A Quote by Linda Johnson Rice
We have to tell our story at 'Ebony' and 'Jet' like no one else can. We have the authenticity; we have the believability. And I think that's what we have to own.
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I think the lesson is that when you give black voices a platform and the opportunity to tell our story, we will tell good stories just like anybody else.
Johnson Publishing offered me an opportunity to build back iconic brands like 'Ebony' and 'Jet' magazines.
Johnson Publishing offered me an opportunity to build back iconic brands like Ebony and Jet magazines.
I think the most important thing is to be yourself and be genuine and don't try to tell anybody else's story but your own. And if it comes from a genuine place, I think people can tell, and if it doesn't, I think people can tell, and I think that eventually it shows.
For as long as I can remember, I have been passionately intrigued by 'Africa,' by the word itself, by its flora and fauna, its topographical diversity and grandeur; but above all else, by the sheer variety of the colors of its people, from tan and sepia to jet and ebony.
As a teenager and a young adult, I never felt like my own story was interesting enough to tell, so I always wrote lyrics from someone else's perspective - told someone else's story.
We're expanding 'Ebony' and 'Jet' on the digital side to attract and maintain a younger audience.
There's a sense of authenticity that comes with 'Ebony.' There are very few national media outlets that are majority-African-American owned and really speak to our community with a sense of pride, authority, and ownership. That's what we do.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
When you have filmmakers like Justin Simien, writers, producers, actresses like Lena Waithe, who are people of color, they're creating their own content and saying, 'You know what? We're not going to wait on someone else to tell our story. We're going to do it ourselves. You can be a part of it or not.'
I try to tell the story about the song with the believability that I've lived it myself and I understand what it's all about.
If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.
What I've learned as we've gotten bigger is that it's really, really important for us to take all the opportunities to tell our story, because as we grow and have a bigger impact on cities, if we don't tell our story, somebody else will.
It's important that we share our experiences with other people. Your story will heal you and your story will heal somebody else. When you tell your story, you free yourself and give other people permission to acknowledge their own story
Perhaps there's another, much larger story behind the printed one, a story that changes just as our own world does. And the letters on the page tell us only as much as we'd see peering through a keyhole. Perhaps the story in the book is just the lid on a pan: It always stays the same, but underneath there's a whole world that goes on - developing and changing like our own world.
I do think the challenge, in a way for me, is to write a narrative film and when you finish watching it you feel like it's a collage. You tell the narrative, you tell the story, but you feel like you've created this tapestry. But it also has a shape, a story. So I think there's a middle ground that I try to strike... away from where everyone else seems ready to go, which is, setup, payoff. You know, He's afraid of water, oh, and at the end he's swimming in water - oh, my God. I hate that stuff.
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