We all know the feeling. You plop down in a stylist's seat excitedly waiting for your slay to begin, only to be met with a look of panic when they actually lay eyes on your hair. As a woman with thick and coarse 4C textured hair, I know that gaze well. Sadly, so do most Black women, and it's been an ongoing problem in the entertainment world for decades.
During a recent episode of Red Table Talk available on Facebook Watch, Willow Smith shared her experience of having to style her own hair at a major fashion event. She says:
"All of the white models were getting their hair done and they all had somebody. The person that was supposed to come do my hair, came, looked at it, and tried to do something to it; tried to touch it. I can tell they were extremely (pauses) perturbed. I could tell that they were just like, I don't know what I'm doing. That anxiety of looking at them in the mirror not knowing what to do with my head, made me feel like, I'm going to just take the reins. So, I basically did my own hair for a really high fashion shoot. That should never be happening."
Although her story is unfortunate, it's not surprising at all. However, it does make you think, with Black creatives making such an impact in Hollywood and the entertainment space, why are we still not being catered to in the same way? I mean just imagine being a Black hairstylist or make-up artist that gets booked for a high profile event and being unable to style white women's hair or face. Chile, we'd be fired so quick! There is a desire to increase diversity and representation in media, but what goes on behind the scenes suggests that that mobility is surface.
As a model, Willow has been afforded many opportunties to work with major brands like Chanel and Mugler, but is it really a seat at the table if she and women like her aren't afforded the tools and resources to bring their best selves to these spaces? Black women being met with stylists who don't know how to work with their hair is nothing new. If white stylist can't learn to work with our hair, so much so we have to do our own hair on these sets, maybe the bigger conversation is how important it is to make sure representation and diversity isn't just represented on screens, but behind the scenes as hairstylists and makeup artists on set too. Also, when we get opportunities, it is important to share them!
Speaking of sharing, here is a list of amazing Black women who have also spoken up about the discrimination of having to do their own hair on sets in Hollywood.
With the exception of her show Insecure, writer and actress Natasha Rothwell noted having to spend her last in the early stages of her career to ensure her hair was on point, a burden her white counterparts never had to bear. She said, "They can wake up, roll out of bed and don't have to worry about what's in their bag."
"It's a real disservice to actors of color who are effectively doing someone else's job and not getting paid for it. There's nothing [more] dehumanizing than sitting in a hair and makeup chair and watching your co-stars go through the works and leave, and you're still there because someone's moving very slowly because they're very scared. It's [you] feeling like a problem to be solved."
Taraji P. Henson
"If you know how to do it, great. If you don't, pass it to somebody who does. It has nothing to do with pride or ego," Henson told The Hollywood Reporter. "I'm not saying you have to be black to know how to do [that] hair, but you got to know what the hell you're doing. When an actress of color requests a hairstylist, listen to them. They're not being difficult."
In 2019, the model vocalized her experiences at Paris Fashion Week and not being able to find a stylist who knew how to do her hair. She wrote in her Instagram caption:
"I arrived backstage where they planned to do cornrows, but not one person on the team knew how to do them without admitting so. After one lady attempted and pulled my edges relentlessly, I stood up to find a model who could possibly do it. After asking two models and then the lead/only nail stylist, she was then taken away from her job to do my hair.
"This is not OK. This will never be OK. This needs to change. No matter how small your team is, make sure you have one person that is competent at doing afro texture hair care OR just hire a black hairstylist! Black hairstylists are required to know how to do everyone's hair, why does the same not apply to others?"
Like many other actresses included in this list, Tia Mowry-Hardrict also recalls being tearful on set. She told NBC News:
"It's mind-blowing to me that we still have to —- meaning Black actresses —- have to fight to have Black hairdressers on set for us. There was one time in particular I was doing this movie and, my God, I was the lead. And after this person did my hair, I cried. I was like 'I cannot, like, I cannot go out there looking like this.' I just don't understand why you have to fight to get someone to understand the importance of that."
While Halle Berry looks like she was made to rock her signature pixie cut, the style was actually a product of her environment as an up-and-coming actress who had trouble finding stylists who knew how to do Black hair on set. She revealed:
"That's why I had short hair. [Maintaining] it was easy. I think as people of color, especially in the business, we haven't always had people that know how to manage our hair. Those days are different now, that's when I started."
Queen Latifah, who notably did her own hair during her time starring in the hit sitcom Living Single, but expressed that change needs to be a focus:
"It's not because their heart wasn't in the right place — they just didn't have the skill set to do Black hair. As African-Americans, we have all different shapes, sizes, colors, textures, and you got to be able to work with that. We are always in a position to be able to work with what White people do. That's just how it's been, but it has to be reversed. It has to be some respect over here and figuring out what to do with our hair. So we just really need to add more people to the industry."
Gabrielle Union is never one to mince words when it comes to speaking her truth. In a 2017 Glamour essay, she wrote about her experience when getting started as an actress:
"I was like a guinea pig on set, and I didn't yet have enough power to request a stylist who I actually wanted to touch my hair. It got to the point that I would pay to have my hair done before I got to work and pray they didn't screw it up."
"I realized very quickly that there were many people in hair and makeup trailers who were totally unqualified to do my hair. Hairstylists used Aqua Net–like hairspray with crazy amounts of alcohol, which caused chunks of my hair to literally come off on a styling tool."
Gabourey Sidibe shared in at tweet in 2019:
"If they don't have the budget to hire a Black hairstylist for me, or won't, I just get the director to agree that my character should have box braids or Senegalese twist."
In the Freeform series, The Bold Type, actress Aisha Dee plays the biracial, bisexual, bold Kat. However, she made it known before the series' end that all was not as progressive as it seemed behind the scenes on set. She shared on Instagram:
"It took three seasons to get someone in the hair department who knew how to work with textured hair. This was impactful on so many levels, and I'm grateful for the women who show me how to embrace and love my hair in a way I never had before. I want to make sure that no one else ever has to walk onto a set and feel as though their hair is a burden. It is not."
The Flash star Candice Patton revealed during a SXSW panel in 2019 that she, too, has encountered when she said she needed "someone who can do Black hair.":
"At work, I don't want to be labeled a diva because I have to say to production, 'I need someone who can do Black hair. I need someone who knows and understands how to do Black makeup.' It is not the same. We do not share the same kind of skin. We do not need the same kind of makeup. And not everyone knows how to paint me in a way that makes me feel comfortable on camera, and me asking for that is not me being difficult. It's me being a diverse talent on this network asking for something that's different. And if you hire me, you hire me with the intent of knowing that I have different requirements and different needs—and that's just what it is. I think there's a lot of education that still needs to happen."
Actress Jurnee Smollett was able to advocate for her desire to have a Black stylist on set of Birds of Prey by talking to her co-star Margot Robbie about wanting one. She stated:
"In pre-production, when we were creating a look for the hair, for me it was very important to bring a woman of color on in the hair department to create the look for Black Canary. My hair, my texture, the kind of blonde we were going for…and I called her up and I said, 'Honestly, Margot, it's different. I need Nikki Nelms and this is why I need her.'"
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Kirby Carroll grew up in VA but now calls Atlanta, GA home. She has a passion for creating content and helping brands grow through storytelling and public relations. When not immersed in work, you can find her sipping a mimosa at brunch or bingeing a new TV drama on Netflix. Keep up with her on social media at @askKirbyCarroll.
Amber Riley Is In Her Element
Amber Riley has the type of laugh that sticks with you long after the raspy, rhythmic sounds have ceased. It punctuates her sentences sometimes, whether she’s giving a chuckle to denote the serious nature of something she just said or throwing her head back in rip-roarious laughter after a joke. She laughs as if she understands the fragility of each minute. She chooses laughter often with the understanding that future joy is not guaranteed.
Credit: Ally Green
The sound of her laughter is rivaled only by her singing voice, an emblem of the past and the future resilience of Black women stretched over a few octaves. On Fox’s Glee, her character Mercedes Jones was portrayed, perhaps unfairly, as the vocal duel to Rachel Berry (Lea Michele), offering rough, full-throated belts behind her co-star’s smooth, pristine vocals. Riley’s always been more than the singer who could deliver a finishing note, though.
Portraying Effie White, she displayed the dynamic emotions of a song such as “And I'm Telling You I'm Not Going” in Dreamgirls on London’s West End without buckling under the historic weight of her predecessors. With her instrument, John Mayer’s “Gravity” became a religious experience, a belted hymnal full of growls and churchy riffs. In her voice, Nicole Scherzinger once said she heard “the power of God.”
Credit: Ally Green
Riley’s voice has been a staple throughout pop culture for nearly 15 years now. Her tone has become so distinguishable that most viewers of Fox’s The Masked Singer recognized the multihyphenate even before it was revealed that she was Harp, the competition-winning, gold-masked figure with an actual harp strapped to her back.
Still, it wasn’t until recently that Riley began to feel like she’d found her voice. This sounds unbelievable. But she’s not referring to the one she uses on stage. She’s referencing the voice that speaks to who she is at her core. “Therapy kind of gave me the training to speak my mind,” the 37-year-old says. “It’s not something we’re taught, especially as Black women. I got so comfortable in [doing so], and I really want other people, especially Black women, to get more comfortable in that space.”
“Therapy kind of gave me the training to speak my mind. It’s not something we’re taught, especially as Black women."
If you ask Riley’s manager, Myisha Brooks, she’ll tell you the foundation of who the multihyphenate is hasn’t changed much since she was a kid growing up in Compton. “She is who she is from when I met her back when she was singing in the front of the church to back when she landed major roles in film and TV,” Brooks says. Time has allowed Riley to grow more comfortable, giving fans a more intimate glimpse into her life, including her mental health journey and the ins and outs of show business.
The actress/singer has been in therapy since 2019, although she suffered from depression and anxiety way before that. In a recent interview with Jason Lee, she recalls having suicidal ideation as a kid. By the time she started seeing a psychologist and taking antidepressants in her thirties, her body had become jittery, a physical reminder of the trauma stacked high inside her. “I was shaking in [my therapist’s] office,” she tells xoNecole. “My fight or flight was on such a high level. I was constantly in survival mode. My heart was beating fast all the time. All I did was sweat.”
There wasn’t just childhood trauma to account for. After auditioning for American Idol and being turned away by producers, Riley began working for Ikea and nearly missed her Glee audition because her car broke down on the highway while en route. Thankfully, Riley had been cast to play Mercedes Jones. American Idol had temporarily convinced her she wasn’t cut out for the entertainment industry, but this was validation that she was right where she belonged. Glee launched in 2009 with the promise of becoming Riley’s big break.
In some ways, it was. The show introduced Riley to millions of fans and catapulted her into major Hollywood circles. But in other ways, it became a reminder of the types of roles Black women, especially those who are plus-sized, are relegated to. Behind the scenes, Riley says she fought for her character "to have a voice" but eventually realized her efforts were useless. "It finally got to a point where I was like, this is not my moment. I'm not who they're choosing, and this is just going to have to be a job for me for now," she says. "And, that's okay because it pays my bills, I still get to be on television, I'm doing more than any other Black plus-sized women that I'm seeing right now on screen."
The actress can recognize now that she was navigating issues associated with trauma and low self-esteem at the time. She now knows that she's long had anxiety and depression and can recognize the ways in which she was triggered by how the cult-like following of the show conflicted with her individual, isolated experiences behind the scenes. But she was in her early '20s back then. She didn't yet have the language or the tools to process how she was feeling.
Riley says she eventually sought out medical intervention. "When you're in Hollywood, and you go to a doctor, they give you pills," she says, sharing a part of her story that she'd never revealed publicly before now. "[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that's not fixing my problem. If anything, it's making it worse."
“[I was] on medication and developing a habit of medicating to numb, not understanding I was developing an addiction to something that’s not fixing my problem. If anything it’s making it worse.”
Credit: Ally Green
At one point, while in her dressing room on set, she rested her arm on a curling iron without realizing it. It wasn't until her makeup artist alerted her that she even realized her skin was burning. Once she noticed, she says she was "so zonked out on pills" that she barely reacted. Speaking today, she holds up her arm and motions towards a scar that remains from the incident. She sought help for her reliance on the pills, but it would still be years before she finally attended therapy.
This stress was only compounded by the trauma of growing up in poverty and the realities of being a "contract worker." "Imagine going from literally one week having to borrow a car to get to set to the next week being on a private jet to New York City," she says. After Glee ended, so did the rides on private planes. The fury of opportunities she expected to follow her appearance on the show failed to materialize. She wasn't even 30 yet, and she was already forced to consider if she'd hit her career peak.
. . .
We’re only four minutes into our Zoom call before Riley delivers her new adage to me. “My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway,” she says.
On this Thursday afternoon in April, the LA-based entertainer is seated inside her closet/dressing room wearing a cerulean blue tank top with matching shorts and eating hot wings. This current phase of healing hinges on balance. It’s about having discipline and consistency, but not at the risk of inflexibility. She was planning to head to the gym, for instance, but she’s still tired from the “exhausting” day before. Instead, she’s spent her day receiving a massage, eating some chicken wings, and planning to spend quality time with friends. “I’m not going to beat myself up for it. I’m not going to talk down to myself. I’m going to eat my chicken wings, and then tomorrow I’m [back] in the gym,” she says.
“My new mantra is ‘humility does not serve me.’ Humility does not serve Black women. The world works so hard to humble us anyway."
This is the balance with which she's been approaching much of her life these days. It's why she's worried less about whether or not people see her as someone who is humble. She'd rather be respected. "I think you should be a person that's easy to work with, but in the moments where I have to ruffle feathers and make waves, I'm not shying away from that anymore. You can do it in love, you don't have to be nasty about it, but I had to finally be comfortable with the fact that setting boundaries around my life – in whatever aspect, whether that's personal or business – people are not going to like it. Some people are not going to have nice things to say about you, and you gotta be okay with it," she says.
When Amber talks about the constant humbling of Black women in Hollywood, I think of the entertainers before her who have suffered from this. The brilliant, consistent, overqualified Black women who have spoken of having to fight for opportunities and fair pay. Aretha Franklin. Viola Davis. Tracee Ellis Ross. There's a long list of stars whose success hasn't mirrored their experiences behind the scenes.
Credit: Ally Green
If Black women outside of Hollywood are struggling to decrease the pay gap, so, too, are their wealthier, more famous peers.
Riley says there’s been progress in recent years, but only in small ways and for a limited group of people. “This business is exhausting. The goalpost is constantly moving, and sometimes it’s unfair,” she says. But, I have to say it’s the love that keeps you going.”
“There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman,” she continues. “We’re still niche. We’re still not main characters.”
"There’s no way you can continue to be in this business and not love it, especially being a plus-sized Black woman. We’re still niche. We’re still not main characters.”
Last year, Riley starred alongside Raven Goodwin in the Lifetime thriller Single Black Female (a modern, diversified take on 1992’s Single White Female). It was more than a leading role for the actress, it also served as proof that someone who looks like her can front a successful project without it hinging on her identity. It showcased that the characters she portrays don’t “have to be about being a big girl. It can just be a regular story.”
Riley sees her work in music as an extension of her efforts to push past the rigid stereotypes in entertainment. Take her appearance on The Masked Singer, for instance. Riley said she decided to perform Mayer’s “Gravity” after being told she couldn’t sing it years earlier. “I wanted to do ‘Gravity’ on Glee. [I] was told no, because that’s not a song that Mercedes would do,” she says. “That was a full circle moment for me, doing that on that show and to hear what it is they had to say.”
As Scherzinger praised the “anointed” performance, a masked Riley began to cry, her chest heaving as she stood on stage, her eyes shielded from view. “You have to understand, I have really big names – casting directors, producers, show creators – that constantly tell me ‘I’m such a big fan. Your talent is unmatched.’ Hire me, then,” she says, reflecting on the moment.
Recently, she’s been in the studio working on original music, the follow-up to her independently-released debut EP, 2020’s Riley. The sequel to songs such as the anthemic “Big Girl Energy” and the reflective ballad “A Moment” on Riley, this new project hones in on the singer’s R&B roots with sensual grooves such as the tentatively titled “All Night.” “You said I wasn’t shit, turns out that I’m the shit. Then you called me a bitch, turns out that I’m that bitch. You said no one would want me, well you should call your homies,” she sings on the tentatively titled “Lately,” a cut about reflecting on a past relationship. From the forthcoming project, xoNecole received five potential tracks. Fans likely already know the strengths and contours of Riley’s vocals, but these new songs are her strongest, most confident offerings as an artist.
“I am so much more comfortable as a writer, and I know who I am as an artist now. I’m evolving as a human being, in general, so I’m way more vulnerable in my music. I’m way more willing to talk about whatever is on my mind. I don’t stop myself from saying what it is I want to say,” she says.
Credit: Ally Green
“Every era and alliteration of Amber, the baseline is ‘Big Girl Energy.’ That’s the name of her company,” her manager Brooks says, referencing the imprint through which Riley releases her music after getting out of a label deal several years ago. “It’s just what she stands for. She’s not just talking about size, it’s in all things. Whether it’s putting your big girl pants on and having to face a boardroom full of executives or sell yourself in front of a casting agent. It’s her trying to achieve the things she wants to do in life.”
Riley says she has big dreams beyond releasing this new music, too. She’d love to star in a rom-com with Winston Duke. She hasn't starred in a biopic yet, but she’d revel in the opportunity to portray Rosetta Tharpe on screen. She’s determined that her previous setbacks won’t stop her from dreaming big.
“I think one of my superpowers is resilience because, at the end of the day, I’m going to kick, scream, cry, cuss, be mad and disappointed, but I’m going to get up and risk having to deal with it all again. It’s worth it for the happy moments,” she says.
If Riley seems more comfortable and confident professionally, it’s because of the work she’s been doing in her personal life.
She’d previously spoken to xoNecole about becoming engaged to a man she discovered in a post on the site, but she called things off last year. For Valentine’s Day, she revealed her new boyfriend publicly. “I decided to post him on Valentine’s Day, partially because I was in the dog house. I got in trouble with him,” she says, half-joking before turning serious. “The breakup was never going to stop me from finding love. Or at least trying. I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness, and you enjoy it and work through it.”
Credit: Ally Green
"I don’t owe anybody a happily ever after. People break up. It happens. When it was good, it was good. When it was bad, it was terrible, hunny. I had to get the fuck up out of there. You find happiness and you enjoy it and work through it.”
With her ex, Riley was pretty outspoken about her relationship, even appearing in content for Netflix with him. This time around is different. She’s not hiding her boyfriend of eight months, but she’s more protective of him, especially because he’s a father and isn’t interested in becoming a public figure.
She’s traveling more, too. It’s a deliberate effort on her part to enjoy her money and reject the trauma she’s developed after experiencing poverty in her childhood. “I live in constant fear of being broke. I don’t think you ever don’t remember that trauma or move past that. Now I travel and I’m like, listen, if it goes, it goes. I’m not saying [to] be reckless, but I deserve to enjoy my hard work.”
After everything she’s been through, she certainly deserves to finally let loose a bit. “I have to have a life to live,” she says. “I’ve got to have a life worth fighting for.”
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How Black Women Can Get Out Of Survival Mode At Work
We've heard this same song replayed over and over again: Women are stressed and overworked, underpaid, and overlooked in the workplace. Research and everyday experiences back up this claim. And Black women face the added stress of discrimination, even lower pay, and being head of household for a large percentage of homes.
So, how can we get out of survival mode? How can we take deliberate steps to thrive? I'm a huge fan of looking at things from a balanced point of view. I refuse to wear those woe-is-me-it's-hard-being-a-Black-woman tinted glasses often sold to us by propaganda and fear mongers. Here are a few tips that helped me to finally step out of survival mode and into thrive mode:
1. Own your career choices with a mindset shift from lack to optimistic focus and discipline.
It can seem tough to radically approach your career moves as a journey filled with empowering choices, especially when bills have to be paid, and there's stress related to finances. Oftentimes, when I feel the pressure of financial responsibilities, what empowers me is a change in my outlook. I dislike feeling boxed in or forced into anything, including a job or professional role, simply out of financial need. So my mindset has to shift.
I've had to take jobs that I didn't necessarily like. I've also been underemployed before. The key was to think about the goal and focus solely on that. Whether it was to pay off a debt, tide me over while I was in a time of self-employment slump, or save up for a large purchase, focusing on the goal vs. my dislike of the actual job, helped me push through and be more strategic about my career moves.
Once I was able to meet certain goals, I found the freedom to be a bit more picky with the organizations I work with, the companies I work for, and the salary I was willing to accept. It might take a bit of time, but you can set yourself up for this freedom with strategy and focus.
The optimistic piece is key here because it's easy to fall into a cycle of thinking about the negatives of a job or career. It's also easy to fall into shame about mistakes made or about what you perceive you lack, but when you shift focus to what you can control, what you can change, what you do have, and your end goal, you're better able to really be strategic about going for the professional life and quality of work you'd like to have.
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2. Get to know what really motivates your fulfillment or happiness at work.
Do you just generally like helping people? Do you like challenging yourself intellectually? Do you love working with children or being a person of authority? Do you like being outdoors or doing work activities in nature? Do you enjoy solo work where you really don't have to interact with too many people all the time? Is your work purpose-driven or more about making lots of money? (It's totally fine to be motivated by the pursuit of financial freedom and wealth, but you must keep it real with yourself in this regard. We all play various roles in this world, and the money-makers among us are vital as well, so there's no shame in that.)
Sit down and think about these things. Write them down. If your current job or career doesn't align with what motivates you to get up and take action every day or it doesn't involve tasks that will guide you to your ultimate goal in life, consider looking for other work, going back to school to get training in something else you might be interested in doing for a living, volunteering, or taking on other projects at your current job in order to really tap into what you enjoy doing.
3. Find other fulfilling activities that fill in the gaps of dissatisfaction.
Some of us can't afford to just quit a job or give up on the years we've dedicated to a company. That's fine. If there are things about your job that are stressors or that are simply just a norm in the work you do, find other activities outside of work that allows you to have some sense of release and balance. It could be sports, spa dates, exercise, church, family time, or solo do-nothing days.
It could be starting a side business, a nonprofit, or a group for other people who have similar interests. It could be therapy or other spiritual practices. If you find you've made your job your whole life, it's a good idea to figure out a better balance so that you aren't consumed by it.
It's great to be an achiever and to do well at work, but there are other human needs that are important, too. Deliberately schedule other activities on your calendar and make them a priority so that you can start to really enjoy your career by having a balanced outlook on your role in it.
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4. Use your voice---especially if you're in a leadership position---and ask for help.
Oftentimes, it can be hard for us to simply as for the help we need. We don't want to seem inadequate, inexperienced, or, dare I say, weak. We want to seem strong, powerful, and resilient all the time. And that desire is a valid one, especially due to the discrimination and toxic systemic issues we face in the workplace.
I challenge you, though, to ask for help, anyway. If you need an assistant, ask for one. If you need time off, ask for it. If you need more time to complete a task, ask for it. Build your tribe at work and get support. Even if you feel your manager or supervisor will say no, speak up anyway.
We have to get into a practice of speaking up because the more all of us do this, the more we empower ourselves and help to shift company cultures. It's really annoying and sometimes insulting to have to justify a reasonable request for assistance, but sometimes, it must be done.
I once had to create a whole pitch just to get an intern to help with the work I had in managing projects that probably should have been split between three people, not one. I ended up getting the intern, but just having to create this whole pitch for something a leader could have used common sense to approve was a lesson in humility for sure. It was as if I had to prove I deserved an intern or help at all.
If you're a manager, delegate. Trust others to do tasks. Empower them by giving them the tools they need to fulfill certain obligations that are really distracting you from the more vital deadlines that you need to meet. Being a superwoman is just not realistic, and to be honest, it's a farce. A true leader serves and is able to give others a chance to be leaders within their own right. You can let someone else shine without dimming your own light.
And managers, speak up for more efficient work processes, better ways to communicate, equal pay, and better protocols that put workers who offer amazing talent and time first. If you have to take baby steps to do this, do it, even if you must align yourself with a privileged ally or seek legal counsel. Again, change in terms of the fight to survive in a career or thrive in one can be sparked with one action from many of us.
5. Quit. Yes, just let that job go.
Burnout is nothing to play with, and it can literally affect your physical health. If you find that you're always mentally exhausted, are oftentimes depressed or angry, or you're coping with work-related stress through overeating or over-indulging in other ways, it's time to take a full stop. If you're literally at your wit's end and you have the family or other support to resign, do it. Talk to your family, a counselor, or a mentor, and take the steps to prep for an exit.
I'd had a point in my life where professional burnout literally led to a mental breakdown. I was in my early 30s at the time. I was overweight, drinking a lot, angry all the time, and wasn't sleeping well. I was working all the time as well, and I was not enjoying my life anymore. I called my mom. "There's something wrong. I cannot function. Ma, it's getting bad. I cannot do this anymore." She simply replied, "Come home."
I felt ashamed and like a failure, but looking back, several years later, it was the best decision of my life. My mom, stepfather, and grandmother really helped me during a tough time. I cashed out my 401K, got on unemployment, and rebuilt. I found love, bought a car (in cash, sis!), went to therapy, moved into my dream home, traveled, and made more money than I had when I was at that previous job where I'd experienced burnout. (I found balance again, both emotionally and mentally, and I felt like myself again.)
If you have the support, tap into it. Use all resources afforded to you to be able to take some time off to get out of survival mode. Change your environment.
And maybe your "letting go" doesn't even include quitting outright. Focusing on the positive outcomes, explain to your HR department or manager, and ask to take a sabbatical. During the break---where your job would still be waiting for you upon your return---map out what you want out of your career, what gives you joy, and what it will take to get your finances in order. Let go of the shame and get the help you need.
As Black women, we deserve all the best life has to offer, and while we must work hard and continue to challenge ourselves, we must also find fulfillment and joy within our career journeys. I hope these tips will help many of you take back your life and thrive.
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