Showing posts with label business. Show all posts
Showing posts with label business. Show all posts

Monday, August 1, 2016

Ember Flynne: "The Business of Stage Names"

I have another guest writer on Throwing Stones this week, who is a supremely talented fire spinner, aerial acrobat, and business person whom I've worked with quite a lot. Although I've touched on the importance of stage names a while back, I didn't really flesh out the issues of safety and accessibility that are part and parcel with this practice.

So I invited Ember Flynne to share those with me.

Ember Flynne - Fire Goddess


My name is Ember—well, not really, but we’ll get to that in a second—and I’m a traveling circus performer based in Boston.

Some years ago, I found out that my entire family was cyberstalking me.

“Google, you know, the search engine,” my mother explained, “I just type in your name and…”

“Mom I know what it is.  But WHY are you Googling me?”

“Just to see what you’re up to,” she said, matter-of-factly.

My parents and I have never been that close, but this was a new low.  Google is for checking that your blind date isn’t an axe murderer, not sating your curiosity about what your twenty-something daughter is doing in her spare time.  It felt weirdly invasive.  Why not just pick up the phone and—gasp—call me?

“Oh don’t get all bent out of shape,” my mom said when I told her as much, “Everybody does it.  Richard Googles his kids all the time.  Your grandmother Googles you; it’s completely normal.”

I’ve always been aware that information about my life could be broadcast to the entire planet without my permission (excepting, perhaps, China), but I still find it unnatural that anyone I know would feel compelled to search for it.  That my sprawling Midwestern family also thinks it’s appropriate to dissect their discoveries with random friends and co-workers is boggling.  It’s one thing to be searchable.  It’s another to know that my actual grandma looks me up out of sheer boredom, forms opinions that she never intends to contextualize in person, and spreads them to everyone she knows. That my objections are continually framed as MY problem is just the icing on an exceedingly un-fun cake.

When I settled on a stage name, it was to escape a certain nebulous scrutiny that kept me from feeling free to experiment, fail, perform acts of a subversive or sexual nature, and build my reputation on my own terms.  There are lots of other reasons a performer might choose to use a stage name, but what’s important is that there are ALWAYS reasons, and it’s crucial to respect them.

A stage name is a second name used in performance settings, whether in person or in print, that may or may not be associated with a separate stage persona.  While some performers are pretty loose with their expectations, it never hurts to assume a strict separation between a performer’s stage life and the life attached to their legal name.  Treat them like they belong to two different people.

Confusing?  Sometimes, but rest assured, we don’t do this just to frustrate you.

For many performers, stage names are actually an important personal safety measure.  Anyone who appears in front of an audience commands a great deal of attention from a great many people. Combine that with the fact that it’s a performer’s job to look great and create a connection with their fans, and you have a situation that frequently results in unwanted advances from creepy people with nothing better to do. Usually they’re audience members or photographers, but sometimes they’re even clients or unfamiliar booking agents.

"Hey, gimme your name so I can harass you."


My legal name happens to be unique, so Google isn’t going to make it difficult if some stalker with half a brain wants to find out where I live.  Deflecting unwanted attention onto a pseudonym is a decent way to keep my personal information private from all but the most determined of creeps.
If a performer is working under a stage name, always assume that they are trying to keep themselves safe.  Using their legal name in connection with their stage name (especially online) could put them in danger by dismantling a layer of protection that they have worked hard to establish.

A similar concern is job security.  Not everyone can work the stage full-time, so many entertainers maintain other sources of income.  For some, it’s a way to stay afloat when they’re first starting out. For others, it’s a way to support themselves and their families during the off season, acquire health insurance, or maintain a safety net.  Still others have day jobs just because they like them.

Performers who are otherwise proud of what they do may not want to tell their co-workers that they’re a drag queen, or that they routinely light stuff on fire and swing it around.  Some bosses would be cool with that.  Others, not so much.

Even in a city as open-minded as Boston, certain industries remain warped bastions of conservatism. Sexualized performance of any kind is essentially grounds for dismissal from most childcare, teaching, and law enforcement positions, and anyone discovered dancing around in pasties on the Internet can hardly hope to be taken seriously as a doctor, lawyer, or scientist (though let it be said that I’ve seen all of the above on the Oberon stage).


"Yes, we are a full-time Batman and Commissioner, but also
part-time strippers. Keep that last part quiet."


Sometimes it’s not even an employer, but an employee or landlord that’s the problem.  It doesn’t matter.  In all cases, stage names offer a significant shield from casual Google searches and help to maintain a performer’s reputation in relation to others with influence over their lives.

There’s also sheer politeness to consider.  Some folks simply don’t prefer to see a parade of half-naked people prancing all over their Facebook feed, so prudent performers may set up separate names and social media accounts with which to participate in different social groups.  It’s a solution that makes it easy to keep in touch with a five-year-old niece AND maintain contacts in the burlesque or fetish scenes without fear of cross-over.

Finally, there’s a whole host of personal reasons that can affect a performer’s decision to go by another name.  Perhaps they feel that their legal name is inconsistent with their chosen gender or lifestyle, or they wish to use performance as an outlet for forms of expression that would not be acceptable in other parts of their life.

Stage names also help performers to build a brand based on whatever qualities they think are important to their art.

When I first started out, I performed a bit and attended industry events under my legal name.  I met a lot of people that way, but once I became Ember I completely shifted to that identity for work.

A few years later, after Ember Flynne had become somewhat more established (and more interesting on the Internet) I started to notice something disturbing.  People I’d met once or twice were walking up to me in performance settings and pointedly addressing me by my legal name, particularly if I was engaged in conversation.  They always spoke as loudly as possible and hugged for an inappropriately long time.

I struggled to understand what was going on.  It’s not that they didn’t know my stage name or couldn’t remember it—in fact, the majority of these people were far more familiar with Ember (albeit via Facebook) than they ever were with my legal name.  They followed Ember online, liked my photos, and commented as if we were the best of friends, when in reality we had barely crossed paths.*  My real friends all know to call me by Ember when I’m working, and while they’ll occasionally slip up, those occasions are incredibly few and far between.

And then one day, it hit me.  The randos were showing off.

To address me by my real name in front of a group of people was to assert that they knew something about me that those other people did not—that they knew the “real” me, which implies, by extension, a closer relationship and perhaps even a degree of influence.

I immediately called up my 3-in-1 manager / emergency contact / ex-lover and ranted about it.  Who the hell did these people think they were, walking around and showing off at my expense?  And what’s more, who did they think I was?  Should I be flattered or enraged?

Editor's note; I know which one I would gravitate towards.


“Dude,” I remember saying, “I’m legit not famous enough to have these problems.”

These days, I respond to exactly that scenario my adopting a look of bewilderment and saying, “um…who’s that?  I think you’re confusing me with someone else?”  Sure, it’s passive-aggressive, but I’ve found that the best way to keep people from using me to try to boost their own social status is to show them it will backfire.

I actually say the same thing to friends who slip up, but I do it with a smile.  After all, people aren’t perfect.

For the record, if you’re not sure what a performer is going by in a particular setting, you can just ask them.  “How should I introduce you?” is always a polite question, and encompasses not only a name but the performer’s preferred gender and any other details they see fit to give.

Stage names are a small thing, but they have big implications for performers’ well-being.  If you use one, we’d love to hear about your experiences in the comments!


*Let it be said that many fans and followers do form real, meaningful relationships with performers online.  That’s completely legit, and I’m not referring to those people.

Thursday, August 27, 2015

Trolling Cold-Email Marketing Solicitors

I've discovered a new passion of mine, and it is glorious.

Recently, I've been getting a slew of cold emails from marketing people who think I'm some important business executive, usually soliciting me for advertising and/or website optimization. If the cold email is patently baseless (e.g. wrong website, wrong employer, thinks my name is something it's not), I've been rebutting them in a supportive but critical way.

Let me explain.

Dale Stones' alter-ego in real life works in sales, and understands what goes into the cold-sales process. On a daily basis, he sends out emails himself in order to secure future business. When I receive emails from people in the same position, I always give them the attention they deserve, especially since I may find some usefulness regarding the content within. But sometimes, a rep sends me an email and gets it so dreadfully wrong that I can't help but respond in a comically critical way. Here's a recent one I got;

Email #1

I sent along a photo, too;

I'd be psyched to get this in my inbox.

In the email, the guy got my company wrong, didn't know my name, and had a complete misunderstanding of what I do. Frankly, I'm not sure how he made the connection to me from the bistro he wanted to sell to. Truly mind-boggling.

Here's another one;

Email #2

I've also attached the photos I sent back;


This is the photo that features a tool prominently.

What I found fascinating about this email was that the guy sent me an email asking about a site that wasn't even close to the website I actually curate. That's truly bizarre, if for no other reason than because misspelling a website on the internet is dangerous. Almost everything re-directs to porn. Since I am not porn, I thought it might be a good idea to give this guy in particular a very loose correlation to what he thought he was searching for.

Also, he obviously did not do a google search for my website, as Sirlesque's search results are damned specific. He would've seen a bunch of mostly-naked dudes and said "yeah, these guys definitely know a lot about search engine functionality. And also butts. They know a lot about butts."

Instead, he did a search for a website that sells transmissions. These things only mildly overlap.

I believe there will be more emails, if the past is any indication. Stay tuned for additional coverage--this is my new favorite sport.

Also of importance; I have not received any responses to my follow ups.

Sunday, August 16, 2015

Burlesque as a Business

Alternatease, Boston's Annual Neo-Burlesque Festival just wrapped for the weekend, and what a weekend it was. I love getting the chance to celebrate neo-burlesque with like-minded performers, and ALL of them brought the weird. There were too many good ones to name, but the ones that stuck out the most for me were Cherie Nuit's fanny-pack-ridden travelogue strip, Bustee Keaton's Ayn Rand masterpiece, and the Lipstick Criminals, who won Top Banana with their finger-light mega-art extravagance.

Alternatease Ta Ta's Competition - Photo by Hans Wedland
It all got me thinking about what goes into the production aspect of burlesque. For a weekend festival to have gone so smoothly, so many things had to go just so. There was precision in the way that it was handled, and I wanted to discuss the inner workings of production in the burlesque world with one of my own burlesque idols, Jane Doe. Not only is Jane Doe one of the three producers on the team responsible for making Alternatease happen for three years running, but she's one of the fiercest, most committed performers I've ever met across any discipline.

Jane Doe - Photo by Roger Gordy

Dale Stones - "So what makes a good producer? What are your unconditional beliefs or guarantees?"

Jane Doe - "Communication (clear and frequent, but not excessive) – I think it’s important to let the people you book know what’s going on, when they’re expected to be where, that they know about anything that’s different than usual, etc. But you also don’t want them to have to read a different book-length email every day. Bullet points are your friend. Be available and responsible. Make sure your cast and crew have your phone number AND your email so they can get you if they need you.

Flexibility – Shit can and will go wrong. Ticket sales may suck. People will get sick, props will change, acts that you didn’t think would be messy end up trashing the stage. Just try and roll with it. Once it’s done, all you can do is figure out how to move forward.

Honesty – Everything works better if everyone is honest. Across the board.

Kindness & manners – Full disclosure: rudeness is my pet peeve. Manners are free, and kindness goes a loooong way. Your cast, crew, and audience are everything. They should feel welcome, and wanted, and special. If you have all the hallmarks of a good producer but you’re an asshole, no one is going to want to work with you.

DS - "And what do you feel are your responsibilities versus those of the contracted performers, and the venue?"

JD - "You should be the point of contact with the venue. It’s one thing to ask the performers for help with logistical/tech-related questions on their acts (obviously they know their own work the best), but if you’re getting pushback on something, you should be the one dealing with that, and communicating anything necessary to the performer yourself."

DS - "Could you go into detail about a situation where your terms weren't honored, what happened, and what you learned from that?"

JD - "I was booked for a private party at a local night club, and had in fact given up another paying gig on the same night. After confirming multiple times both in person and via email, I found out during a casual conversation with another performer that they were cancelling the burlesque portion of the evening. I texted the booker directly to ask him what was going on, since he hadn’t even contacted me, and I absolutely would’ve just showed up at my agreed-upon and confirmed call time. He responded with what essentially amounted to “Oops. Things have changed.”

Even though we had confirmed multiple times via email, I realized after the fact that we had never put the rate in writing. As a result, I didn’t have many options in the way of recourse, and ended up just losing money on the evening. So now, if I don’t know a producer, I’m super adamant about making sure that I have absolutely everything in writing."

DS - "All good stuff! Thank you."

JD - "Thanks Dale!"

Jane Doe, front right, organizing outings like a boss.
I didn't have time to cover every topic with Jane Doe, as she was in elbows-deep making sure Alternatease went off without a hitch.

I did want to discuss the issue of money specifically (in the production circuit specifically, not including festivals), as it is one that often times gets glossed over when discussing the details of an upcoming show or production involving artists. On the producer's side, the reasons could range from initial costs which exceed expectation to personal financial instability, to even lack of confidence in being able to market a show to a large enough crowd, just to list a couple of examples. I think it's important to take a stand on a few key topics about money in performance, and here are mine;

I believe that every contract performer I pay should be given a guarantee. Often, a performer has to gauge his or her willingness to perform in your show based on their own budget. If someone has to incur more expenses than the producer is willing to compensate for, the performer suffers if they decide to book the gig. If the performer you want to book has a close budget, this often means losing you that performer for your show. Add to that, if you're counting on a well-known performer being a highlight in your lineup, not offering a confident guarantee means that those performer's fans might not decide to attend, losing you money.

On top of that, giving a confident guarantee means that you're now motivated to make sure your show does well. The thing that makes credit so menacing is that you're expected to pay it back. Investing in producing a good show is no exception, and people give you a good show when they know their efforts are being valued--and confidence in who you're booking makes all the difference.

I won't keep secrets about what I pay people. If people know what you're paying and you keep your rates and promises consistent, people will treat you as a professional. If nobody knows when or even IF you're paying them, they'll be hesitant to work with you in the future, or even trust you. Plus, I used to work in the restaurant business. People talk to each other about what they make all the time. So you don't want to seem dodgy for paying two people doing the same job wildly different rates. Or, if you do--you'd better be able to justify why.

You should also be able to document what you pay people and when, because getting a full-arm ham-fisting from Uncle Sam may be a great burlesque act concept, but it's a sobering problem off-stage; you don't want to be unable to prove that you paid people or that you didn't earn income from performing and producing ever in your life. The IRS doesn't like that.

*Actual footage of an IRS audit.

Going back 5 years, I wish I'd been more organized and up-to-date on my tax stuff, because the amount I've had to pay in penalties and previous-years' taxes has cost me thousands upon thousands of dollars. And I'm not sure I'm even done paying yet. That shit sucks.

I will pay more than the guarantee if the show does well, never less. I was speaking to a musician friend of mine recently, and he told me the story of how he showed up to a gig, played a 3-hour set, and was given a check for less than half of what was agreed upon. When that happens after you've been given a guarantee, you know you're dealing with a criminal with no remorse.

The fact is, the performer's options in this unfortunate scenario are limited. With written agreements, you can sue for the amount, but the time and resources involved in legal recourse may not be worth the effort. I've known people who will openly trash the booking agent's reputation on social media or warn other performers about working with that person, but the only real outcome is that someone gets screwed.

But if ticket sales happen to do really well? Share some extra wealth with your performers so that they feel rewarded for the amount of hard work and promoting they did. Cirque of the Dead was a great example of this in action, and I was very gracious that the Boston Circus Guild decided to do this. Consequently, I absolutely want to perform for them at the next Cirque.

If my show does poorly, too bad; I will pay what I promised. My show? My risk.

More money will convince you to do photo ops like this one.

While different people have different ideas of how to run their own shows, I believe transparency is the one thing every producer should have. In a performance community where word travels especially quickly, one can't be too careful about what they promise to people they work with. Above all, that reputation will precede you, and people will hear about what went well--doubly so for what went poorly.

Above all, I think Jane Doe had it perfectly when she said "manners are free, and kindness goes a long way." Respect is everything, and I do respect her a great deal. And I understand that kindness and manners are not on everybody's list. I think these are the people we should look out for, and warn each other against.

...and also this creepy character.