Comedian Iliza Shlesinger on Reaching Financial Independence by Ignoring the Joneses

In an industry where laughs are the currency, comedians often start with empty pockets but can eventually hit the jackpot. Iliza Shlesinger shares that in the early 2000s, comics weren't commonly paid for stage time, especially in places like LA. They were expected to perform wherever they could get stage time because initially their act wasn't worth money. Nicole Lapin echoes this, mentioning how comics often work for free at the beginning of their careers. Despite the challenges, there are also significant opportunities for those who stick with it.

Comics often have to work for little or no pay when starting out to build experience and a reputation.

Iliza Shlesinger, an established comedian, acknowledged that she started doing stand-up at night while working a daytime job to supplement her income until winning "Last Comic Standing" three years in. Early in a comedy career, comics may have to supplement their income with other jobs while performing at open mics and small clubs. Even as an established comedian, Shlesinger explains the power of saying no to gigs, especially ones that pay low, indicating that she values her time.

Successful comics can earn substantial amounts through touring, merchandising, and appearing in specials, but the income is often inconsistent.

As comics progress in their careers, the financial picture improves with opportunities for fixed fees for performances or a percentage of box office sales. Shlesinger discusses moving up to larger venues like theaters where deals are negotiated based on the comic's drawing power. While merchandising at shows can yield profit, there are many costs involved, including production, sourcing, printing, handling, selling, and the venue’s cut.

Opportunities Beyond Stand-Up Shows

Shlesinger goes on to say that money can be made from a comedy career through various channels not directly related to performing stand-up, such as appearances, panel shows, and leveraging a successful platform. Having Netflix specials can open up international touring opportunities, although not all comics tour abroad. She notes that she became a headliner after winning "Last Comic Standing," earning enough through comedy t ...

Iliza Shlesinger sheds light on the unique challenges that female comedians face in an industry still grappling with gender dynamics, affecting their financial prospects and public perception.

Female comics often face sexist attitudes and double standards that can negatively impact their earning potential.

Women in comedy are frequently judged and evaluated differently than their male counterparts

Iliza Shlesinger discusses the problematic label "female comic," which she feels positions women as only comparable against each other and somehow inferior to men. She speaks against qualifying her accomplishments as a female because it implies her achievements are not on par with those of men. Shlesinger recalls being the first woman to play an arena in Denver and questions the significance of such gender-specific milestones, advocating for a merit-based measure of success.

Female comics may be paid less than male comics for the same types of gigs

Shlesinger illuminates the wage gap in comedy by noting that only a few women make a significant income in comedy compared to their male counterparts. She recounts an incident where she was paid less than a more famous male celebrity for the same stand-up show, despite her equal or greater success in the medium. After contesting the lower payment on the grounds of her contributions to building the brand and selling tickets, the bookers gave her a raise, highlighting the pay disparity that exists even among successful comics.

Despite the challenges, some female comics have found ways to leverage their platform and brand to generate substantial income.

Shlesi ...

Iliza Shlesinger shares her conservative, disciplined approach to personal finance, emphasizing the significance of living within one’s means and making informed financial decisions.

Iliza Shlesinger has developed a conservative, disciplined approach to personal finance.

Shlesinger relies on a network of financial advisors and maintains a diversified investment portfolio focused on steady, low-risk growth.

Shlesinger has built a support network for her financial decisions, including a business manager, someone to handle her stocks, and benefiting from her father's background in financial planning. Her mother also takes an active interest in her financial well-being. Iliza keeps close tabs on her financial statements and prioritizes safe investments, including federally-backed ones or stable stocks like Apple, reflecting her cautious and conservative investment philosophy.

She is intentional about her spending, avoiding ostentatious purchases and focusing on experiences and assets that align with her personal values.

Iliza spends prudently, directing most of her spending towards substantial investments, such as her mortgage and plane tickets for travel rather than on fleeting, extravagant items like designer accessories. She prefers to put her money into investments that resonate with her personal interests and values, such as a pickleball company, due to her love of the sport, and she looks into the ecological implications of her banking choices.

Shlesinger emphasizes the importance of living within your means and not getting caught up in the material trappings of success.

She cautions against trying to "keep up with the Joneses" or the "Kardashians" by purchasing unnecessary luxury items.

Shlesinger advises against lavish spending and the societal pressures of affluence that can lead ...

Discourse on empowerment in the domain of business and finance carries different connotations for two notable figures, Iliza Shlesinger and Nicole Lapin, who both address the use of popularized feminist branding with varied views.

Shlesinger is critical of the overuse of "glitter talk" and overly-commercialized feminist branding.

Iliza Shlesinger expresses skepticism towards what she calls "glitter talk," which is third or fourth wave-ish empowerment jargon like "yes, girl," "yes, queen," and "slay all day." She criticizes it as being more about marketing products than about promoting substantial feminist action, such as voting or idea exchange. Shlesinger sees this language as marginalizing, particularly in professional settings where men can't participate, and views it as lacking genuine empowerment.

She believes much of the "girl boss" and "boss bitch" rhetoric has become cliched and superficial, not translating to meaningful empowerment or change.

Shlesinger discusses the issue of superficial empowerment through terms like "girl boss" and "boss bitch." Initially seen as novel ways for women to express strength and independence, these phrases have become oversaturated and tiring. She argues for an approach prioritizing personal happiness and authenticity over labels, pointing out the cliches that accompany overused sayings like "live, love, laugh."

Shlesinger prefers a more authentic, values-driven approach to personal and financial identity, rather than relying on trendy slogans and imagery.

She emphasizes the importance of authentic action over catchy slogans. Shlesinger suggests that if being a "bitch" is an inevitable label assigned by others regardless of one's actions, it's preferable to be a "boss" rather than conform to cliched terms.

Lapin, on the other hand, has utilized "boss bitch" branding in her books, seeing it as a way to reclaim a pejorative term.

Nicole Lapin, however, has a different perspective. She has used the term "boss bitch" in her book titles as a reclaimin ...