I welcome my gray, as it begins to travel through the roots of this storied hair on my head… It is a crest of our culture.
(Hair)
Going Gray Is A Revelation
What if we sensed our beauty all along?
Arturo Holmes/Bettmann/Timothy Fadek/Getty Images
The other day I was sitting on the stoop with my downstairs neighbor, a 70-something Black man with a lot of opinions, when he suddenly looked at my hair and said, “You got a lot of gray hair! How come you got so much gray hair?” I said, “Listen, I am 52 years old.” And he said, “And you’ve got THAT much gray hair?”
What’s funny is that I actually don’t have that much gray hair. It has only just started to come in around my face over the past year or two, and I love it. I was struck, though, that he managed to both insult me (in a good humored way) and compliment me in one fell swoop — I have too much gray hair, but am not old enough to have it? It made me think, too, about the way aging changes the way we think about beauty.
We simultaneously ache for the validation, and feel ashamed for wanting it.
It seems like kind of a dumb time to be writing about beauty. Such a shallow subject to ponder as we continue to (just barely) manage the pandemic, the delta variant, our kids being in school with the children of anti-vaxxers, Texas, climate change, and the list really does go on. And yet, after the recent loss of actor Michael K. Williams, I found myself deeply moved by a quote of his that resurfaced amid the myriad messages of appreciation and mourning that circulated on social media after his death. In an interview for Men’s Health, he said: “I spent a lot of my younger years not feeling beautiful. When I look back at my pictures now as a kid, I’m like, ‘Damn, you were actually beautiful.’ I couldn’t see it back then.”
I already knew I was going to write this piece before Williams died, but this quote reminded me of my context. Because there’s beauty, and then there’s us. By us, I mean Black folks — we who have never been factored into the “real” standard of beauty in America, the white standard of beauty. Many of us search for any reflection of ourselves in our surroundings, particularly during our youths, much less a reflection or representation of ourselves that is deemed beautiful. And for a lot of Black girls and gay Black boys (Williams was gay) this lack of reflection hits in an especially poignant way. In America, Black girls are too often hyper-sexualized, while gay Black boys are de-sexualized or erased altogether, when often all we want is to see ourselves presented as beautiful. We simultaneously ache for the validation, and feel ashamed for wanting it.
In this way, though, there is a majesty, a gift, in getting older. I actually really like getting older. Although, doing so while also navigating the current generation’s insistence on one’s own hotness, in every way, on every possible media platform, is an increasingly ambitious endeavor. Still, along with the profound solace of mercifully depleted f*cks to give, comes a deeply intimate, unrestrained sense of beauty — your own, and all that is in and around you. It’s less a feeling of who or what is beautiful, and more of a revelation. Indeed, as the late Toni Morrison once said, “At some point in life the world’s beauty becomes enough. You don’t need to photograph, paint or even remember it. It is enough.”
Source: Boston Review



Dr. Whitaker is the seventh child of Eddie and Charlie Mae Jackson from Waycross, Georgia. Dr. Whitaker attended Clark Atlanta University completing a BS degree with honors in Biology. She attended Yale University School of Medicine-Department of Public Health and obtained her medical degree form Emory University School of Medicine, the only female African American in her class. A kidney specialist by trade, an artist trained under Leonard Baskin, and a healer by passion, her Ashes to Ashes project was developed to provide hope for a better American future, one in which races of varying color and heritage can understand the importance of each other’s American history, empathize with each other’s sacrifices and tragedies, realize the legacy of impacts from suffered injustices and accept that healing is a process as much a cure, and recognize and lay to rest the 4,000 victims of vigilante justice perpetrated against a predominantly black population for simply desiring the most basic of American rights of obtaining an education, ownership of land, fair competition in commerce, the uniquely American right of voting for our governing institutions and for an equal stake in the American experience. She is currently working on the second phase of A2A: The Noose: Tread of Hate and Resilience. This will center on American history through the lens of lynching and will include an International Speak My Name Day to speak the names of the lynched.
Mr. Rembert grew up in rural Georgia, in a farm laborer’s house and later in the small town of Cuthbert. Raised by his great-aunt, Rembert worked with her in the cotton fields during much of his childhood, and received little formal education. As a teenager he got involved in the 1960s Civil Rights Movement. Jailed for fleeing for his life in a stolen car, nearly lynched and then cut down to serve as an example to others, Rembert was sentenced to 27 years in the Georgia Penal System. Despite the cruel prison circumstances, Rembert learned to read and write and managed to meet and write letters to his would-be wife Patsy as well as to congressmen, with the hope of gaining early release. He also learned the craft of hand-tooling leather from a fellow-prisoner. After seven years, most of which was spent on chain gangs, Rembert was released from prison, but it wasn’t until 1997, at the age of 51, that he began to work more seriously with leather as his artistic medium, creating tooled and dyed canvases that tell the stories of his life. His paintings have been exhibited at galleries across the country—including the Yale University Art Gallery, the Adelson Galleries New York, and the Hudson River Museum—and have been profiled in The New York Times and elsewhere. Rembert is the recipient of a 2017 USA Fellowship, and in 2015 was an honoree of Bryan Stevenson’s Equal Justice Initiative. Rembert’s full-color memoir, Chasing Me to My Grave: An Artist’s Memoir of the Jim Crow South, is forthcoming from Bloomsbury in 2021.









