When Selena Gomez launched Rare Beauty back in 2020, the message was simple: break down previous notions that everyone must be perfect, and shine a light on mental health issues.
While this may have broken every budding makeup brand’s dream, brands like Fenty Beauty shared similar, groundbreaking mission statements: bolster inclusivity in the makeup industry and force all brands to do the same in the process.
Inspired by her 2020 album, Rare, Rare Beauty began with the basics: 48 foundation shades, lip balms and matte lip creams, eyebrow definers, and the icon, liquid blush. Four years later, it’s hard to imagine a more viral, innovative celebrity makeup brand that remains in stride with Fenty.
Quickly, the Rare Beauty Soft Pinch Liquid Blush became TikTok’s go-to staple product. And no one can deny there is no blush on the market that is as pigmented, easily blendable, and long-lasting as this one. Selena Gomez has proven herself a bonafide content creator with her charismatic social media posts for fun Rare Beauty launches like an under-eye brightener, an SPF-laden tinted moisturizer, and lip combos.
Not only is Rare Beauty inclusive in shade range, but the spherical shape of the top of their products is disability-friendly.
As of 2024, Rare Beauty is a $2 billion company. But what sets this company apart is their attention to detail and true dedication to bettering the world. The same year that Rare Beauty was founded, the Rare Impact Fund was also created.
What Is The Rare Impact Fund?
In a statement by Gomez on the Rare Impact Fund’s website, she states,
“The Rare Impact Fund is committed to expanding access to mental health services and education for young people everywhere. We work with a strong network of supporters and experts to bring mental health resources into educational settings to reach young people.
Because no one– regardless of age, race, gender, sexual orientation, or background - should struggle alone.”
Upon their start, the Rare Impact Fund committed to raising $100 million by 2030. Along with corporate sponsorships and donations from individuals, 1% of proceeds from all Rare Beauty sales go towards the charity as well. By 2021, they had donated over $1.2 million in grants to eight mental health institutions including Yale Center for Emotional Intelligence.
In 2021, the Rare Impact Fund launched a GoFundMe for their new Mental Health 101 initiative. According to the GoFundMe,
“Mental Health 101 advocates for more mental health in education, empowers our community, and encourages financial support for more mental health services in educational settings through the Rare Impact Fund,”
Promising to match up to $200,000 in donations, to date the GoFundMe has raised over $500,000 and has donations from less than six months ago.
How The Rare Impact Fund Works
By leveraging both Selena Gomez’s millions of social media followers and the four million people who follow Rare Beauty on Instagram, the Rare Impact Fund quickly trickles into visibility. Suddenly, fans of the brand and Gomez alike can help make a difference by donating even a few dollars in honor of their favorite actress-singer extraordinaire.
As of 2023, the Rare Impact Fund helped grantees like UCLA Friends of Semel Institute, Batyr, La Familia, Mindful Life Project, Black Teacher Project, and Trans Lifeline. According to the website, they have raised $6 million in contributions and distributed $3 million in grant support so far.
Rare Beauty and the Rare Impact Fund alone are blazing a trail for all brands: you can make a change while still distributing high-quality products — and it pays off.
In the first installment of our Visionaries Project, we interview brilliant writer, activist, and horror buff Sherronda J. Brown.
The Visionaries Project is a new subsection of The Liberty Project dedicated to highlighting the lives, passions, and work of writers and activists currently working towards social justice and liberation from oppression. We aim to uplift the perspectives of powerful, diverse voices working in media and activism today—and not just the faces who make headlines, but the real people on the ground every day, working towards their visions of a better world.
As our first installment of the Visionaries Project, we're beyond honored to feature Sherronda J. Brown, an incredibly eloquent and brilliant journalist and activist currently doing vital work in the media sphere.
Where did you grow up? Was there an activism or writing background in your childhood?
I grew up in a small town called Tarboro in Eastern North Carolina. I don't have an activism background from my youth, but I have always been a writer. My mom still has a stack of little books I wrote as early as Kindergarten and first grade.
Can you tell me a little bit about how you got into writing and journalism?
I don't think writing was much of a choice for me. I think it's something that just lives in my bones and my fingertips. If I wasn't writing about systemic oppression and its multiple arms, I'd almost certainly be writing in some other capacity, probably in entertainment media or true crime. Definitely true crime. Hell, I might still do that one day.
My foray into journalism was more like being pulled into it. I have always shared my views on social media, specifically Facebook, and eventually people started to follow me and root for me. To my surprise, my words touched people. I wrote briefly for a now-shuttered, indie feminist website (for free!) while in college many years ago, but my presence in this world really became solidified when current Managing Editor at Black Youth Project (BYP), Hari Ziyad, gave my writing a home at RaceBaitR and later encouraged me to write for BYP as well. Then, the Deputy Editor position came along, and Hari encouraged me to take another step. The next step was Wear Your Voice (WYV), where I was promoted to Managing Editor by founder Ravneet Vohra before I even knew what hit me. And here I am. Other people recognized my talents and potential before I did. They knew I could do this before I even knew it was an option. Shout out to imposter syndrome, and shout out to the people who helped me get here.
How did you get involved with Wear Your Voice? What work do you do for it, and what's the publication about?
Lara Witt, the current EIC, posted a call for pitches on social media and I submitted a piece about an indie film I had been really impressed by, The Keeping Room. This was just after the release of Sofia Coppola's remake of The Beguiled, and I argued that The Keeping Room—while an imperfect film—succeeds where Coppola's film fails, specifically in her erasure of an enslaved Black woman character from the Civil War era South in order to ensure that the Confederate white women are seen as indisputable victims within the story, rather than cruel enslavers. The essay did very well, so much so that the writer and producer, Julia Hart and Jordan Horowitz, reached out to thank me. That was a surprise and, of course, hugely flattering. From that point, I continued to write for WYV as a freelancer, until I got the courage to ask Lara if she needed any editorial support. She advocated for me and helped me become a part of the team, beginning as a part-time Social Media Manager. I will always, always be so grateful to her for that, especially because WYV is such an amazing publication to work for. I now get to say that I serve as the Managing Editor of a bold magazine that wholly embraces me and gives QTBIPOC space to talk about our experiences without tone policing or censorship. It's incredibly rewarding and therapeutic work for me.
The bio for Wear Your Voice cites Kimberlé Crenshaw's definition of "intersectionality." How would you define intersectionality? Has your understanding of it changed over time?
A lot of people misunderstand or wrongly define intersectionality, and I suppose I used to do the same. Once upon a time, I thought of it as a literal intersection, with multiple roads meeting and touching at a particular point, with each road being a different aspect of a marginalized identity. So, one road would be Black, one would be woman, one would be queer, and so on, and they would intersect with each other. In this visual representation, the points where they intersect would be the nucleus, where all the layered oppressions one experiences are most concentrated, for lack of a better phrase.
Now, I understand how wrong I was. Because, for a queer Black woman, Blackness is never separate from woman, is never separate from queer, and so on. More specifically, Kimberlé Crenshaw developed this theory and coined this term thirty years ago for Black women to think and talk about how we experience misogynoir. Intersectionality is specifically for Black women's benefit, and Crenshaw herself has told us not to use it as a blanket term for thinking about oppressions.
What do you mean by "digital activist," as you say in your bio? What potential do you see in digital activism going forward?
It's funny, I didn't realize that I was a digital activist until someone told me I was. I guess, I didn't really understand the true impact that my words were making. One of my favorite anecdotes—or maybe it's a testimony—is from a woman who said that my writing helped her get her teenage daughter to stop bleaching her skin. That made my heart sink and sing at the same time. People reach out to me periodically to share how I've helped them to think about things from a new perspective and better understand how oppressive systems work and even how they have participated in and benefited from them. That's the best reward for me. A lot of people don't consider digital activism to be valid. People like me often get called "armchair activists" as an indictment of our supposed laziness, which is quite an ableist sentiment. There is tremendous value in digital activism, whether or not people are physically or mentally healthy and able enough to contribute to "boots on the ground" work, and I don't just say this because I consider myself one. Think about how much information gets shared across social media by marginalized people that might not otherwise be reported on by the mainstream media. Digital activism can and does enact change in its own way, and there are plenty of examples.
If you see yourself as a resource for awareness or inspiration for activists and radical thinkers, what would you recommend to others looking to get into the type of work you're doing?
I know this is easier said than done, but take the leap. Shoot your shot. Send that pitch email. Read other people's work, digest it, process it, live in it. And then, find the gaps. With any given subject, there's always someone who has already written about it, of course, but there are always things left unsaid, views left unexplored. No one person can tackle every possible angle. Find the gaps that other people inevitably leave in their work and fill them. Address the unaddressed. That is how writers can set themselves apart, in my opinion. That's what I really appreciate as an editor and a reader.
Are there any projects or current topics you want to promote?
We are currently wrapping up our Summer of Sex campaign at WYV, a series that highlights perspectives of QTBIPOC [Queer, Trans, Black, Indigenous, People of Color] on the subject of sex and the things surrounding it. The piece I contributed to this is rather personal, maybe more personal than anything else I've ever written. In it, I do what feels for me like heavy lifting on the subjects of unhealthy sex, asexuality, celibacy, and fawning as a trauma response, as all of these relate to my personal story and life experience. These are topics I rarely see talked about openly and I would like to see others engaging with them as well.
You describe yourself as a "reformed Blackademic." What was your experience in academia and why did you choose to move towards digital media?
I had no idea I would end up here. For a long time, I thought I would be an academic, and I had plans to pursue a doctorate. The bureaucracy and high pressure of the institution turned out to be something I wasn't cut out for, and I'm perfectly fine with that. I call myself a reformed Blackademic because stepping back from academia allowed me to see how elitism and inaccessibility can sometimes be a barrier to connecting with our own communities. If my work isn't accessible to those outside of higher education, then I don't think it's actually doing as much work as we might assume. This isn't to say that there isn't value in academic thought and high theory. Of course there is, and the things I learned while pursuing my degrees absolutely continue to inform my current work. I'm just more intentional about making my work accessible, as much as I can, and I will hopefully continue to make more progress in that arena through digital media.
What are your favorite writing projects or stories you've covered over the years?
My favorite projects are the ones that allow me to blend my passion for entertainment media with my radical, leftist, Black feminist, anti-capitalist philosophies. I'd say I'm currently most fond of my analysis of Thanos and his flawed Malthusian logic system about overpopulation and my laments on the unfortunate pattern of Black horror stories and Black time travel narratives that seem to only contemplate white violence as a constant fixture in our lives.
You've written a lot about your interest in horror and haunting narratives. Can you tell me a little bit about that?
I became interested in hauntings in grad school, in terms of how the ghosts of history continue to haunt our lives everyday and how we see those ghosts manifesting in oppressive systems, and these things often show up as literal ghosts in cinematic haunting narratives, like literally any film that uses a "Native American burial ground" as a way to convey danger and terror for white protagonists only to ultimately subdue the ghosts rather than truly acknowledge and hold accountable the violent white colonialism that created them.
Candyman (1992) is also a prime example with the vengeful ghost created from a lynching, and it is one of my personal favorites, despite it ultimately being yet another story of a frightened white woman being lusted after by a Black man. Choosing favorites is always difficult, because it changes every few years, and I love so many. Train to Busan (2016), Tigers Are Not Afraid (2017), Hereditary (2018), and The Babadook (2014) are some of my contemporary favorites, but Psycho (1960), The Exorcist (1973), Night of theLiving Dead (1968), and Invasion of the Body Snatchers (1956) are longevity faves.
When you say "new voices" in horror, I immediately think of Jordan Peele, of course, who has two amazing horror entries already, which are among my favorites as well, and is sure to bring us more. He's tapped Nia DaCosta to direct his Candyman "spiritual sequel" expected in 2020, and I am ecstatic about a Black woman directing such a huge mainstream horror film. It would be a dream to see more Black women, more queer folks, more trans folks, more disabled folks at the helm of these stories. I want to see people who have historically been largely relegated to monstrosities in horror giving us innovative tales that subvert the status quo and rattle us in new, challenging ways.
You write a lot of content that challenges hegemonic, white supremacist narratives and ways of reporting and understanding current events; for example, the idea that climate change is new/just beginning to show effect, or that BIPOC women's bodies haven't always been byproducts of white supremacist violence. What writers, sources, or strategies have helped you challenge these hegemonic narratives? What kind of anti-oppression work do you see coming to the fore and/or still needing to be done in terms of this?
My first piece of writing that went viral viral was "White Women In Robes" on my personal blog, werdbrew. It was a critique of The Handmaid's Tale's use of harms committed against BIPOC in a story that centers white women and white feminism's historical connections with white supremacy, among other things. Dorothy E. Roberts' "Killing the Black Body" greatly informed that piece of writing, and anything else I've written about the reproductive control of and expectations for Black people. I also carry Audre Lorde, Alice Walker, and Angela Davis with me daily, and the spirits of Harriet Tubman and Zora Neale Hurston. The voices of Patricia Hill Collins, Nina Simone, and Toni Morrison are always with me when I write about Black womanhood. Some more recent entries that have inspired me include Tressie McMillan Cottom's "Thick" and Sabrina Strings' "Fearing the Black Body," both amazing and important works. I just think Black women are so brilliant and so uniquely able to Illuminate ugly but necessary truths about our world. Black women are already doing crucial anti-oppression work, and always have been. People just need to listen.
"White supremacy is the ugliest thing I have ever seen—producing literal monstrosities—and its hideousness cannot b… https://t.co/wiLkhJBOYc— 𝚂𝚑𝚎𝚛𝚛𝚘𝚗𝚍𝚊 𝙹. 𝙱𝚛𝚘𝚠𝚗 (@𝚂𝚑𝚎𝚛𝚛𝚘𝚗𝚍𝚊 𝙹. 𝙱𝚛𝚘𝚠𝚗) 1568832755.0
You write that white dystopian narratives align with the "destruction of the dominant white society, the disruption of the white heteropatriarchal family unit, and the downfall of post-colonial civilization as a whole" in one of your reviews. What kind of disruption would you like to see, and are there any images of the future that you imagine seeing through and beyond this disruption?
That is the kind of disruption I like to see. In a perfect world, we would finally get to see all the remnants of white colonialism gone, but unfortunately that is not our reality. I don't mind at all that dystopian narratives involve this kind of destruction in the fantasy world, especially because the destruction of a society where white supremacists hold political, economic, and social power only creates possibilities for the rest of us. My issue is that these narratives—with the exception of The Girl With All The Gifts (2017)—never explore those new opportunities or acknowledge the fact that QTBIPOC already live in a dystopia in the real world.
Still from "The Girl With All the Gifts"pressinfo.com
Are there any particular voices or groups you'd like to see highlighted in our current cultural moment?
I absolutely want more QTBIPOC voices. More fat, disabled, neurodivergent folks being heard and respected and humanized. More sex workers, more undocumented immigrants. I want to hear more from the younger generation, too. The people who get silenced the most are the ones who need to be elevated the most.
What's your everyday routine like? Where do you like to do your work or write?
I'm actually working to embrace my nocturnal nature these days, and I'm fortunate enough to have a career that allows me to do so. What are considered "normal" sleeping hours often serve as my writing time. Some of the best things I've written have come pouring out of me between the hours of 3 and 6 am. I'm either writing in bed or on the couch, and I always write on my phone. I sleep as best as I can, if I can, for a few hours and then I'm up and working again by noon. For BYP, I might be publishing in WordPress and/or desperately searching for good stock images of Black people. For WYV, I might be taking care of daily social media management duties, doing secondary edits or final checks on a piece before Lara publishes, creating graphics, and/or designing and sending out our weekly newsletter(s). For both publications, I might be hopping on a staff video or phone call, brainstorming new content, reading and catching up on the day's news so far, answering emails, evaluating pitches, responding to Slack messages, drafting calls for pitches, organizing my editorial calendar, conducting interviews, checking in with writers, and addressing anything else that requires my attention. The late afternoon and evening is when I rest, recharge, meditate, exercise, and eat. Sometimes, I will do some in-depth editing work on writers' drafts during this time, but mostly I don't start doing that kind of work until around midnight. Then, I plan for the next day/night. I admit, sometimes it's hard to keep track of what day it is.
You do a lot of challenging work. What do you do for fun, and to take care of yourself?
I'm proud to say that I'm much better about taking care of myself now than I used to be. For self-care, I watch horror game play on YouTube because I think it's more fun to watch other people do it—plus it's cheaper and less time-consuming. I spend quality time with friends virtually—ironically, all of my closest friends live far away. I SnapChat with my little sister. I take myself to 4 pm matinees in the middle of the week. I laugh with my co-workers. I support and mentor Black kids. I lift weights. I hit my heavy bag. I eat peanut butter fudge sorbet at 3 AM. I write happy things. I listen to podcasts and audiobooks about true crime, folklore, and history. I laugh at nonsensical memes. I block white people with dreadlocks. I drink plenty of water. I take selfies. I spend entire weekends naked, and I don't let myself work on Saturdays anymore.
Want to be featured on The Visionaries Project, or want to nominate someone you think should be? Email us at [email protected] or message us on Twitter at @LibertyThis.
The press is under siege, but it hasn't stopped great journalists from doing their job.
Last week, Luke O'Brien, a writer for the Huffington Post, penned an article which revealed the person behind the Twitter handle @AmyMek (real name: Amy Jane Mekelberg), an account dedicated to peddling racist garbage predominantly aimed at Muslims. O'Brien's story itself quickly gets muddled in minutia (albeit interesting minutia), revealing various details about Mekelberg's life. As one can imagine, the article was met with scorn from Mekelberg's many fans, but things took a distinctly violent turn over the past few days, with O'Brien receiving death threats online. Over the course of Donald Trump's presidency, rhetoric against the mainstream press has become increasingly malignant.
Political criticisms are touted as un-American and there's a rapidly growing sentiment that our freedom of the press is under siege. But, while direct threats against journalists are frightening, there's an argument to be made that we're entering a new golden era of American journalism.
Here is an example of what I received after Mekelburg orchestrated a harassment mob against me. pic.twitter.com/qIThLoU9Cl
— Luke O'Brien (@lukeobrien) June 5, 2018
A Brief History Lesson:
The rise of newspapers in this country runs directly parallel to the adoption of our two party system in the late 18th century. Following the end of George Washington's second term, political groups rapidly began sponsoring papers to curry favor with the general public and to support their candidates. In this way, the press is directly responsible for stoking the fires of American partisanism. Still, these early papers were little more than pamphlets, and there were no pretenses surrounding unbiased reporting. These political newspapers were essentially used as a means of smearing the competition. The press as we know it began with the invention of the Linotype Machine, a device that rapidly industrialized the newspaper business by allowing papers to be printed at astonishing (for the time) speeds. It's important to remember though,while freedom of the press was baked into the fabric of the constitution, there were no rules prohibiting newspapers from distorting the truth, or in some case, outright lying in their publications.
In the late 19th century, the yellow journalism of William Randolph Hearst and Joseph Pulitzer pushed us into the Spanish American War. Throughout the early 20th century, the news slowly became more and more fact-based, eventually reaching what many consider to be the "Golden Age of Journalism," that brief period during the Vietnam War when the press core took on the U.S. government and won. Unfortunately, this period was little more than a blink, an exception to the rule of American media. In the decades following journalism's golden age, the 24-hour cable news circuit coupled with the Internet, rendered print newspapers obsolete.