There's almost nothing better than being a top earner in your field, and getting to that six-figure mark is a big career milestone within itself. But what about those of us who don't work in the typical fields where the journey to making $100,000 or more is a bit more feasible, a lot more cookie-cutter, and much more straight-and-narrow than others. (Hey, creatives, hey! I see and feel you!)
The frustration is real, especially when we're thinking along the lines of the usual get-a-college-degree chatter about how best to get to that tax bracket (and how nontraditional routes are the exception, not the rule. Don't we all have an auntie, uncle, mom, dad, or other elder constantly pushing that narrative?)
Well, take this list to the naysayers. We know of more than several high-paying jobs for women with no degree:
FG Trade
Commercial Pilot
A license, flight hours, and a love of, well, flying, are the minimum requirements for the role of commercial pilot, and you can earn up to $139,000 to boot. You can work for a major airline, only do private chartered flights, or start your own company offering services or teaching. The sky's the limit. (Hey, sis. I couldn't resist.)
Truck Driver
Sis, don't sleep on this multi-billion-dollar industry. As a truck driver, you can make up to $145,000 per year with a high school diploma, a commercial drivers license, and exemplary experience. It's also a plus if you are the owner-operator of a truck and you know the ins and outs of the industry.
Media Communications Equipment Professional
For this one, we're looking at up to $131,000 in yearly salary potential, and you can find success (or at least get your foot in the door) with a two-year associate's degree for this amount of pay. If you are great at setting up microphones, comms tech, or working sound, lighting, and mixing boards for large-scale events, this is the opp for you.
SDI Productions
Agricultural Manager
If you work in larger markets like San Francisco, there's the potential to make up to $129,000 per year as an agricultural manager. In this job, you'll supervise and manage farm or agricultural workers, determine budgets and create strategies for the maintenance and growth of farms or a company's farming activities. You'll need at least a high school diploma and some companies require special certifications as well as experience in the industry.
Transit or Railroad Officer
At the top ranks and in larger city markets, transit or railroad officers are making upwards of $99,000 on average, and more with benefits and incentives. A high school education is the starting point in terms of qualifications, and of course, experience in law enforcement, management, and training is a must.
Supervisor, Non-Retail Sales
There's up to $151,000 a year up for grabs with a gig like this, and you'll need a high school diploma and a knack for sales and communications. This job requires managing sales professionals, as well as budgeting and accounting and is perfect for someone who has a bit of skin in the game.
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Senior Web Developer
You can earn up to $101,000 as a senior web developer, and you'll need skills in designing and/or building websites. Though there are four-year college programs that strengthen those skills, associate's degree programs or even online certification courses can provide ample training needed for this job, especially if you've already got the gift and passion for this sort of work. Of course, experience is a plus, but talent and tenacity definitely trump all.
Casino Manager
Even on the lower end of the average, you can earn up to $153,000 per year in this field, and you'd be in charge of all aspects of running a casino, including operational budgeting and forecasting. Sometimes, this role is one within a corporate entity, and an MBA might be great, managerial and casino industry experience are king for landing this gig.
Nuclear Plant Manager
OK, sis. You see the word "nuclear" and think Homer Simpson? Well, at the higher end of management in this field, you're looking at a yearly salary of at least $100,000. (I guess Marge and the fam was living large. No wonder Homer could afford all those donuts!) This job entails overseeing teams that handle electricity services and ensuring governmental compliance. While some companies require specific licenses at this level, the minimum requirement for the industry is a high school diploma and, to become a manager, good ol' hard work and experience.
Shutterstock
Senior Consultant
Whether you work for a major firm or you're off on your own, you can make a salary of at least $105,000 as a senior consultant. Some companies indeed require a bachelor's or even a master's degree, but many of today's innovators do not, especially when it comes to industries like public relations, automotive and transport, personal finance, or technology. You can bank on experience, great communication skills, and actual results to lead the way on landing this gig. Independent certifications or training completions are a plus.
Project Manager
If you're super-organized, great at planning a project or transition from start to finish, and even more great at rallying teams to actually execute a plan, you can earn up to $152,000 in the role of project manager with only an associate's degree. Also, there are several options for certifications in this field that boost your salary potential.
Senior Engagement Manager
You're looking at a little over $100,000 in annual salary for the job of senior entertainment manager, and the name of the game for this one is relationships. Businesses want savvy professionals who can not only build new relationships with clients or customers, but create strategies to keep them coming back for more. People with amazing interpersonal, networking, sales and communications skills thrive in this sort of work, and having training in marketing or digital media is a plus.
Shutterstock
Senior Visual Designer
Senior visual designer is another great option for creatives, especially if you're great at creating bold and vivid experiences and concepts for brands and their customers. You'll be heading the creative direction for campaigns and contributing to strategy for customers to buy into new products. The annual salary potential for this role is up to $138,000, with a minimal requirement being a high school diploma, vocational training, and of course, experience with providing a decent body of work.
Creative Lead, Retail
This job requires managing the art elements and designs of a project, and having skills in project management is a plus. You might also have to manage artists and designers part of a team to execute your vision and deliver what the company wants as the end result. Vocational training and experience are important to this role, which has the annual salary potential of up to $145,000.
Film Director
You might be thinking that becoming a film director is far-fetched, but not so fast, sis. There is indeed the potential to earn more than $100,000 per year even if you haven't completed a film school program. True, many greats earned that four-year degree, but just take a nod from the career journeys of icons like Quentin Tarantino, Keenan Ivory Wayans, Regina King, or Tyler Perry, who have seen major mainstream success without traditional film school experiences.
(And just a side note: Even our good sis Ava DuVernay—who brought us Queen Sugar, Cherish the Day, Selma, and A Wrinkle In Time—actually studied journalism and African-American studies before venturing into film directing, so technically she falls in this category as well.) From music video productions, to major streaming network deals, to documentaries, to TV ad projects, if you really have the vision, go-getter attitude, internship experience, and work ethic, it's possible.
Featured image by Shutterstock
Originally published July 5, 2021
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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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