11 Secrets of Backup Dancers

Frederick M. Brown, Getty Images
Frederick M. Brown, Getty Images

What would "Thriller" have looked like without Michael Jackson's army of dancing zombies? What if Madonna had to preen and pose her way through "Vogue" alone? And how could the hype of Hammertime ever be conveyed without the high-kicking energy of those parachute pants-clad b-boys?

Backup dancers add depth and dimension to live performances and music videos, and though you might not always know their names, chances are you've practiced quite a few of their moves. But what is it really like to work in the industry? From the audition circuit to backing superstars on tour and in music videos, we got the answers for anyone who thinks they can dance.

1. THEY DON'T NEED FORMAL DANCE TRAINING, BUT THEY DO NEED TO CONSTANTLY BE LEARNING.

"I was late to the game," says Lori Sommer, a dancer who has worked with Mariah Carey, Whitney Houston, and Eve, of her start in the dancing world. "I was a martial artist, and that discipline and training gave me the ability to pick up choreography." Sommer says she was out dancing with friends at a New York club in the mid-'90s when she was scouted and encouraged to audition to be a club dancer at the popular house music venue Sound Factory Bar. There she befriended resident DJ Louie Vega, house music legend Barbara Tucker, choreographers, and others who could help her get her name in with bookers. Based on those connections, she landed her first tour with Reel 2 Real (best known for their dance track "I Like to Move It"). "That club really opened the door for me, but dancers have to constantly take classes and learn new things," she tells Mental Floss. "There's always a new style or move that will help us improve our abilities."

Dancer Mark Romain, who also had no formal training beyond joining college dance teams but has built a career dancing with Britney Spears, Katy Perry, and Ke$ha, agrees. "You have to work your craft. Like going to the gym to maintain your strength, you have to work out your creative muscles and skills regularly," he told BuzzFeed in 2013. "There is a big difference between doing well in dance class and being able to perform on a stage; it's important to get performance experience. If you start late, that's okay, but train, train, train."

2. SOME WILL CHANGE THEIR LOOK TO BLEND IN BETTER.

Though backup dancers need to have enough personality and style to stand out at auditions, they often learn they can't draw too much attention away from the main performer or the theme of a shoot. When Sommer was working on Whitney Houston's 1999 video for "It's Not Right But It's Okay," she realized her blonde curls stood out too much for the video's dark set. "We were all dressed in these army fatigues, and once we started shooting, the director was like 'she's standing out,'" Sommer remembers. They pulled her hair back and tried again, but the director wanted it toned down even more. "They ended up putting hats on all of us to cover my hair, which is how we look in the final video. After that, a friend recommended I darken my hair, and I realized if I wanted to work more consistently, I needed to make that change to be more uniform. That was the last video I did as a blonde."

3. THEY LEARN HOW TO ADJUST TO AUDITIONS TO AVOID GETTING CUT.

Often, dancers will show up to auditions with only a vague idea of what the artist really needs. So they learn to read a room. Dancer Pam Chu, who has done everything from being a Radio City Rockette to Cirque du Soleil to touring with Demi Lovato, told Cosmopolitan that when she went to audition for Britney Spears's Las Vegas residency, she was apprehensive because she didn't know any of the people involved. So she psyched herself up and figured it out as the day went on. "From the way the choreographers were teaching, I knew they wanted people who had technique, style, and would dance full out—all the time," Chu says. "I knew not to sit down in the audition—ever. We were there for nine hours." After a round of callbacks, Chu got a contract.

4. THEY OFTEN HAVE TO MAKE LIFE-ALTERING DECISIONS ON THE ROAD.

Because their lives are often dictated by demanding tour schedules and opportunities that feel impossible to turn down, dancers regularly have to miss family events and other personal milestones. "I sacrificed a gig and a tour once because I didn't want to miss my goddaughter's birthday," Sommer recalls. "I'd missed her first birthday because I was in Europe, and I said I couldn't miss her second. It's hard because you put yourself at risk of being replaced."

And for others, an opportunity can change their whole trajectory. Ashley Everett, Beyonce's longtime dance captain, was just 17 when she made the cut for her first-ever tour. The timing seemed impeccable—The Beyonce Experience tour would wrap up the week before she was supposed to start classes at her dream school, Juilliard. But then, the tour was extended. "I had to make a decision," Everett told Refinery29. "Go after the lifelong dream that had been on my bucket list my entire life, or stick it out with a legend, with no idea of what would happen next. I took a leap of faith and stayed on the tour. Obviously, it paid off!"

5. IT'S NOT A PARTICULARLY LUCRATIVE CAREER.

Despite the jetsetting lifestyle and getting to work with superstars, most dancers are essentially independent contractors. That means booking gigs piecemeal, working long hours, and, according to the Bureau of Labor Statistics, making roughly $14 an hour on average, or $34,000 a year.

"Yes, longer-term jobs like a tour or a TV show or a movie might keep us busy for months straight, but the reality of the situation is that eventually that job will end and we have to start back over—gigging or auditioning for something else," Everett wrote in a 2016 HuffPost piece. "I'll be in 12-hour rehearsals for two months straight, then on other days I'm left not knowing when my next job will come. It's the business. We always have to stay on our toes and stay grinding."

Sommer agrees. "It can be a struggle," she says. During their time between shoots or tours, dancers frequently have more steady side jobs. Sommer worked as a dancer-for-hire for entertainment companies, where she would go to bar mitzvahs or weddings along with the band or DJ and encourage guests to come out on the dance floor. Many others do projects as choreographers and teachers, and look for commercial work, which is usually short on hours but long on pay (think dancing in Gap, Target, or car commercials). "You gotta work when work is available," Sommer says. "There's a lot of eating on a budget, a lot of ramen noodles. But every dancer I know wouldn't change it for the world."

6. THEY HAVE TO KNOW HOW TO GO WITH THE FLOW.

While many artists are known to tweak routines between tour stops or switch up sets or transitions to keep things fresh, sometimes a dancer's hard work will get sidelined because the artist just isn't feeling it. That can be devastating, especially for major award shows like the Grammys or the VMAs, which are extremely sought-after roles with multiple auditions and rehearsals that can last for 10 hours a day.

Sommer recalled that at her first VMAs in 1999, she snagged a spot dancing for Jay-Z, who was also making his first VMA appearance with a medley of his recent hits like "Can I Get A…" and "Hard Knock Life." "My friend Ray [dancer and promoter Voodoo Ray] had choreographed this great piece, and it was a huge opportunity for him," Sommer says. "And on the day of the VMAs as we were rehearsing, all of a sudden Jay said he didn't want anyone dancing backup." Instead, he wanted his crew, which included DJ Clue, Amil, and 15 or so other friends, to hang on stage where the dancers were meant to be. The dozen backup dancers were moved to the side stages and were allowed to dance there, but it didn't have the same effect as the choreographed routine they were preparing for. "I mean, I got paid for my time," Sommer says. "But not to do what I'd practiced and really, really wanted to do."

7. THEY'LL SOMETIMES WEAR IN-EAR MONITORS ON STAGE.

It's common to see singers use earpieces during live shows in order to hear themselves or their band better. But dancers will often wear in-ear monitors as well, especially for large arena shows when the roar of the crowd can drown out any chance of staying in sync with the music. "It's an interesting experience … because we can't hear the audience," dancer David Shreibman told W Magazine about wearing "ears" while touring with Justin Bieber. "All you're hearing is Bieber's voice and the choreographer talking to us throughout the show. I took my ears out last night … and it was SO loud. When he goes into 'Baby,' it's crazy. I had to cover my ears."

8. TWO CAN SOMETIMES BE BETTER THAN ONE.

Sometimes having a built-in dance partner can help get dancers noticed and book gigs. French dancers Laurent and Larry Bourgeois, already known in their home country as "Les Twins," made a splash in the States when they started working with Beyonce in 2011; they've since toured with her multiple times, appeared in numerous videos, and recently won Jennifer Lopez's new competition show, World of Dance. Mark and Donald Romain often appear together as dancers at awards shows and have been in videos like Britney Spears’s "Till the World Ends." And up-and-coming Korean twins Kwon Young Deuk and Kwon Young Don, who have backed Psy and other KPop acts, are getting plenty of fan attention and calls to upgrade them to "idols" in their industry.

But for Canadian sisters Jenny and Jayme Rae Dailey, who have done music videos, TV shows like Smash and X Factor, and movies like the Step Up franchise, sometimes working together just isn't in the cards. "For us, it's not really competing because we go in together as twins. We are a team when we audition," Jenny told the Montreal Gazette in 2013. "Our mentality is, 'If it's not both of us, it's none of us,' although it doesn't always work out that way."

9. EVEN WITHOUT A SIBLING, DANCERS CAN FEEL LIKE FAMILY.

For all of the stories of artists who date their backup dancers (Mariah Carey and Bryan Tanaka, Jennifer Lopez with Cris Judd and Casper Smart, Prince and Mayte Garcia, Britney Spears and Kevin Federline, etc.), those long hours rehearsing and traveling together can really cement a familial bond. "I became very close to those who danced with me, but even closer with [those] who danced on tour with me," Janet Jackson told an audience in October 2017 before she brought out a number of those dancers to perform "Rhythm Nation," a staple at her shows since the song and its iconic video took the world by storm in 1989. One those dancers who returned was Jenna Dewan-Tatum, who got her big break touring with Jackson in 2001-02.

"Janet asked her 'kids' to come back and perform rhythm nation at the Hollywood Bowl," Dewan-Tatum posted on Instagram. "I dreamt of dancing with her since I was a kid and literally pinched myself every night of the All for You tour. And here I am pinching myself again last night. She created a legacy for her dancers and she personally began my career! It all begins with Jan. Thank you for this my love!!!"

(Another person who worked as a backup dancer for Janet before making it big on her own? Jennifer Lopez, who was in the 1993 video for "That's the Way Love Goes.")

10. FOR DECADES, DANCERS HAD NO UNION OR HEALTH CARE ASSURANCES.

The lack of health coverage and union benefits for dancers was widespread until very recently. Dancers Alliance, a group working to negotiate equitable rates, healthcare options, and ensure dancer safety, launched campaigns in 2011 to get contracts for work on music videos and in 2013 to unionize tours. "I believe dancers who have trained themselves to a professional level should be treated—and compensated—as professionals," Dancers Alliance board member Dana Wilson told Dance Magazine in 2015. The group had worked out a contract with SAG-AFTRA for music video shoots in 2011, but Wilson, who was dancing with Justin Timberlake at the time, pushed for a union tour contract so that the dancers would be eligible for health care and other benefits while on the road. It worked. In 2014, Timberlake became the first artist to protect his backup dancers under a SAG-AFTRA contract.

11. THEY ALWAYS HAVE A BACKUP PLAN.

As with most athletic careers, dancers know that eventually they'll have to back away from their sport. Injuries, from muscle strains and spasms to various tears and sprains, can take their toll. Many performers, like Paula Abdul and Lady Gaga, have discussed their issues with chronic pain.

"The wear and tear on body is tremendous," Sommer says. She would know—a herniated disc sidelined her dancing career in 2002. "Most dancers are going to find ways to work through injuries. A lot of Epsom salt, Bengay. It's a beautiful life that enables you to travel and see the world, but there was the point in time when I couldn't walk."

Many dancers find ways to stay active by teaching or going into the fitness industry, developing exercise and training careers. Some, like much of the staff of New York's Westside Dance Physical Therapy, were professional dancers who turned their specified knowledge of dancers' bodies into careers in the medical field.

In fact, the variety of post-dance careers can be as varied as those of non-dancers. Sommer went into comedy, becoming a mainstay stand-up in New York City and now managing the West Side Comedy Club. And at least one former '90s dancer became a football coach: One of M.C. Hammer's original "U Can’t Touch This" dancers, Alonzo Carter, is currently the running backs coach at San Jose State.

10 Secrets of Brewmasters

Being a brewmaster is about more than just sampling beer and coming up with new recipes. Maintenance and sanitation also play a huge role in the job.
Being a brewmaster is about more than just sampling beer and coming up with new recipes. Maintenance and sanitation also play a huge role in the job.
Stone Brewing

With roughly 7500 craft beer breweries in the United States—a number that continues to grow—it’s clear consumers like their ales and lagers. And as more of these breweries pop up in towns and cities every month, it’s up to brewmasters to constantly produce new beers to satisfy demanding (and evolving) palates, maintain a sterile workspace, and properly operate all the complex machinery that pumps out your favorite IPA. To find out what goes into owning and operating a brewery, Mental Floss spoke with a number of brewmasters about what their days entail. Here’s what they had to say about taste tests, oyster beer, and getting doused in hop sludge.

1. A lot of brewmasters started out as home brewers.

Stone Brewery equipment.
A brew kettle from Stone's Richmond, Virginia, location.
Stone Brewing

While brewmasters sometimes attend college to study chemistry or even specific brewing courses, a fair number get their start in their own homes. “When I started, I would say about 50 percent [were home brewers],” Tom Kehoe, co-owner of Yards Brewing Company in Philadelphia, Pennsylvania, says. This was back when there were only around 649 breweries in the country, according to Kehoe. That number has only grown with time, and now he says as many as 90 percent of current brewers experimented with home brewing before moving on to larger productions.

While home brewing can be a good start, Kehoe says that there’s a limit to how much you can learn in a garage setting. “The basic knowledge of how beer is made is exactly the same. However, good brewing practices need to be learned on site. The environment working in a brewery is a lot different than brewing at home.”

One example? Size. According to Jeremy Moynier, brewmaster of Stone Brewing in San Diego, California, people are surprised when they see the scale of some brewing operations. "A home brewer is used to making a few gallons," Moynier says. "We could be making a 250-barrel batch [at Stone]. Each barrel is 30 gallons."

2. Brewmasters use sound almost as much as taste to evaluate the brewing process.

Brewing equipment from Yards Brewing.
This is just a sample of the brewing equipment employed by Yards.
Yards Brewing

Breweries come in all shapes and sizes, but all of them implement a lot of machinery, stainless steel vats, pumps, and bottling lines to concoct their brews. It becomes a symphony of sorts, according Moynier. And if one instrument sounds off, he can tell.

"You use all of your senses, from taste to sound," he tells Mental Floss. "Breweries are noisy, and there are sounds you get attuned to. If something sounds wrong, you know there’s a problem somewhere. Your senses being in tune are important."

Once, Moynier heard an unusual squeaking noise in the factory. He discovered that the tank that held the crushed malt was backed up, which would eventually ruin the conveyor belts if no one noticed in time. Thankfully, Moynier picked up on that change in noise, and the problem was corrected before the machine required a more expensive repair.

3. Brewmasters are always trying novel flavors. Even oysters.

There’s no shortage of creativity among brewmasters, with breweries constantly experimenting with different flavor profiles, from tea to chocolate to fruit. "There are so many different styles, flavor, and aroma profiles you can hit," Moynier says. "We’re constantly learning about new ingredients.” One that impressed Moynier recently was an oyster stout, a style that was originally billed as a beer that simply paired well with oysters more than a century ago, but has since evolved to include actual oyster meat and stock in modern recipes. This one came from Liberty Station, one of Stone Brewing’s locations in San Diego. "It was pretty fascinating," he says. "They got a real briny, oyster thing going."

4. Sanitation is one of the most important parts of being a brewmaster.

A picture of Stone Brewing's beer equipment.
Stone's barrels hold 30 gallons of beer.
Stone Brewing

The stereotype of brewmasters sipping beer all day and hovering over batches is slightly misguided. According to John Trogner, co-owner with brother Chris of Tröegs Independent Brewing in Hershey, Pennsylvania, most of the job is making sure beer is made in clean conditions. “People usually think you’re sitting around all day dreaming up recipes and tasting beer,” Trogner says. "That’s a very small component. Physical cleaning is probably 80 percent of it. Sanitation is paramount. It’s like a chef keeping a kitchen clean. Workers spend most of their time scrubbing."

Just because the breweries are kept clean doesn't mean the brewmasters are quite as lucky. Depending on the valve and your luck that day, that could sometimes mean an unintentional beer shower for workers. "I’ve taken baths in yeast and beer sludge," Trogner says of his early days, explaining it's a hazard you face when you're opening the valves on the brew tanks.

5. Brewmasters know they're expected to bring beer to most gatherings.

A look at the Tröegs brewery.
Foeders are large wooden vats that age a beer to create a unique flavor profile. It's part of Tröegs's Splinter Cellar, and each foeder was custom made and shipped to the brewery.
Tröegs Independent Brewing

Like any other profession, brewmasters can sometimes be greeted with an expectation that their services and goods are free for friends and relatives to enjoy at gatherings and family events. "If it’s appropriate to bring beer, I will," Kehoe says. "And sometimes when it is not so appropriate. I have brought beer to a business networking breakfast and somehow it turned out to be a great icebreaker. I find that people are disappointed if I don’t have at least some beer at the ready."

6. The job can make you critical of other beers and even food.

Working to perfect beers all day can have an effect on how brewmasters regard other beer options. "I still love beer, but it changes the way you approach it," Moynier says. "You pick out a flaw, and it will bother you. It might ruin your enjoyment. But if you find a beer you really like, it can also make it more enjoyable."

A brewmaster doesn’t just develop a sense of what makes for a good beer; they’re also constantly thinking about what type of food pairs well with certain beers. "It definitely affects the way you taste things," Moynier says. "It’s made me a pickier eater. You’ll think about how food will pair with beer sometimes, where you wouldn’t necessarily think about that before. It made me appreciate how things go together."

7. Brewmasters know names and logos can make or break a beer.

Tröegs Independent Brewing Mad Elf beer is pictured
Tröegs's Mad Elf is one of the most recognizable beers around the holidays.
Tröegs Independent Brewing

With so many beer options, it’s imperative for brewmasters to use marketing as a way of setting up a consumer’s palate before they sample anything. For Tröegs's Haze Charmer, which offers pineapple and grapefruit notes, the brewery went to great lengths to describe how the "haze" of the recipe carries hop oil into the mouth.

"Haze Charmer emerges from a soft, swirling cloud of oats and unmalted wheat. Vigorous dry-hopping adds a second phase of haze, propping up the oils of Citrus and El Dorado," the website description of the beer reads.

"The name is a critical component," Trogner says. "Consumers are getting to know it before they try it."

The right—or wrong—name and design can make all the difference. Trogner promoted a cherry, honey, and chocolate ale around the holidays and called it Mad Elf, with bottles and packaging decked out in cartoon images of a tipsy elf enjoying one too many. It's become a perennial hit.

"It’s a celebration of the holidays," Trogner says. "Mad Elf is kind of part of social webbing, which is nice to hear. Grandmothers come in and buy five or six cases for family coming over for the holidays."

Similar beers with different branding didn't fare as well. "We’ve done beers like Mad Elf out of season and it didn’t have near the fervor or excitement," he says.

8. A brewmaster associates a beer’s personality with color.

Yards Pale Ale is pictured.
Yards's Philadelphia Pale Ale is lighter in color and far more citrusy than an amber lager.
Yards Brewing

According to Kehoe, light and dark beers each give off a distinctive personality trait depending on their color, which comes from the grains used. "To me, the color of the beer is the mood of the beer," he says. "Light color is fluid and exciting; darker [is] slower and more filling and relaxing." Amber is more middle-of-the-road and more versatile. "[It] can be whatever personality that you want to project in the moment."

9. Smells are a big inspiration for new beers.

Don’t think brewmasters develop recipes based just on tasting other beers; it’s more of a multi-sensory experience. Trogner says that most beer ideas come from everyday life. “We’re not sitting around and looking at other types of beer,” he says. “It’s more about an experience, like having an amazing dish at a restaurant. Or you might be hiking and smell something floral in the air, like pine.”

10. Yes, brewmasters sometimes drink early in the morning.

While downing beer is probably not as common an occurrence as you might think, brewmasters are still expected to sample their wares before it goes out for distribution. According to Moynier, those executive samples can happen at odd times of the day depending on schedules.

"Tastings can happen at six in the morning," he says. "We also have structured tasting and daily taste panels to approve beer about to be packaged. Three times a week we have a brewmaster taste panel where we focus on new beers we’re trying out for release or changes to recipes. There’s an executive panel once a month with [Stone's founders Greg Koch and Steve Wagner]."

Or, as Kehoe puts it, “I don’t drink all day, but I do drink every day.”

14 Secrets of TSA Agents

Being a TSA agent means plenty of job stress.
Being a TSA agent means plenty of job stress.
Joe Raedle/Getty Images

Last year, more than 964 million people boarded airplanes departing or arriving within the United States. Barring any special security clearance, virtually all of them were filtered through the Transportation Security Administration (TSA), a federally operated branch charged with screening passengers to ensure they’re complying with the rules of safe air travel.

Some travelers believe the TSA’s policies are burdensome and ineffectual; others acknowledge that individual employees are doing their best to conform to a frequently confusing, ever-changing set of procedures. We asked some former TSA officers about their experiences, and here’s what they had to say about life in blue gloves.

1. CATS ARE THE REAL TERRORISTS.

A cat escaping from its carrier.
"Cats are a nightmare."
Lightspruch/iStock via Getty Images

According to Jason Harrington, who spent six years at O’Hare Airport as a Transportation Security Officer (TSO), rogue felines have created more havoc and confusion than any suspected criminal. “Cats are a nightmare,” he says. “They don’t want to come out of their carriers, they scratch and claw, and they don’t come when you call them.” A cat that’s made a break for it and who hasn’t been patted down to check for weapons is technically a security breach, which a TSA supervisor could use as justifiable cause to shut down an entire terminal.

Dogs, however, are no problem. “A pat down on a dog amounts to going over and petting them,” Harrington says. “That’s actually pleasant.”

2. THEY HAVE CODE WORDS FOR ATTRACTIVE (AND ANNOYING) PASSENGERS.

Because TSOs are usually in close proximity to passengers, some checkpoints develop a vocabulary of code words that allows them to speak freely without offending anyone. “Code talk for attractive females was the most common,” Harrington says. An employee might say “hotel papa” to alert others to an appealing traveler heading their way—the “h” is for “hot.” Others might assign a code number, like 39, and call it out. Harrington was also informed by a supervisor that he could signal for a prolonged screening for an annoying passenger if Harrington told him that the traveler was “very nice.”

3. FANCY HAIRDOS ARE A SECURITY RISK.

Any passenger coming through with an elaborate hairdo—either carefully braided hair or the kind of up-do found on women headed for a wedding—means additional inspection will be required, because piled-up hair can conceivably conceal a weapon.

“Just about anything can set off an anomaly in the head area, from braids to a scrunchie to a barrette to a bad hair day,” Harrington says. “And those body scanners are especially fussy when it comes to the head, giving false positives there more than any other area.”

4. THEY LIKE YOU BETTER WHEN YOU’RE EXHAUSTED.

A customer sleeping in the airport.
A tired customer is a pleasant customer.
AlexBrylov/iStock via Getty Images

“Tina”—a former TSO in the northeast who prefers not to use her real name—says that travelers taking evening flights are typically more cooperative than morning passengers. “People are actually much nastier when they’re flying out in the morning,” she says. “The really late-night travelers are the best ones to be around.” (Also on Tina’s naughty list: business travelers. “They’re generally meaner.”)

5. THEY SOMETIMES LIE ABOUT WHERE THEY WORK.

Because public criticism of the TSA is so pervasive, Harrington has found that many employees stretch the truth about where they work when asked. “If I had to admit it, I’d say I was working for the Department of Homeland Security,” he says. “When I made mention of that on Facebook, I got a ton of officers who said they did the same thing.”

6. CHEESE CAN LOOK JUST LIKE A BOMB.

Airport X-ray screening.
The foods in your bag can really confuse agents during an x-ray screening.
EvgeniyShkolenko/iStock via Getty Images

That giant wheel of cheese you’re bringing back from the holidays? It’s going to cause a lot of agitation among employees monitoring the x-ray machine. “A block of cheese is indistinguishable from C4,” Harrington says. “There is no difference on the screen. Meats, too. All organic products look orange on the display and similar to explosives.”

7. YOUR GENDER CAN CONFUSE THEM.

When a passenger enters a full-body scanner, the device operator hits a button to tell the unit whether it’s a he or she. It makes a difference, since a female passenger’s anatomy would raise a red flag when the machine expects to see male-only parts, and vice versa. If a person's gender isn’t easily ascertained on sight and a TSO guesses, a pair of breasts could initiate a delay. “The machines detect things under clothes, and if it doesn’t match what’s been pressed, it means a pat down,” Harrington says.

8. THEY DON’T DO THE SAME THING ALL DAY.

TSOs typically get assigned to different stations (ticket taker, x-ray operator, shouting-at-you-to-take-your-shoes-off officer) at the security checkpoint, and never for very long: 30 minutes is typically the limit before a new officer is brought in. According to Tina, the revolving schedule is to avoid employee error. “After 30 minutes, you may begin to miss things,” she says.

9. OPTING OUT GETS THEM ANNOYED.

Harrington’s security checkpoint had a code word for passengers who “opted out,” or refused to submit to the full-body scanners—they were “tulips,” and they proved to be an annoyance.

“It slows down the whole operation and a lot of guys would hate it,” he says. “Now that it’s millimeter [radio] waves and people still opt out, they get annoyed, thinking the passenger doesn’t even know what they’re opting out of.”

10. THEY’RE WRITING ON YOUR TICKET FOR TWO REASONS.

A TSA agent looking at a traveller's documents
No, TSA agents don't love it when you opt out of their full-body scans.
John Moore/Getty Images

Policies can vary by airport, but generally, security officers sitting up front and checking tickets are looking for irregularities in your identification: If something causes them to be suspicious, they’ll write something on your ticket that would prompt a more thorough inspection. “They’ll also write their badge number and initials,” Tina says, “so the airline knows they’ve been through security when they board.”

11. “CREDIBLE THREATS” STRESS THEM OUT.

According to Tina, turnover rates for TSOs can be high, and that’s due in large part to the perpetual stress of preparing for a hazardous situation. “In 10 months’ time, we went through active shooter training three times,” she says. “Another time, we were told there was a credible threat against the airport and not to wear our uniforms to or from work.”

12. THEY HATE WHEN YOU ASK THEM TO CHANGE GLOVES.

"The most common complaint [from TSOs] is when passengers ask them to change their gloves before a pat down," Harrington says, "because we change them all the time. We might have changed them just before getting to someone and passengers will still insist they use new ones in front of their face."

13. IT’S REALLY HARD TO GET FIRED.

TSOs undergo regular training and performance reviews where they're expected to simulate a screening in a private room for supervisors. After two years, the probationary period is over, and employees are generally set. “They’d call it being a ‘made’ man or woman,” Harrington says, referring to the mafia term for acceptance. “It’s really hard to get fired at that point. The only way to lose your job would be to commit a crime.”

14. THEY DON’T GET AIRPORT PERKS.

As federal employees, TSOs don’t enjoy any perks from airlines: Accepting a gift could be cause for termination, according to Tina. “But there’s a loophole,” she says. “If you’re friends with a pilot or have a personal relationship with an airline employee, you can accept it.”

A version of this story originally ran in 2016.

SECTIONS

arrow
LIVE SMARTER