Here is the third blog entry from Celebrity Makeup Artist Deida Massey on her experience as a Christian makeup artist in the entertainment industry. Dive deeper into Deida’s world as she answers our third question below and check back next week for Deida’s final blog entry.
What is a typical day like for you as an entrepreneur and celebrity makeup artist?
A typical day for me is, first, waking up and starting my day in worship and prayer.
There are two worship songs I love to play by Pastor William Murphy: “Amazing GOD” and “We Ain’t in Church.” Prayer and worship help me to command my day.
When I’m not on set, that time gives me a chance to respond to emails and catch up on work for my non-for-profit Reel Beauty, Inc. Currently, the organization is inside Chicago Public Schools. If I have the time, I like to go and visit my girls to see how well they are doing with the program. My team always likes when I come in to encourage the girls to stick to their commitment to the program.
I’m always researching new ways to better my businesses and looking for ways to make more money. After checking emails, I usually have board meetings to attend for my organization or my brand.
I’m truly a visionary and, therefore, I’m always dreaming and talking openly to GOD about what’s next or what’s on my mind. I have several books I’m currently reading and, when time permits, I enjoy catching up on my reading.
Running errands is also a huge part of my day. Whether it’s for my business or personal, I’m always running errands. I believe your day should be productive. Keeping an agenda or, as some people like to call it, a “Things To Do List” helps to give order to your day.
I am also often on set for film and television. I currently work as an additional day player on Chicago Fire. While on set, my day is consumed with production. I spend my mornings in the makeup trailer helping to prepare the actors for their scenes. Sometimes I’m also called to set to cover the actors that are already there.
I am truly grateful and love working in film and television. It’s really amazing to be behind the scenes and see how an entire production comes to life. More importantly, I love working with creative people and seeing everyone operate in their gifts that GOD gave them. We are usually on set for 10-12 hours and, therefore, my day in production is pretty full.
Being an entrepreneur is one of the most rewarding parts of my life. My days are pretty flexible if I’m not on set working. Although I have a team of consultants who go into the schools to help facilitate and implement our Reel Beauty curriculum, I am very grateful for those volunteers who are passionate and committed to the work we do. Their commitment helps me to further the mission for my non-for-profit and work in my gift as a make-up artist.
I live by the words “Time is valuable.” When we work for someone else, we are on their time but when we work for ourselves 365 days of the year, it’s so much more rewarding.
Did you miss Deida’s other blog entries? Start with the first entry here.
Learn more about Deida and her life in the industry here.
For a while the most popular literature and television programming about black people captured no sense of African consciousness. We’ve been far removed from The Cosby Show which introduced many of my generation to Miriam Makeba or A Different World which introduced us to divesting from businesses that supported apartheid in South Africa. Those shows and others of the late 80s to early 90s taught my generation that we don’t only have a history in Africa but our actions affect our present and future connection with the continent. But since then we have slipped out of the realm of cultivating such an understanding of our connection to the continent. For the last decade or so, television programming about black people has been driven by self-interestedness over communal values. There has been nothing to remind us of our descendants and ancestors. On the literary front, we were also hard-pressed to get beyond the Zanes and the Steve Harveys of the world. But recently there has been an uprising of African narratives from African-born writers and creators that is breathing a breath of fresh air on literature and on-air/online programming.
We see its presence in the work of Nigerian writer Chimamanda Ngozi Adichie author of the novel “Americanah” which tells the story Ifemelu, a young woman who journeys from Nigeria to America and back again. It is primarily a love story but it also acknowledges the cultural differences between American black people and non-American black people. Ifemelu captures and critiques these differences on her blog and Adichie uses Ifemelu’s blog posts to break up the narrative arc of the book. Though these blog posts are the work of a fictional character they resonate as fact among African and African American alike. Adichie also has Ifemelu return to Nigeria where she comes to grips with the ways that America has changed her and also the ways in which Nigeria in particular and Africa in general will always be a home to her despite the ways in which she has fallen out of love with it. African-American readers of “Americanah” are forced to take a look at the ways in which American culture influences their perceptions of African people and question the relational disconnect between American and non-American blacks. “Americanah” is at the top of many books lists and is rumored to be optioned for a screenplay starring Luptia Nyong’o as Ifemelu. Adichie’s earlier novel “Half of a Yellow Sun,” which tells the story of the effects of the Nigerian-Biafran War through the eyes of five different characters, is now a full-length feature film and is currently being screened in major cities. The film features an all-star cast including Chiwetel Ejiofor, Thandie Newton, and Anika Noni Rose.
Teju Cole is also a part of Africa’s uprising in American literature. Nigerian-American Cole was born in the US, raised in Nigeria until the age of 17 and came back to the states. A Distinguised Writer in Residence at Bard College and a regular writer for publications such as the New York Times and the New Yorker, he recently released his novel “Every Day is for the Thief” in the US–it was published in Nigeria in 2007. The novel tells the story of a young man revisiting Nigeria and facing some of the less beautiful aspects of life in Africa, such as watching the audacious Nigerian scammers in action—you know, the ones who e-mail many of us claiming we will inherit millions if we respond to their message. Cole’s is a less glamorous account of revisiting the continent, but he also holds that in tension with the fact the he believes Nigeria is “excessively exciting” to the point of being overwhelming. In an interview with NPR’s Audie Cornish Cole said, “But for me, personally, I have not actually really considered seriously living in Nigeria full time. This is my home here [New York and the United States], and this is the place that allows me to do the work that I do…I’m fortunate to be able to travel to many places, and to go to Nigeria often. And so I feel close enough to the things happening there without needing to live there.” This quote captures the beauty of Cole’s work which banks on both his lived experience in Nigeria and life as an Nigerian-American writer trying to maintain some semblance of a connection. His next book will be a non-fiction narrative on Lagos.
Finally the most recent example of Africa’s uprising in American literature and entertainment is the new web series “An African City.” Created by Ghanaian-American Nicole Amarteifio, the series follows five young African women who move to Ghana after educational and professional stints in America and Europe. The show is billed as Ghana’s answer to “Sex and the City” but it is actually smarter than SATC. The characters don’t just navigate the sexual politics that SATC was famous for, they launch into the deep of socio-economic politics on the continent. The show touches on the plight of the underdeveloped countries, the people who hold the power in such countries—mostly men, and the premium placed on the authentic African woman over the African woman who has been corrupted by Western ways. It branches out from self-interest to communal concern. The series also provides viewers with a look at the landscape of Accra, a region that is reaching toward urban metropolis status in the midst of strong rural roots. Shots of dirt roads lined with shacks where vendors sells their wares and old Toyotas putter down the streets offset the young women’s appetite for cosmopolitan fare and fashion. The show balances inherited American sensibilities with ingrained African pride with style and grace within each 11-15 minute webisode.
And lest I be remiss there is Kenyan Lupito Nyong’o. Born in Mexico City and raised primarily in Kenya, she stole our hearts in her first major acting role as Patsy in “12 Years a Slave.” She also steals our hearts every time she appears on a red carpet, gave an awards acceptance speech, or appeared on the cover of or in the pages of a magazine. Her beauty is being celebrated by many–and it isn’t limited to the fashion and beauty industries. Nyong’o is blazing the trails that supermodel Alek Wek set for African women and expanding dominant views of what is beautiful. But it is not just Nyong’o’s beauty that is captivating, it is her humble spirit and intelligence that is reminding the world that Africa is a force to be reckoned with.
Lupita Nyong’o, Nicole Amarteifio, Teju Cole, Chimamanda Ngozi Adichie and many more African-born actresses and actors, producers, writers and other creative types are broadening American understanding about Africa and its people. They are also expanding the African-American consciousness on Africa. We can only hope that this is truly the start of a beautiful relationship that goes from this generation beyond.