the truth of who we are and who we could be as a nation we needed to have something else in place.
I love soul food and sushi. Eve's Bayou and Gone with the Wind. Josephine Baker and Audrey Hepburn. Kanye West and Maroon 5. Some will accept it, some won't, but most importantly, I do.
Those of us who are staunch advocates of HBCUs must not allow our support to impede a critical, yet objective analysis of what these institutions must do to become more competitive and responsive.
Taboo Yardies is an insightful documentary film on the pain and human rights violation of Jamaican people that shows that Jamaica is not ready to deal with this human issue.
It's finally time that we have that long awaited talk about measuring black success. For far too long we have given many a pass when it comes to what they say and how they go about navigating what it means to achieve for the community.
This week I talked with Scott Campbell, Executive Director of the Elton John AIDS Foundation, which has been identified by Funders for LGBTQ Issues as the largest funder of programs for black LGBTQ individuals.
It takes a community working together to prepare for, respond to and recover effectively from the destructive forces of nature and other emergencies. Minority Health Month reminds us how important health equity is -- not just for minority communities but for our health and strength as a nation.
To let many men tell it, they are experts at deciphering the intentions of women and wooing them towards a mutual attraction, but this confidence quickly disperses when it comes to discussion of sexual assault.
While many child stars experienced ups and downs during their careers, particularly as they got older, some were able to escape scrutiny and flourish into successful adult actors.
Known to many as Tootie from the 1980s NBC sitcom 'The Facts of Life' or Regine Hunter from Fox's 1990s sitcom 'Living Single,' Kim Fields has transitioned from beloved actress to working director. Her directorial projects include multiple episodes on 'Tyler Perry's Meet the Browns' and 'Tyler Perry's House of Payne.'
As the daughter of actress and director Chip Fields ('Good Times') and the older sister of actress Alexis Fields ('Moesha'), the New York native used her degree from Pepperdine University to place herself in a position behind the camera and learn the craft that many women aren't recognized for.
Blackvoices.com caught up with the former-child-star-turned-renaissance-woman. Excerpts of the conversation are below.
Black Voices: You've been around a number of years and have done a number of projects. What's going on with you now?
Kim Fields: A couple of different things. I'm currently the host for 'Lens on Talent,' which is BET and Johnson & Johnson's filmmaker show. I'm really so excited about the show and the guests we had on, from Lisa Cortez, the Oscar-nominated producer for 'Precious,' to Roger Bobb, who is the executive president of Tyler Perry Studios to Tamir Mohammad from Tribeca Film Institute. There's a really well-rounded group of people this year lending their wisdom and experiences and expertise to the show. Just because this is a specific industry, there are certain things that are universal. If you're a new mom and you work in corporate America or retail or the filmmaking world, you're still a new mom at the end of the day. There are certain things people can relate to even if they're not sharing the same industry experiences. In tandem with that, I also direct here in Atlanta on Tyler Perry's 'Meet the Browns.'
BV: Did you ever think you would do this sort of work when you first started out in this business?
KF: Maybe not when I first started because I was 7 or 8 years old. I thought I was going to be a marine biologist. I think as I got a little bit older, being around crews and sets... I always said I was a crew baby, so I always liked sitting by the cameras and learning from the camera people about shots, framing and things of that nature. Talking to the lighting director about different looks with the lighting. I got my start professionally back in '94 after being really dissatisfied as an actor and an audience member, and seeing if I could contribute in another way.
BV: What's it like working with Tyler Perry and doing more than 100 shows?
KF: Well, it's really a blessing I don't take it for granted. Everything that Tyler does, these are his babies, and to be entrusted with that, I don't take that lightly at all. Because he's got a very specific eye, specific tastes, he's got a formula and he knows what works and is in a number of ways a genius. At the same time, he lets me know unequivocally that he respects my eye and my tastes and wants to marry the two. It's certainly a blessing to go to a studio where the person built it from the ground up. It's a different feeling from going to Warner Bros. or Sony. To be able to contribute in this way and have that one-on-one exposure. I guess it would be like the old days of the studio system, where the stars could talk to Louis B. Mayor and Jack Warner. It's fun and fascinating.
BV: You signed a first-look deal with the Gospel Music Channel. What are they looking for you to contribute?
KF: The thing that excited me about the GMC is dealing with a faith-based audience, something you do get to explore with Tyler. Right now the opening stages at Tyler's studios are driven by Tyler's vision. This outlet gives me the opportunity to create from scratch. I'm so in love with doing projects for a faith-based community, not solely. I don't want to give my career to that audience. I think it's still important in the story you tell to uplift as you entertain, especially for women. I'm so over reality and housewives and bad women and bad girls.
BV: As part of two successful series, when people see you these days what do they associate you with, Tootie or Regine?
KF: Really just Kim Fields, the brand, and that's a blessing I don't take for granted. The first reaction seems to be, "Oh my gosh, you're Kim Fields." Sometimes it's 'Meet the Browns.' People really know I do that show. Sometimes it's people saying, "I grew up with you. We still watch 'Living Single.'" Sometimes it's from the poetry standpoint, what I've done as a spoken word artist. It really varies. It's a constant reminder to me of the gifts and talents I've been blessed with.
BV: Any thoughts about coming back on the screen as an actress, even if it's in a comedy or a drama?
KF: Very much so. Me and Tyler have talked about it, the president of the studio, GMC, and I have talked about it. At this point, I'm looking for projects that challenge me as an actor. I've been blessed to be in the industry for so long and yet there's so much that I haven't done, different characters to portray and genres I've barely scratched the surface on. I'm certainly in love with content that's on the Web. It may be a matter of something online first. I recognize that I'm certainly not in the driver's seat. A friend of mine told me that several years ago. "You just sit in the passenger seat," she said. "And keep your seat belt on and let God drive you where he's driving you on the road he mapped out. Keep quiet; he doesn't need direction from you."
BV: What keeps you passionate about doing this?
KF: God has kept that alive in me -- as an actor and a director and as a member of the entertainment community. Aside from that, mortgage bills will certainly motivate you to get up in the morning and then my family. I have the most amazing family in the world with my husband, Christopher, and my son, Sebastian. They're so extraordinarily supportive of what I do. My mother, of course, my sister... everyone. Everyone that has been part of the village it takes to raise this child and turn her into a woman. I couldn't fathom my life without them.
BV: Everyone in your family is in the business. Have you ever thought about putting a project together that they can all be a part of?
KF: We want to stay in love with each other as family members, so probably not, no. Every time we talk about it, we're like "no."
BV: 'Living Single' had a good long run on a major network. Why aren't we getting that winning formula on today's television?
KF: I don't know. I think you have people very much living in fear of losing their jobs. They want to go with what's safe. They want to go with what they know, so you get a lot of regurgitation and then that sense of, "We don't know an audience that wants to see it." It's total crap at the end of the day. Pardon me for being so crass, but it's total crap. Why would the show be so popular in syndication long after the show was shot? It's all right. It's making it easier for me to establish that work.