Latest news with #BlackGirlMagic
Los Angeles Times
5 days ago
- Entertainment
- Los Angeles Times
41st Irvine Annual makes the art world accessible
When the 41st Irvine Annual opened on July 12 at the Irvine Fine Arts Center, some visitors were experiencing the municipal arts and community center for the first time. For others, the juried exhibition was a full circle moment. 'We have an artist in this exhibition who went to preschool at the co-op next door, took art classes here as an adult and now is showing here,' said Virginia Arce, exhibitions program coordinator at Irvine Fine Arts Center. Whatever an individual's relationship may be to the center, Arce said it is imperative for art environments to feel accessible to everyone in the community. 'In thinking about what the space really serves, we want to introduce more professional practices, opportunities and just ways that the community can be more involved,' Arce said. With Irvine Annual, a four-decade tradition of showcasing regional and national artists, the center continues to curate an event that fosters connections between artists, curators and community members alike. Formerly known as 'All Media,' this year's exhibition features a range of mediums, including painting, sculpture, photography, mixed media and fiber that can be displayed on a wall, a new requirement this year. The show has been held under many different names in the past, Arce said. 'In the early '80s it was called Notice: Arts Orange County, and it was called New Juice for the remainder of the '80s,' said Arce. 'Sometime around the early '90s it became All Media.' In addition to the new name, there are few other changes this year. The show always offers monetary awards and this year the prize money has increased. The first place winner receives $700, second place collects $500 and the artist who captures third place goes home with $300. Also, the Irvine Fine Arts Center has added a Viewer's Choice Award that carries a $200 prize. Those whose works are given honorable mentions will receive $200 each. 'Viewer's Choice has been really well received because people are excited to weigh in on what their favorite piece is,' said Arce. 'As we are seeing the tally come in, it is interesting to see which pieces get the most love.' There were nearly 1,300 entries to the juried exhibition, which gave guest jurors Elizabeth Múnzon, Dakota Noot and Stephanie Sherwood the arduous task of whittling down the pool to a slim selection of 80 works that comprise the show. 'The three jurors are all artists and curators, which I thought was really important, ' said Arce. 'They have experience making art and also producing exhibitions. They are all emerging curators who are also kind of established, as well.' Arce notes that even if an artist's work isn't selected for the show, it is a good way for them to get on the radar of important and up-and-coming curators. The work is among the most diverse the center has seen, according to Arce, not only in terms of content but also in media. Textiles feature heavily, as do other unusual materials. 'Black Girl Magic' (2022) by Bonita Deamicis is a large scale crochet work that incorporates intricate coils and beading designed to represent the 'beautiful beaded, braided, and curled styles of Black girls.' Jose Loza used the transparent mesh from old window screens to create a floating dream of two immigrant children that reach out of the frame with ghost-like hands in his 2024 work 'Infant Memory.' In the artist's statement, Loza calls the discarded window screen, 'a material that evokes the experience of navigating multiple spaces simultaneously, a reality for many immigrants.' There is also work from established local artists like writer and photographer, Jesus Cortez, whose digital photography piece titled 'Jesus Is Your Homeboy' (2025) is featured alongside work from Javier Cortes, who Arce says is a photographer to watch. Cortes's pieces 'La Monroe' and 'Cholito' are not unilike Cortez's work, documenting immigrant subculture from a place of intimacy and love. On Aug. 2, the Irvine Fine Arts Center will present 'Irvine Annual: Professional Practices Panel' from 2 to 4 p.m., providing valuable insight from the guest jurors on how to build sustainable, recognized careers in the art industry. The panel is another way Arce hopes the Irvine Fine Art Center can continue to make the arts accessible to the community today and into the future. 'It is really important for municipalities to support arts,' she said. 'There has been a lot of funding rescinded and now more than ever a space like this is really meaningful.' The 41st Irvine Annual runs through Aug. 30 at the Irvine Fine Arts Center, 14321 Yale Ave. For more details visit
Malaysian Reserve
20-06-2025
- Entertainment
- Malaysian Reserve
A Celebration of Flavor, Culture, and Connection
OAKLAND, Calif., June 19, 2025 /PRNewswire/ — The McBride Sisters Wine Company proudly unveils Black Girl Magic Moscato Frizzante, a vibrant, lightly sparkling wine crafted to celebrate joy, bold flavor, and the richness of individuality. This new release expands the award-winning Black Girl Magic collection with a refreshing twist, just in time for summer sipping. This latest addition captures the spirit of celebration with aromas of ripe stone fruit, honeyed citrus, and floral notes, delivering a lightly effervescent experience that's both elegant and playful. Whether served at brunch, golden hour on the beach, or during a night out with friends, Black Girl Magic Moscato Frizzante invites wine lovers to savor the moment. 'This launch is about more than a new wine – it's giving our wine lovers exactly what they've been asking for. Since we launched Black Girl Magic Wines in 2018, the number one request has been to create a Moscato. And now, the wait is over and we're proud to bring it to life – it's sweet, bubbly magic that just hits different. We're always looking to deepen our commitment to our customers who love our wines.' said Robin McBride, cofounder of McBride Sisters Wine Company. 'It's about expanding representation, elevating shared experiences, and showcasing excellence within Black Culture.' Key Features include: Fresh Summer nectarines and floral decadence dance on the nose with candied citrus of Meyer lemon and cara cara orange. The palate fizzes to life with juicy white peaches and crisp pear. Florals of jasmine, orange blossom and honeysuckle play with the hints of melon that gives a lingering impression of lemon zest and honey. Black Girl Magic Moscato Frizzante is rolling out now to select retailers nationwide and online at Fans and those new to the brand can find exclusive tasting pop ups throughout the summer of the new arrival at: About McBride Sisters Wine Company:Founded by Robin and Andréa McBride, McBride Sisters Wine Company is the largest Black-owned wine company in the United States. Built on a mission to transform the industry through inclusive access and award-winning wines, the McBride Sisters Collection and Black Girl Magic Wines reflect the boldness, brilliance, and resilience of women who inspire them.
Associated Press
19-06-2025
- Entertainment
- Associated Press
Introducing Black Girl Magic Moscato Frizzante -- A Celebration of Flavor, Culture, and Connection
OAKLAND, Calif., June 19, 2025 /PRNewswire/ -- The McBride Sisters Wine Company proudly unveils Black Girl Magic Moscato Frizzante, a vibrant, lightly sparkling wine crafted to celebrate joy, bold flavor, and the richness of individuality. This new release expands the award-winning Black Girl Magic collection with a refreshing twist, just in time for summer sipping. This latest addition captures the spirit of celebration with aromas of ripe stone fruit, honeyed citrus, and floral notes, delivering a lightly effervescent experience that's both elegant and playful. Whether served at brunch, golden hour on the beach, or during a night out with friends, Black Girl Magic Moscato Frizzante invites wine lovers to savor the moment. 'This launch is about more than a new wine - it's giving our wine lovers exactly what they've been asking for. Since we launched Black Girl Magic Wines in 2018, the number one request has been to create a Moscato. And now, the wait is over and we're proud to bring it to life - it's sweet, bubbly magic that just hits different. We're always looking to deepen our commitment to our customers who love our wines.' said Robin McBride, cofounder of McBride Sisters Wine Company. 'It's about expanding representation, elevating shared experiences, and showcasing excellence within Black Culture.' Key Features include: Black Girl Magic Moscato Frizzante is rolling out now to select retailers nationwide and online at Fans and those new to the brand can find exclusive tasting pop ups throughout the summer of the new arrival at: About McBride Sisters Wine Company: Founded by Robin and Andréa McBride, McBride Sisters Wine Company is the largest Black-owned wine company in the United States. Built on a mission to transform the industry through inclusive access and award-winning wines, the McBride Sisters Collection and Black Girl Magic Wines reflect the boldness, brilliance, and resilience of women who inspire them. View original content to download multimedia: SOURCE McBride Sisters Wine Company
Black America Web
16-06-2025
- Entertainment
- Black America Web
Top 10 Girl Groups In Black Music
Girl groups are essential to the Black music experience, as many of the serve as the soundtrack to our lives and their #BlackGirlMagic can be found in multiple decades. In celebration of June being Black Music Month, we wanted to give our favorite girl groups their well-deserved flowers, for not only provided music that we still play just as much today as we did back then, but also for serving fashion looks, beauty inspired and choreography they we still know by heart. TLC Source: Raymond Boyd / Getty As the biggest-selling and most successful girl group in music history, TLC ushered in the 90s with a new look, new sound and a new message. From their early vibes of vibrant, baggy Cross Colours fashions and around-the-way girl style — that eventually transitioned to the sleek and polished looks they are widely known for — the Atlanta-based group racked up immediate hits with their first album, but it was their second release, 1995's CrazySexyCool that cemented them as icons in the music industry. Destiny's Child Source: Patrick Durand / Getty As one of the female R&B groups that arrived just as the 90s were coming to an end, Destiny's Child made respectable noise in the industry with its original line-up. However, once the quartet became the well-known trio, the hits they provided stacked up at a rapid pace. While fans knew that the group's run would be limited due to Beyoncé's inevitable solo career, they still remain one of the faves of the genre. SWV Source: Al Pereira / Getty If you had the pleasure to experience what it was like to 'Weak' when it was first released in 1993, then consider yourself lucky that you got to experience the vibes in real-time. But SWV gave us many more hits outside of their signature track, as the 90s were filled with their infectious songs that had many fans convinced they could sing just as good as the ladies from NYC. Xscape Source: Al Pereira / Getty Formed during the early 90s R&B girl group wave, Xscape, a quartet from Atlanta, managed to make their voices heard despite stiff competition. From slow jams and house party cuts, to cheating anthems and gospel classics, the group offered fans a little bit of everything, which was evidenced by their success. En Vogue Mike Guastella While many of the early 90s R&B group initially leaned heavily into exploring a more tomboy aesthetic, En Vogue were the exact opposite and instead showcased full-on glamour and feminine style. Although their look was just one aspect of their greatness, as the group boasted powerhouse vocals and harmonies that recalled the classic girl groups before them. Salt N' Pepa Source: Michael Ochs Archives / Getty Hip hop's most successful female group of all-time had absolutely no problem fitting into the hip hop boys club of the late 80s, and easily transitioned to the 90s with a plethora of hits that were not only sex positive and educational — but also female anthems that showed that were tapped into to culture. 702 Source: Raymond Boyd / Getty Named after the Las Vegas area code, this trio was the perfect formula for the young 90s girl group. Their songs and lyrics were relatable, catchy and shot straight to the top of the charts. Combining smooth R&B with hip hop-infused tracks, 702 gave us jams that still resonate today. Total Source: Johnny Louis / Getty As the first female group signed to Bad Boy Records, Total was set up to win from the very beginning, and that's exactly what they did when their debut album was released in 1995. They had the look, superstar features and songs from the biggest producers of the era, which is why they are still a playlist favorite. Blaque Source: Raymond Boyd / Getty Courtesy of another person on this list, TLC's Lisa 'Left Eye' Lopes, Blaque arrived on the cusp of the new millennium and enjoyed great success as the 2000s arrived. With flirty and playful lyrics coupled with memorable rhymes, the group also ensured their notable status with a legendary appearance in Bring It On . The Supremes Source: TPLP / Getty None of the aforementioned girl groups would exist without the one that paved the way, and that would be the legendary group and Motown favorite, The Supremes. They are the blueprint that many groups after them have followed, with a collection of timeless hits that are unmatched. The group is also known for its impeccable style that changed the way that Black women and fellow artists dressed, as it was incredibly feminine, polished and sophisticated. SEE ALSO Top 10 Girl Groups In Black Music was originally published on Black America Web Featured Video CLOSE
Elle
30-05-2025
- Entertainment
- Elle
Bestselling Author Kennedy Ryan Wants Publishing to ‘Let Her Cook'
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. In an early chapter from Can't Get Enough, the latest New York Times bestselling romance novel from author Kennedy Ryan, the ambitious businesswoman Hendrix Barry tells an audience of potential investors that 'there's no such thing as Black Girl Magic.' Cue the shock. She continues, 'I know as soon as I said that, many of you inwardly responded the way my grandfather did when I was growing up in the country: The hell you say. I know that for many of you, shoot, for me, there was a time when questioning Black Girl Magic would feel like sacrilege.' But, she finishes, 'We are not magic. We are resilient. It's not a wand. It's work.' Ryan is careful to outline the many differences between herself and her heroine. But, in this instance, Hendrix seems to speak directly from the author's own experience. 'I just said to my husband the other day, 'There's got to be an easier way to make a living,'' Ryan jokes from her office in North Carolina, from which she joins a Zoom call with me mere days before the release of Can't Get Enough. Ryan's success, like Hendrix's, has been a long time coming. Starting out in the '90s as a journalism graduate from the University of North Carolina Chapel Hill—go Heels—she spent years writing and ghostwriting for nonprofits, churches, and, really, 'anywhere I could,' she says. When she later gave birth to a son who was eventually diagnosed with autism, she adjusted most of her work to focus on advocacy. She wrote for Chicken Soup for the Soul and parent-focused magazines; she launched an Atlanta-based nonprofit to serve individuals with autism and their families. But the constant intensity of this work, in addition to the personal demands of parenting her son, found her bereft of a creative outlet. Throughout much of her youth, she'd found solace in romance novels. Why not try writing one of her own? Thus Ryan began a draft of the book that would one day become Before I Let Go, the first installment in the Skyland trilogy, now finalized with Can't Get Enough. In 2013, she secured a book deal with Hachette Book Group, and though she (temporarily) put Before I Let Go aside, she rolled out what would become known as the Bennett series, kickstarting her author career. From then on, Ryan became a publishing force to be reckoned with. Over the ensuing years, she built a backlist—and, she's quick to add, a brand—as a hybrid author, straddling the worlds of traditional publishing and self-publishing in the romance genre. In 2019, she became the first Black author, ever, to win the RITA Award in the Best Contemporary Romance: Long category, bestowed by the Romance Writers of America, an organization long mired in controversy thanks to its mishandling of diversity, equity, and inclusion. (The RWA has since filed for Chapter 11 bankruptcy, though it is still active.) Ryan entered one of her self-published titles, Long Shot, into RITA consideration on something of a dare. 'I remember being on Twitter at the time, and there was this hashtag #RITASoWhite, the same way they had, like, #OscarsSoWhite,' Ryan says. 'And so many people were saying, 'Well, the reason there's never a Black author winning is because they just never enter.' And I was like, 'No…I think it's systemic.'' The RITAs had been handing out awards for nearly 40 years before a Black author won. 'I think there's something else to it,' Ryan deadpans. Even after she made history as a RITA winner herself, Ryan realized she wasn't satisfied with proving her point in only one gatekept space. 'I started looking around and not really seeing Black romance authors very much on the New York Times list,' she says. 'We weren't on shelves. There wasn't much visibility for our books, really, at all. I started thinking about the brand I had built, which was a brand that had something to say. Not that nobody else did, but I had a very clear sense of who I wanted to center and celebrate.' She didn't want to write to fulfill trends or tropes, or to surpass a sales goal. She didn't want to give readers a shiny alternative universe in which to reside, even if, as a requirement of the romance genre, her books had to have happy endings. She wanted to push the 'discourse' further. In the acknowledgments section of Can't Get Enough, Ryan writes, 'No one wonders about weightier issues being broached in literary fiction or crime novels or any other genre. Why must romance remain agnostic on the most urgent issues of the day?' In our interview, I asked Ryan to elaborate on this idea further. How does she think about romance writing, if it's not simply about that all-important Happily Ever After? 'I am not approaching romance from a place of escape,' she tells me. 'I'm approaching romance from a place of activism. I want to talk about the destigmatization of mental health in marginalized communities. I want to talk about domestic abuse, and I want to talk about it in the context of a patriarchal culture that values paternal right over women's and children's safety. In a romance novel? Yes, in a romance novel.' She wants to deliver the big-picture issues in a package her readers will appreciate. Take Hendrix in Can't Get Enough. This is a protagonist, Ryan argues, with a 'sense of agency, a woman who believes that her body is her own, a woman who has goals and dreams.' She begins the novel as a single 40-something businesswoman, childless by choice, with a substantial income and a group of loyal, adoring friends. When she meets the tech mogul Maverick Bell, she's attracted to him not on account of his money, but because of his respect for her. He sees her. He values her. He shares her commitment to investing—fiscally and emotionally—in Black communities. He empathizes with Hendrix's grief as she struggles with her mother's Alzheimer's diagnosis. And yet Hendrix still hesitates to begin a relationship. She doesn't want to abandon her ambitions to buoy a man's own success; she's seen it happen too many times before. Maverick, ultimately, must convince her he's worthy of her affections—and that he doesn't want her to contort the life she's built. 'When I'm writing all of that, it's not to escape from real life,' Ryan says. 'It's to say, 'This is not too much to ask for in real life.'' The RITA win had presented Ryan with an opportunity: She could broaden her reach (and her message) amongst readers, but do so on her terms. She revisited her draft of Before I Let Go and reestablished her relationship with Hachette, outlining from the jump what she wanted for her next round of traditionally published books: Black women on the cover. 'Natural hair. Pigmentation,' Ryan lists. Her Hachette imprint, Forever, 'listened, which doesn't always happen.' Before I Let Go became a fan favorite after it was published in 2022, and Ryan secured a deal with Peacock to adapt the book—and, by extension, what would become the Skyland series, including the New York Times bestselling follow-ups This Could Be Us and Can't Get Enough—for television. Ryan continues, 'I think it makes a real difference when we as Black artists get to shape things around who we know is our most predictable, reliable reader, which is a Black woman. A lot of times people are like, 'Gosh, why don't Black books sell?' And I'm like, 'No, you don't know how to sell Black books.' And if you would listen to the people who create them, if you would give them aid and creative agency and voice, your bottom line would improve.' When Hachette gave her that agency and that support, Ryan says, she allowed herself to dream big. 'I was like, 'What if this series does what I hope that it could do? I could see Black women on shelves. I could see Black women on billboards. I could see Black women, potentially, one day, on television, thanks to a book I wrote.'' Ryan laughs, delighted. 'And it's so funny, because all of those things have happened or are happening.' Now, Can't Get Enough is a hit; the Skyland saga is in active development at Peacock ('We're still working, and as soon as they say I can announce things, I will,' Ryan teases); and Ryan is at work on the next book in her Hollywood Renaissance series, titled Score. Anyone who has spoken with her for more than a few minutes knows she's the kind of person who practically vibrates with joy—there's a reason she's been dubbed 'Queen of Hugs' amongst fans—but that enthusiasm hasn't made her frustrations with the publishing industry any less acute. She doesn't want to be one of only a handful of Black romance authors who get this level of visibility, especially given that her own visibility pales in comparison to that of many white authors. She continues, 'I am frustrated by the fact that we can't figure out the systems that make it harder for Black women to break through. And it's funny because I hear some readers say, 'Kennedy Ryan is not the only Black romance author! There's a whole bunch of others!' And I get it. Because it's always been this way, not only in publishing but in entertainment in general, only allowing so many of us [Black women] through at a time.' Ryan doesn't want to be an outlier. She wants her success to represent one drop in a sea change. 'We need more Black editors,' she says. 'We need more Black publishers. We need more Black agents. And not just Black—brown, queer, marginalized. We need them in acquisition and editorial roles. When we don't have that, we have people who may not actually know our community making decisions about our art.' She pantomimes a conversation with a publisher. 'You have all these resources, and I respect that. We have this experience and talent and voice. When those two things align, and you give us space?' She grins. 'Like the kids say…'Let her cook.''
