Entertainment

Girlfriends Actress Talks Code Switching and Her New Role in “I Am The Night”

THE AFRO — Golden Brooks spent much of her California childhood acting out plays with her neighborhood friends.

Published

7 years ago

January 26, 2019

By Nadine Matthews

Golden Brooks spent much of her California childhood acting out plays with her neighborhood friends. However, acting wasn’t something she aspired to. “I wanted to be Barbara Walters,” she says. “I wanted to interview people.” Perhaps most known for the timeless comedy series Girlfriends in which she co-starred with Tracee Ellis Ross, Jill Marie Jones and Persia White, Brooks is one of the stars of the upcoming TNT series, I Am The Night.

Raised by a divorced mother, Brooks says she is mostly grateful for the way she was brought up. “My Mom worked two jobs to support my brother and I. We struggled but my brother and I were always in private school. My mother always made sure we had the best. She did all she could to keep us busy and exposed to different things.” Not having much left over for toys, Brooks was forced to use her imagination, which helped in her career as an actress.

“Code switching,” she says, was also a big part of her childhood. “I would go to these private schools and assimilate and then when I got back to my block I would be more the neighborhood girl. I learned quickly to navigate both worlds. It was what gave me the knowledge to build my character on Girlfriends.”

I Am The Night is based on Fauna Hodel’s memoir One Day She’ll Darken. In it, Brooks portrays the mixed-race Fauna’s mother Jimmy Lee. When Fauna learns some shocking secrets about her parentage, she sets off on a dark, sometimes terrifying search for her roots. Set in 1960’s Nevada and Los Angeles, it is part mystery, part family drama, part tantalizing film noir.

The relationship between Jimmy Lee and Fauna is complicated and Brooks drew from her experiences with her own mother to create the character. She says, “My mother has much lighter skin than me so there were a lot of things I would do she couldn’t understand. I used some of that for this character’s relationship with her daughter.”

Fauna, though white-passing, has always lived as Black. When she learns more about her family, resentment toward her mother grows and the tension between them escalates to dizzying proportions. Brooks can relate. “I didn’t look like my mom and at 15 you don’t understand why. You think, ‘If I just looked like this, I would have that.’ I went through a lot of that. A lot of that sadness and pain and anger I put into Jimmy Lee.”

Two things happened that began to solidify Brooks’ identity as a teen. “They began bussing kids from South Central Los Angeles and they would tease me that I talked like a white girl. Eventually though, those kids helped me feel more comfortable with myself.” Theater also entered Brooks’ life around that time. She recalls, “I found I felt safe in theater. So I engrossed myself in theater in junior high and high school. I could disappear into the characters and that’s where I felt most comfortable.”

As someone who majored in media representation at UC Berkeley, Brooks has an interesting vantage point from which to judge how Hollywood has evolved. She explains, “I started out on Showtime on a show called Links with Pam Grier and Tim Reid. He actually was doing what Tyler Perry is doing now. Tim had his own soundstage, everything. I’ve seen the exploitation, I’ve played the stereotypes. I remember when the CW was around and it was like what BET is now.”

She shares that she doesn’t encounter the blatant racism that she did even at the beginning of this century. “I used to get, ‘Can you just sass it up a bit? Yes, there was that code and I don’t hear that anymore. In the early 2000s you’d hear comments like that.”

Brooks credits Girlfriends with helping to create the more welcoming environment for Black actresses that exists today. “I can never talk about where we are today,” she states emphatically, “without talking about Girlfriends. It was the springboard for a lot of things. It portrayed four successful African-American women and I think it led to characters like Olivia Pope and the Cookie. We’re now blockbuster sensations. There’s no conversation about ‘Will they be successful?’ or ‘Are they gonna sell overseas?’ Yeah, we do! We stood our ground and things changed. It’s living proof persistence pays off!”

This article originally appeared in The Afro.

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Arts and Culture

IN MEMORIAM: Oakland Dance Legend Reginald Ray-Savage, 67

Savage lived his life as tribute to the teachers who had shared their wisdom on art and life with him. With a palpably genuine enthusiasm and desire to bring out the best in people, and pass the torch to the next generation, he poured into his students, as his teachers and mentors had into him. His infectious energy, love of life, and generosity of spirit inspired countless souls, both inside and outside the dance studio.

Published

1 week ago

June 24, 2026

Oakland Post

Reginald Ray-Savage brought the old-school teaching techniques he learned in the Katherine Dunham Dance Company to the youth at the Oakland School for the Arts in 2003. Courtesy photo.

Special to The Post

Reginald Ray-Savage – dancer, choreographer, and beloved teacher, mentor, and inspiration to many – passed away on May 17. The Oakland School for the Arts dance instructor was 67.

Born Reginald Ray, Jr. in St. Louis, Missouri, on Sept. 5, 1958, he formally adopted the name ‘Savage,’ to honor the great Archie Savage, his mentor at Katherine Dunham’s Performing Arts Training Center where his dance training journey began in East St. Louis, Illinois.

He soon started dancing professionally with Katherine Dunham Dance Company, making dance a way of life. His grit, tenacity, and notorious work ethic brought him scholarships to train at multiple prestigious dance institutions, including The Ailey School (NYC) and Ruth Page School of Dance (Chicago), under the direction of acclaimed ballet instructor Larry Long and Dolores Lipinski-Long.

He danced with several companies including Joel Hall Dance Company, Ruth Page Ballet Chicago, Lyric Opera, Chicago City Ballet, American Festival Ballet, and touring productions of “Music Man” and “A Chorus Line”.

In 1989, Savage moved to Oakland where he started teaching seven days a week, amassing a devoted following that was attracted to his no-nonsense, impassioned, and effective old-school teaching style.

In 1992, at the insistence of his committed core of students, he founded Savage Jazz Dance Company (SJDC). Over a span of 30 years, Savage produced more than 100 original works, and tour SJDC nationally and internationally, performing at Casa del Jazz in Rome to a packed house and rave reviews—the first dance company to receive such an invitation.

Savage built SJDC into one of the Bay Area’s most respected dance companies, creating a signature style known for its combination of disciplined training, blended with rich artistic musical expression, and raw energy.

In 2003, Savage joined the Oakland School for the Arts as chair of the School of Dance. Over the next two decades, he created, built, and maintained a strong dance program, recognized, and respected by other dance institutions for forging well-trained and resilient dancers and human beings.

The depth of Savage’s tough love and care, and the skill of his teaching and mentoring are reflected in the careers of his students who have gone on to dance with the San Francisco Ballet, Martha Graham Dance Company, Mark Morris Dance Group, Janet Jackson, Ariana Grande, and companies across the globe.

Mark Kitaoka, a photographer hired by Savage in 2016, posted a living eulogy on the dance instructor.

“When I see the self-pride he builds in his students I am constantly impressed that people like Savage still exist in our ‘meme’ society,” Kitaoka wrote. “The kids he mentors are fiercely loyal to one another and I’m certain his methods teach each of those kids to put aside social status, race and gender and is replaced by solid loyalty for other souls.

“What Savage contributes to our world cannot be completely summed up in a few meager paragraphs but can be seen in the countless lives of those he has touched. Because of him, our world, and the world of the future is both a richer and better place.

Reginald Ray-Savage will forever be missed, remembered, and lovingly quoted. He is survived by his beloved wife, Alison Hurley, his sister, Sonia, and his brothers, Pierre, and Andre. May his inextinguishable spirit and impact live on in all the lives he touched.

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Oakland Post: Week of June 17 – 23, 2026

The printed Weekly Edition of the Oakland Post: Week of June 17 – 23, 2026

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2 weeks ago

June 20, 2026

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Books

Book Review: Something We Said: Richard Pryor, A Notorious Word, and Me

Though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

Published

2 weeks ago

June 17, 2026

bpusa-syndication

By Terri Schlichenmeyer

Author: Elizabeth Stordeur Pryor, Copyright: c.2026, Publisher: Simon & Schuster, SRP: $29.00, Page Count: 304 pages

Sticks and stones may break my bones.

You know the rest of that childhood rhyme, and you know it’s not true: words have meaning, and they can cut like a knife. And yet, though sticks and stones and words are weapons, as in the new memoir, “Something We Said” by Elizabeth Stordeur Pryor, they can also hold people together.

The college lecture was supposed to have been about the 1850 Fugitive Slave Act.

It was supposed to be a lively discussion, but unintentionally it quickly veered off course. When a White student quoted a movie line featuring the “n-word,” the room went quiet, and Professor Elizabeth Stordeur Pryor panicked.

She’d grown up hearing that word, and seeing it, and she’d experienced the painful feelings attached to it. She knew who wrote that movie line. It was her father, Richard Pryor.

In her first few years, Pryor spent most of her time in a White world, hearing her mother’s tales of her larger-than-life father, and trying to grasp meaning in her father’s albums, peppered as they were with a word that was off-limits to her.

When she was six, she met her father for the first time. She began to visit him regularly.

It was fun at her Dad’s house; though he was sometimes moody, he taught her to fish and play dominoes. She became close with her siblings, fearful of her great-grandmother, and confused about a word that her father’s uncles threw around like a beach ball. It was a forbidden word at her mother’s house, but her father used it. Differently. Often.

The word hurt. She knew first-hand that it did.

“The word became a degrading slur that shackled all Black people together into a single, inescapable tribe,” she says.

So why was it okay for certain people to say it?

Knowing that, in the years since Richard Pryor’s accident and his death from multiple sclerosis, he’s become somewhat of a legend. It is a very satisfying thing, isn’t it? So is reading about him, especially from the viewpoint of one of his seven children. But his is not the only story you get inside “Something We Said.”

Wrapped around the life of Richard Pryor is the life of a word that straddles a line between danger and provocation, a word that author Elizabeth Stordeur Pryor refuses to say or even print. As she tells readers about her father and her loving-but-difficult relationship with him, she warily circles that word, as if it might bite. You may cringe, but she weighs it carefully, helping readers see it as a chameleon before always bringing us back to her father, his work, and his life before and after her and that word.

It’s a push-pull balance that holds readers fast, and keeps them there. It’s perfect for fans of this genre, or Richard Pryor, or of language – and it’s going to make you think. If you want a good memoir this week, one that may send you to your old album collection, “Something We Said” is rock-solid.