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3 mins read

Home for All: A New Approach to Homelessness in Birmingham

On Tuesday, Jan. 10, the City of Birmingham will propose a new pilot program called “Home for All” before the city council. The goal of this program is to provide safe and dignified sleeping alternatives for the city’s chronically unhoused residents through the purchase of micro-shelters, also known as “Pallet” sleeping units. The Home for All pilot program will be a community-wide partnership that aims to provide not only shelter, but also a number of wraparound services for those in need.

The issue of chronic homelessness has long been a concern in the City of Birmingham, and this new pilot program aims to address this issue in a comprehensive and holistic way. The Pallet sleeping units, which are small and portable shelters made of wooden pallets covered with a waterproof tarp, will provide temporary housing for individuals and families experiencing homelessness. These units are designed to accommodate up to four people and are intended to be a short-term solution while more permanent housing options are being pursued.

In addition to the Pallet sleeping units, the Home for All pilot program will also include a number of wraparound services to support the needs of chronically unhoused individuals and families. These services may include access to healthcare, mental health services, substance abuse treatment, job training and placement, and other support services. The goal of these wraparound services is to address the root causes of homelessness and to provide the resources and support needed for individuals and families to achieve long-term stability and self-sufficiency.

The Home for All pilot program will be a community-wide partnership, with involvement from a variety of local organizations and stakeholders. This includes non-profit organizations, faith-based groups, government agencies, and private businesses. By bringing these diverse groups together, the pilot program aims to create a network of support and resources for those experiencing homelessness in the City of Birmingham.

The City of Birmingham is confident that the Home for All pilot program will be a successful and effective solution to addressing chronic homelessness in the city. However, it is important to note that the pilot program is just one piece of the puzzle. Addressing homelessness requires a multifaceted approach that includes not only temporary housing solutions, but also addressing the underlying social and economic factors that contribute to homelessness. The City of Birmingham is committed to working with its community partners to address homelessness in a comprehensive and sustained way.



1 min read

Regina King to Produce and Star in Shirley Chisholm Biopic

On Wednesday, it was confirmed that Regina King will be starring in and producing a biopic of America’s first Black congresswoman, Shirley Chisholm.

‘Shirley Chisholm’s fearless determination has been an inspiration to so many of us, and with this film, we hope to inspire many generations to come,’ King said in a statement about the project.

regina king
A political poster for 1972 United States Presidential candidate, Shirley Chisholm.

She will produce alongside her sister, Reina King, and fellow Academy Award winner John Ridley will serve as the film’s writer and director.

“To collaborate once again with my friend and mentor, John Ridley makes this decade-long journey even sweeter.”

Production on Shirley is set to begin later this year.


Tony O. Lawson

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3 mins read

National Museum of African American History and Culture to acquire Ebony and Jet Archives

The National Museum of African American History and Culture will acquire a significant portion of the archive of the Johnson Publishing Company, the publisher of Ebony and Jet magazines. The acquisition is pending court approval and the closing of the sale.

A consortium of foundations—the Ford Foundation, the J. Paul Getty Trust, the John D. and Catherine T. MacArthur Foundation, and the Andrew W. Mellon Foundation—is making this acquisition possible. The consortium will transfer the archive to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.

National Museum of African American History and Culture

The archive, purchased at auction for $30 million, includes more than four million prints, negatives, and media that explored, celebrated and documented African American life from the 1940s and into the 21st century.

“It is a distinct honor for the museum to be invited to join the Getty Research Institute and other leading cultural institutions to safeguard and share with the world this incomparable collection of photographs,” said Spencer Crew, acting director of the National Museum of African American History and Culture.

“We applaud the generosity of the consortium of foundations that made this acquisition possible.  And we pay homage to the vision of John H. Johnson and his commitment to bringing to the nation and the world, the story of the African American experience—in all its complexity and all its richness. Ebony and Jet were the only places where African Americans could see themselves. They were the visual record of our beauty, humanity, dignity, grace, and our accomplishments.

“Being the steward of the archive is an extraordinary responsibility, and we are humbled to play a critical role in bringing new life to these images. With the depth of its curatorial expertise and the technical skills in digitization, the Museum stands ready to marshall its forces to make this archive accessible to the widest possible audience.  We are honored to work with our recipient colleagues to make this gift to the nation possible.”

National Museum of African American History and Culture

The Museum has built a distinctive photography collection that includes more than 25,000 prints, negatives, and photographic materials. Photographers represented in the collection include Anthony Barboza, Cornelius M. Battey, Arthur P. Bedou, Bruce Davidson, Charles “Teenie” Harris, Danny Lyon, Jack Mitchell, Jeanne Moutoussamy-Ashe, Gordon Parks, P. H. Polk, Addison Scurlock, Lorna Simpson, Aaron Siskind, James Van Der Zee, Carrie Mae Weems, and Ernest Withers.

Read more about this acquisition on the Smithsonian website.

15 mins read

From Beyoncé to Sorry to Bother You: the new age of Afro-surrealism

There he was, dangling into the void. Sinking, arms outstretched, helplessly clawing at the air. Jordan Peele’s satirical horror Get Out introduced us to the “sunken place”, a purgatory where Daniel Kaluuya’s character is trapped by body-snatching white liberals. As otherworldly as the Salvador Dalí-designed dream sequence in Alfred Hitchcock’s Spellbound, it was the scene that planted Afro-surrealism firmly in the mainstream.

It also symbolised the revival of a genre in which strangeness and blacknessnot only co-exist but are impossible to separate. In recent years we’ve had Atlanta, a show its creator Donald Glover proudly called a “black Twin Peaks”, and a host of film-makers including Kahlil Joseph, Arthur Jafa and Jenn Nkiru, who have given a hallucinatory edge to the music of Kendrick Lamar, Flying Lotus, Kamasi Washington and Beyoncé. Joseph’s video to Flying Lotus’s Until the Quiet Comes reimagines Watts in Los Angeles as a phantasmagoric playground where a murdered black man’s body dances, bullet-ridden and bloodied, through the projects. Jafa’s video installation Love Is the Message, the Message Is Death is a collage of images; athletes and artists from LeBron James to Drake are interspersed with footage of police beating black people and civil-rights unrest, while a huge psychedelic sun burns in the background – coming in and out of the mix like a harbinger of impeding doom.

Earlier this year in the United States, writer and director Terence Nance’s sketch show Random Acts of Flyness sent up police violence, white saviour syndrome and everyday racism in a style described by the New York Times as “kaleidoscopic, nearly unclassifiable”. And this week sees the UK release of Boots Riley’s satire Sorry to Bother You, which uses surrealism to comment on race, sexuality and capitalism.

So why is the Afro-surrealist revival happening now? And is escaping into the strange and fantastical simply a natural response to living in a world bound by structural racism?

According to Terri Francis, director of the Black Film Center/Archive at the University of Indiana, it’s no wonder our pop cultural landscape is turning Afro-surreal at a time when society is wrestling with racial violencebias and inequality. “I think their work is very realistic in representing the absurdity of black life,” says Francis. “[In America] the ideals are there and you’re aware of what should be going on … but that’s not the reality.”

This is far from the first time black artists have turned to the weird and dreamlike to explain and examine their circumstances. “We’ve forgotten the history of surrealism,” says Francis. “Initially, it included African and African-Caribbean artists; André Breton was very close to Aimé Césaire. Their sense of surrealism was not segregated. A lot of that work that we celebrate as being surrealist is drawing its inspiration from African art and African American music.”

Culture for Senegal … Léopold Sédar Senghor. Photograph: Peter Johns for the Guardian

Césaire, a poet from Martinique, was part of the Négritude movement in 1930s France, a collective of African artists from former French colonies who created a new vision of modern Africa from French culture, pan-African thinking and surrealism. Emerging a decade after the Harlem Renaissance, Négritude produced perhaps the most remarkable early Afro-surrealist: Léopold Sédar Senghor, a Senegalese poet and socialist who would become the country’s first president in 1960. He believed art could power his country’s economy in a postcolonial world; at one point his government was pumping 25% of the state’s budget into its ministry of culture.

At the same time, American writer Henry Dumas was producing work that would see him dubbed an “Afro-surreal expressionist” by the US intellectual Amiri Baraka, who first coined the term. Dumas was born in Arkansas in 1934. After a stint in the US air force, he began a writing career that would marry the bizarre with ideas of black identity and power. In short stories, poetry and more experimental projects (Dumas created accompaniments to the work of the Afro-futurist figurehead and jazz musician Sun Ra), Dumas used surrealism to question the social strife of African Americans and the negligent attitude of the white ruling class. “When a Negro boy is shot and killed by policemen who do not check the situation before pulling their guns, the people get angry. It is a simple law of nature,” he wrote in his short story Riot or Revolt. In a tragic, ironic twist, Dumas was shot and killed by a transit cop in a New York City subway station in 1968.

Baraka wrote that Dumas’s work was made up of magical “morality tales” that were “constructed in weirdness”. Some of his work, such as the story of a group of right-on white jazz fans who demand entry to a black jazz club but die because their bodies can’t physically handle the potency of the music, could easily have come from the mind of Riley or Nance today. So is that same frustration with everyday racism the reason a new generation of black film-makers and artists reaching for the surreal again? For Francis, the only way to explain the reality of life for black people in America is through the extraordinary.

Extra real … Tessa Thompson and Lakeith Stanfield in Boots Riley’s Sorry to Bother You Photograph: Annapurna Pictures

“I’ve always thought about Afro-surrealism as something that is not wild and crazy,” she says. “It’s like Random Acts of Flyness or Sorry To Bother You, they’re extra real. They are about moments and what is going on in the now, and it’s that revelation about a once hidden or lesser known reality that makes the work have that impact.”

In Random Acts of Flyness, Nance creates vignettes that examine the absurdity of race relations in America. In one sketch, he hires a white friend who appears to vouch for him whenever he’s stopped by a police officer. Another, White Angel, focuses on a narcissistic director who uses a friend’s adopted Malawian child as a muse for a grotesque white saviour film, playing with ideas of Hollywood’s self-satisfaction, exploitation of black suffering and virtue signalling.

In Atlanta’s second season, the episode Woods sees the rapper Paper Boi flee into a forest after being mugged. There, time and reality shifts as he’s chased by a mystical junkie who taunts him for not making more of his life. Just as David Lynch’s warped vision of smalltown America revealed the darkness that lingered underneath, the Afro-surreal cohort are expressing the sheer bizarreness of having to cope with a racist society.

Ralph Ellison, whose novel Invisible Man – along with Toni Morrison’s Beloved – is arguably the most famous Afro-surrealist work of literature, dug the fantastical foundations for Man Booker prize winner Paul Beatty’s The Sellout and Colston Whitehead’s Pulitzer triumph The Underground Railroad. Ellison told an interviewer he “was just being true to reality”. Today’s artists are sometimes loth to embrace the surrealist tag fully as well. “We certainly don’t approach episodes and say, ‘Hey guys, let’s make sure this script is surreal!’” explains Stefani Robinson, one of the lead writers on Atlanta. “We’re a very specific group of individuals who are probably more drawn to the unusual, the strange, and the otherworldly. It’s just personal taste, not a verbalised mandate.”

Drawn to the unusual … Donald Glover in Atlanta. Photograph: 2018 FX Productions

Similarly, Kevin Jerome Everson – the experimental artist whose films about working-class black life point at what Francis calls “the blues at the core of Afro-surrealism” – is conscious of his work being completely misread by the art world’s predominantly white gatekeepers. He was weary of certain institutions that wanted to screen his film Tonsler Park, which captures life inside a voting station in Charlottesville, Virginia during the 2016 US election. “They wanted to show it during the election and they said it was anti-Trump,” he explains. “It didn’t have anything to do with that.

The white ruling class thinks because there are black people in it, they can only see us as a political entity. You are still in the service society, so you’re still serving them. I’m not down with that.”

Francis believes one of the core tenets of Afro-surrealism is its introspective nature, where metaphors like the sunken place are used to explore painful truths. “The journey of Afro-surrealism is inward,” says Francis. “It’s about imagining how your interior world works and staying in that place to reckon with your everyday.” In that sense you can include the work of Michaela Coel’s Chewing Gum and Issa Rae’s Insecure, which both delve into the rarely explored (in mainstream culture, anyway) interior world of black women.

Everson believes younger artists see the liberating potential of the genre. “I think everyone was used to seeing things as ‘real’ in African American culture,” he says. “Once people looked back at Funkadelic they realised, ‘Oh wow, people used their imagination.’” George Clinton’s group would descend on stage from the P-Funk Mothership, a 1,200-pound aluminum stage prop that fit in with the group’s intergalactic self-mythologising, developed after Clinton and bass player Bootsy Collins claimed to have encountered a UFO. “Black people have always used their imagination,” adds Everson. “And I think the young people freaked out because in popular culture there seemed to be no avenue to use their imagination.”

The Parliament-Funkadelic mothership lands in Los Angeles, 1977. Photograph: Michael Ochs Archives

Now, surrealism is spreading. The New Negress Film Society is a collective of film-makers, including Ja’Tovia Gary, who use dreamlike elements, and which supports black female directors and artists. Young directors from the African diaspora including Adoma Owusu, Cecile Emeke, Chinonye Chukwu and Frances Bodomo (who directed four episodes of Random Acts of Flyness) have all experimented with the surreal in their films. In June, Jenn Nkiru worked on the Afro-surreal video for Beyoncé and Jay-Z’s Apeshit, which cut between images of staid old masters in the Louvre and black America’s biggest power couple. As an art form, Afro-surrealism has taken root.

“Just about any black person is an Afro-surrealist because you have to be able to imagine something more than what is right in front of you,” explains Francis. “You need to have that sixth sense to be able to understand white people and where you’re safe. You also have to imagine another world beyond this one, where you are just a normal person living your life.”


Source: Lanre Bakare for The Guardian

29 mins read

‘White People Food’ Is Creating An Unattainable Picture Of Health

Tanisha Gordon doesn’t see what white people love so much about cottage cheese. Or salads, especially when they’re topped with fussy ingredients like candied almonds, pickled carrots or Brussels slaw.

Gordon is a 37-year-old employee at an IT company in the Washington, D.C. area, and until recently, her diet was deeply saturated with fast food ? McDonald’s, Taco Bell, you name it. When her doctor diagnosed her last year with pre-diabetes and prescribed her a CPAP machine to help her sleep through the night, she began working with a nutritionist to clean up her diet. But the lifestyle change she sought would require more than cutting out Chicken McNuggets. Cutting out foods like this can be very hard. One way to enjoy foods like this is to cook them yourself and use a healthier method of cooking. One way that is healthy is air frying. Visit to find out more about the benefits.

As a black woman, Gordon battled the perception that most of today’s healthy food is “white people food.”

“Alot of the time, when you go to restaurants now, they have these extravagant salads with all these different ingredients in it, like little walnuts and pickled onions ? like the stuff Panera sells,” Gordon told HuffPost. “For me personally, that’s like a white person’s food. A lot of the mainstream stuff that’s advertised comes across as being for white people.”

Today’s Goop-lacquered definition of healthy eating has made it de rigueur to guzzle $9 bottles of cold-pressed kale juice or chug hydrogen-infused water. In this micro-bubble of fastidiousness, a healthy diet means more than consuming your daily dose of fruits and veggies. It means eating pudding made of chia seeds (yes, the same ones used to make Chia Pets) and sprinkling your açai bowl with goji berries, even if you have no idea what either of those things are.

There’s nothing wrong with being nutritionally ambitious, but we’ve cultivated a health food culture that’s unattainable for the multitudes who can neither afford nor identify with it.

“You’ve got the dominant culture in the USA being white culture,” black restaurateur Dr. Baruch Ben-Yehudah told HuffPost. “And that white culture has taken the power to define all things good as white, and all things white as good. So that definition of healthy eating is not an accurate depiction of eating healthy.”

Over the course of a year, Gordon shed 60 pounds and outgrew the need for a CPAP machine simply by making some changes to her diet. But food isn’t always the biggest obstacle to a healthy lifestyle. Cultural barriers can be just as powerful.

“For a person who needs to re-train their mind and think differently about healthy eating, that’s always gonna be their struggle; getting past, ‘This plate of food is for a white person,’” Gordon said.

Healthy food has historically been less accessible to black Americans in a number of ways. So, does eating healthy have to be equated with eating like white people? According to a new generation of chefs, nutritionists, academics and patients, the answer is no. Some foods found in America are giant and extravagantly unhealthy, but this may attract younger travellers to visit the country and try all these mouth-watering foods. Many au pairs visit the country every year and if you are interested in becoming an au pair visit Cultural Care Au Pair today!

Charmaine Jones, a Washington D.C.-based dietician who is black, penned a short paper earlier this year called “Do I Have To Eat Like White People?” that shared the dietary struggles of her clients, whom she describes as primarily low-income African-Americans on D.C. Medicaid.

The majority of her clients seek nutrition strategies to treat obesity, Type 2 diabetes, heart disease or high cholesterol, a set of challenges that are particularly prevalent in the black community. Gordon was one of her clients.

Jones describes “white people food” as salads, fruits, yogurts, cottage cheeses and lean meats ? the standard low-fat, heart-healthy foods promoted by the U.S. Dietary Guidelines.

Every five years, a 14-member advisory board writes those guidelines, which dictate what the average American should eat to maintain a healthy lifestyle. The current board has only two black members. The U.S. Department of Health and Human Services didn’t respond to HuffPost’s request for comment.


African-Americans are at a much higher risk for a number of genetic predispositions and health issues, many of which are strongly influenced by diet. The numbers speak volumes.

  • Black Americans face a significantly higher risk of diabetes than white Americans, particularly for Type 2 diabetes: The prevalence is 1.4-fold to 2.3-fold higher in African-Americans.
  • The prevalence of high blood pressure in African-Americans in the United States is among the highest in the world. That high blood pressure is often attributed to higher rates of obesity and diabetes in the black community, as well as a gene that potentially makes African-Americans more salt sensitive.
  • African-American adults are nearly 1.5 times as likely to be obese as white adults. While approximately 32.6 percent of whites are obese, the rate for African-Americans stands at 47.8 percent.

Jones’ clients say they didn’t find it easy to get help in the black community.

“I found it difficult to find a black nutritionist. [Jones] was the only one I found when I was looking,” Gordon said. “Part of the reason I picked [Jones] was because she had similarities to me. I felt as if she would understand my body type more and she would understand the culture I come from more.”

“Even after I met her, I asked her what made her become a nutritionist, and she said, growing up, she’d never seen a black person be a nutritionist. So that was something we definitely related on and ultimately why I picked her.”

That’s not to say the black community isn’t without its proponents for healthy eating. Former first lady Michelle Obama launched the “Let’s Move” campaign in 2010 to address the problem that one-third of U.S. children are overweight or obese. She sought to break down cultural and socioeconomic divides by cultivating partnerships with big business and championing sweeping legal changes that would affect both the rich and poor.

But Obama often met resistance, finding that food is an everyday comfort that many Americans aren’t willing to compromise on.

EMPICS ENTERTAINMENT – Former first lady Michelle Obama speaks on behalf of Let’s Move in London.

Jones says she runs into this problem with many of her clients.

“It’s very frustrating,” she told HuffPost. “My clients feel pressure that they have to change the way they eat. They have to start incorporating foods that are not common to them. So any time that happens, there’s a resistance against the pressure.”

Natalie Webb, another registered dietician and nutritionist in the D.C. area who is also black, told HuffPost that her clients share that same frustration.

“My clients absolutely associate healthy eating with eating like white folk,” Webb said. “I think it stems from what people see in marketing and what they associate healthful eating with, and it often doesn’t include foods they’re familiar with.”

“When you change folks’ food ? especially people of color ? it’s like you’re asking them to change who they are,” Webb said. “That’s why it’s so important as a dietician to start where folks are and introduce foods that are going to be familiar but maybe in a little different way.”

Psyche Williams-Forson, associate professor and chair of American Studies at the University of Maryland, powerfully described how people react to interventions in their diet.

“When you go into a person’s culture and you say, ‘You can’t eat this,’ or ‘You can’t do that,’ it’s just like going into your house and moving your furniture. You’re going to feel violated, you’re going to feel invaded. It makes people feel like their cultural sustainability has been compromised.”

“I try to encourage people to remember that food is part of the constellation of material objects that we deal with every day. And every time you have a material possession that’s been taken away from you, you’re going to be very protective.”

Few, if any, cuisines are more firmly attached to African-American culture than soul food, which took on an especially political meaning in the 1960s.

Williams-Forson explained that when writer Amiri Baraka coined the term soul food in the ’60s, he was very specifically responding to a criticism that the African-American community didn’t have its own culture. “Baraka chronicled a number of foods that at the time were heavily eaten by people in the South, everything from ham to sweet potato pie and sweet tea,” she said. “The actual label of soul food became a political term.”

Cultural historian Jessica B. Harris has echoed that argument, writing that in the 1960s, “soul food was as much an affirmation as a diet. Eating neckbones and chitterlings, turnip greens and fried chicken became a political statement for many.”

In short, soul food was more about blackness than it was about a specific list of ingredients,” author Adrian Miller wrote for the website First We Feast.

Ben-Yehudah adds even more context: “Soul food is an experience in culture, it’s an experience in connecting with not only the people around you today, but connecting with the souls and the spirits of those that came before us that had created an identity for the food we were consuming,” he told HuffPost. “It not only provided nourishment but also allowed us to have a good experience. The soul food was a comfort food. It comforted us in times of difficulty.”


“The thing that bothers me about eating healthy is that in the media, people appropriate different ways of eating to different people,” Bright told HuffPost. “And so I don’t necessarily feel like black people eat as unhealthily as people would assume that we do. If you think about Italian food, which I love, it’s just as fatty [as soul food], but it doesn’t have that same reputation.”

She points out that the origins of Southern food took root at a time when it was necessary to cook with less-than-ideal ingredients.

“Some people think all black people eat is chicken and collard greens, and that’s not necessarily true. However, out of utility and necessity, we ate a lot of that down South back in the day because that’s all that was available. It’s not like we didn’t know what carrots or Brussels sprouts were.”

“Stereotyping is extremely frustrating. We all have to find an approach to food that still respects and honors our culture. We can still respect our ancestors for how they had to eat out of utility. Now, I have a lot more choices than they did. I shop at Whole Foods, I can go to Trader Joe’s.”

It’s especially evident that these diet stereotypes don’t always apply when talking to someone like Novella Bridges.

Bridges is a 45-year-old nuclear chemist who lives in the D.C. area. She started seeing Jones in 2017 to treat high blood pressure that suddenly arose after both of her parents passed away. Unlike many of Jones’ clients, Bridge pays out of pocket for the nutritionist’s services. But more significantly, she has been eating healthfully her whole life.

“I was raised by a nurse,” Bridges told HuffPost. “I didn’t have to make a lot of changes once I started seeing [Jones]. I was used to eating the food pyramid, so I was raised in such a way that we all were real big on fruits and vegetables. Most people from the inner city or from my culture didn’t eat a lot of those vegetables, but we did.”

Bridges sees herself as being from a distinctly different cultural cross-section than most of Jones’ clients, and she doesn’t feel closely connected to her roots through the foods she eats.

“I would never qualify what I eat as being from one culture or the other,” Bridges said. “No matter who you are, you need to eat fruits and vegetables every day. The bottom line is, we’ve gone to a processed way of eating, and African-Americans have claimed that as their type of food. [African-Americans] want to dismiss healthy eating as being for white people because it’d require a change. The truth is, when people are asked to change, change is difficult.”

“It has more to do with class than race,” she added.

Indeed, money is an inevitable issue when it comes to healthy eating.

Larry Perkins is a 40-year-old married father of two and a Walmart employee. His doctor sent him to Jones last year because he had been diagnosed as pre-diabetic. He made the suggested dietary changes with aplomb, but not without increased financial strain as he attempted to provide healthy meals to his family.

“The most frustrating thing about being on a diet is not having the money to purchase the stuff that you need,” Perkins told HuffPost. “It’s hard to pay for it.”

“A lot of the healthier meals are not marketed toward us. When you go to Sweetgreen or Chopt, their menu is not geared toward low-income families. I can’t take my family there to eat healthy without breaking the bank.”

“I think it’s more of a class issue than a race issue, because in all actuality, you’ve got low-income people, black and white, trying to eat healthy, and the prices really aren’t geared toward any of us,” Perkins said. “We all want to eat healthy, but they just don’t market their menu for us.”

Jones, too, cites socioeconomic factors as one of the primary roadblocks preventing her clients from transitioning to a healthier diet, in part because her clients do the majority of their shopping in food deserts, which lack access to affordable, healthy foods like fresh fruits and vegetables. In the United States, many low-income black neighborhoods can be considered food deserts.

Based on the United States Census Bureau’s Income and Poverty in the United States report from 2016, the average black household made $39,490, while the average white household made $61,858. While only 11 percent of white Americans lived below the poverty level, 22 percent of the black American population did.

There are, however, those who warn against using the term “food desert” as a blanket assessment of a community. Forson-Williams explains: “Every community has a means of sustaining itself culinarily. Not every community may have a supermarket, but supermarkets are not panaceas.”

Jones has to find innovative ways to help her clients make healthy choices when the options are sparse. “Most of my clients live in economically disadvantaged areas, and I have to become creative and learn what’s in those stores to direct my clients how to eat healthy from those places.”

Though Jones teaches her clients how to make healthier soul food at home, finding healthy restaurants that serve soul food is another issue entirely. HuffPost talked to two black restaurateurs who run vegan soul food restaurants, chef Gregory Brown and Ben-Yehudah, about their experiences.

white people
BARBARA HADDOCK TAYLOR/THE BALTIMORE SUN/TNS VIA GETTY IMAGES – Gregory Brown holds a plate from his restaurant in Baltimore on Aug. 26, 2016.

Brown is co-owner of Land of Kush, a vegan soul food restaurant that opened in downtown Baltimore in January 2011. His restaurant specializes in dishes like vegan BBQ rib tips, smoked collard greens, vegan mac and cheese, candied yams, vegan drumsticks, smoothies and fresh-pressed juices. He created his restaurant to provide patrons with a healthier version of soul food, which he says is inherently unhealthy. “It’s heavy, greasy, animal-product based … in its original form, it was really just scraps. Not the healthiest things. Black people just kind of made it taste good to make it palatable. That just became the cultural regularity.”

Ben-Yehudah is the owner of several restaurants, including vegan soul food restaurant Everlasting Life in the Capital Heights area outside of D.C. He agrees that soul food has been in need of a healthy makeover.

“Soul food is always greasier, it’s always saltier, and it’s always sweeter,” Ben-Yehudah said. “So those three elements that we don’t need more of in our diet are definitely found it more abundance in today’s soul food diet. I call it the Standard Black American diet, and it has created many of the health challenges that we have today because it’s void of nutrition, it’s full of toxins and it’s addictive.”

But now Brown sees a change in pop culture that’s influencing the black community to make some healthy changes.

“Just in the past three years or so, you just see an influx of popularity of veganism in pop culture. You see celebrities and athletes eating a plant-based diet. You hear about [NBA player] Kyrie Irving, Beyoncé and Jay-Z, you hear about a lot of different celebrities going vegan, so it makes people more willing to try it if they hear about their favorite celebrities doing it.”

But when Brown first opened his vegan soul food restaurant seven years ago, he saw some resistance from the black community.

“There’s always resistance,” Brown said, “because people are stuck with their culture, their background, their traditions. It’s a part of their living. It’s difficult to break people away from that, so people show a little resistance.”

Brown’s solution to changing customers’ mindsets is meeting them where they are and finding a path toward healthy eating that lies somewhere in the middle.

“That’s the basis of our restaurant: Meet people where they are,” Brown said. “Black people like barbecue and they like collard greens, they like yams. Let’s offer that to them but at the same time, let’s put quinoa on the menu, and let’s also have some fresh fruit smoothies. That’s how we integrate it into people’s mindset. What do you like to eat? Let me tell you how I can make that vegan.”

“What we want to provide is the full transition,” Ben-Yehudah echoed. “We want to meet the person who’s accustomed to the fried fast food, meet them there and be able to provide them a transition point so they can engage the vegan, healthier food lifestyle.”

And that healthier food lifestyle doesn’t have to look white.

“African-Americans might say, ‘I don’t want to eat like white people,’ said Ben-Yehuda. “However, at the end of the day, it’s not eating like white people, it’s actually eating the way we used to eat before we were brought to this country.”

“I don’t think there’s such a thing as white people food,” Williams-Forson said. “But I think there are foods that have been assigned to black people, and there are foods that have been more in line with white communities. And I think soul food is largely what gets short-handed as black people food, and things like veganism and vegetarianism get short-handed as white people food. Quite frankly, African-American people have been eating white people’s food since we arrived on this continent. But a lot of folks don’t know that because the food we tend to get associated with is almost always soul food.”

And though redefining one’s diet always comes with challenges, for Bright, the journey to a healthier lifestyle turned out to be much more personal than cultural.

“We can learn how to make the foods that we love in a [healthier] way and be comfortable with that. It’s not an insult to Grandma and Mommy and how they used to make these things,” said Bright, whose mother died of colon cancer and whose grandmother had heart issues.

“I want to honor them by learning how to do this whole thing a little bit better. A different diet could have maybe kept them here a little while longer. It’s important to me: I feel like if I can learn how to do this a little better, I’m still honoring them, and I think they’d be proud of me in the process. I think that’s the kind of shift we have to make collectively.”

By Kristen Aiken for Huffington Post