In my 30s, it's no longer a question of when my masterminded plans will pan out -- but whether I actually want the things I penned into my five-year plans, and if so, what I'm willing to give up to get them.
Illinois is home to a vicious cycle that prevents its black residents from reaching their full potential, and too little attention is being paid to the numbers driving it.
Dear White People is sure to become both a cult hit and a staple on college campuses across the country, and I'm glad for it since the movie ultimately ends with more questions than answers. And with an issue as multi-faceted as racism, that is as it should be.
By 50, you may already feel like you've got it figured out. You make a good salary, you've reached many of your life goals and your kids are on their way to independence. But there are still a lot of money truths left to learn, especially as you're approaching your retirement years.
I am deeply troubled by your sudden quietness in the midst of such powerful youth activism against police brutality and state violence. The killing of Mike Brown in Ferguson, Missouri, has awakened a movement, yet you are silent. Other members of the black entertainment industry have contributed in various ways, yet you are ghost.
At the Louisiana State University Law Center, the silence on race is deafening. It is deafening because race is never really off the table. Students discuss race with members of their own racial group, but they rarely have interracial conversations on race. As a result, students never learn about other people's lives or experiences -- they never become culturally competent.
School officials defend their quick resort to call in the school or city police with the claim that black students do commit more serious offenses than other students. There's nothing to support this.
The last few years have been fruitful ones for Gordon, who, with powerhouse filmmaker and playwright Rikki Beadle-Blair, has set up the critically acclaimed Team Angelica Press, a publishing firm in London dedicated to outsider artists and writers, especially LGBT voices of color.
Our founders opposed using a "standing army" to patrol our streets. In fact, James Madison called this "one of the greatest mischiefs that can possibly happen." Under the "1033" program, however, America's streets are increasingly patrolled by police forces with all the trappings of an army ready for war.
It behooves us all to take another look at the bravery, the agony, and the hope of that very different time, and do what we can to reabsorb its lessons.
For the first time in 13 years, the DOE now makes clear that states, school districts, and schools must make education resources equally available to all students without regard to race, color, or national origin. This is some of the unfinished business of the civil rights movement and a giant step forward for poor children, often children of color.
The money decisions you make today can lead to either a secure or a scary financial future. Don't be tricked into being complacent. Think ahead, plan ahead -- and avoid these 13 money mistakes that could haunt you for years to come.
The ways in which we spend have changed. We have different attitudes about debt, and even though the job market has improved, millions continue to struggle as wages have not caught up.
"Nothing in nature is straight. So that's how I design. There's no rhyme or reason. I'm planting for aesthetics. I want to be assaulted by smell, by beauty, by taste."
Because we have already called for an end to mass incarceration, but, though there has been progress, our elected local, state and especially federal officials haven't gone far enough.
The research team tested participants at an unconscious level through an implicit association test. They were able to look at the way the participants internally felt about STEM gender biases.
Many people know me for my dry sense of humor, but I'm also a serious legislator who gets results. I work hard to offer meaningful and impactful legislation that helps level the playing field for consumers, working people, the middle class and civil rights for the disenfranchised.
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.