
I wouldn't have been able to identify author Sheila McClear as she walked in for our interview if I hadn't already seen her photo on the back of her new book, The Last of the Live Nude Girls. Tall and slender, with straight brown hair that breaks against pale, almost translucent skin and green eyes framed by glasses, 30 year old Michigan native Sheila McClear looks more like a bookish intellectual than a former peep show dancer.
McClear, who is the daughter of two lawyers and holds a college degree in theater and costume design from the University of Michigan, was unable to find steady work after moving to New York City. "Like many college graduates, I actually had very few marketable skills," McClear reflects in her book. Going by the name of Chelsea, the first neighborhood where she had ever danced, McClear began performing at several different live peep shows at age 25 before retiring about a year and a half later to work as a full-time writer for Gawker. (McClear is now a features reporter for the New York Post.)
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A performance by Eva and Her Virgins is as evocative for the theatrical antics and energy of its band members as it is for the luster of its dark electronic pop sound. Playful, gritty, histrionic, and sexy, Eva and Her Virgins is a band that you want to keep your eye on.
I was excited to chat with front woman Emily Powers about the band, where we also discuss time travel, superpowers, and using Beethoven’s body as a flotation device.
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Meagan Cignoli is an up-and-coming fashion and portrait photographer in NYC. Only in her 20s, she has already photographed fashion editorials and features for the likes of Elle magazine, Prestige magazine, Fortune, Womens Wear Daily, and Industry magazine.
To say Cignoli is an incredible photographer would not only be an understatement, it would detract from what she actually does best--telling stories, creating characters, and playing with identities. Meagan's photographs have the feel of motion picture still lifes whose plots you are yearning to discover. Whether capturing beautiful women in exotic locales or mere mortals in the throes of mundanity, all of Meagan's images are perfectly crafted homages to mood and detail. Needless to say, we were excited to interview her here at Chicktellectual.
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Meet Alex, the teenager I always wanted to be when I was a teenager. Actually, scratch that; at *censored* years of age, I still want to be like Alex, the fourteen year old rock star heroine of Joyce Raskin’s new book My Misadventures as a Teenage Rock Star. Through playing music, Alex gains a strong sense of self-empowerment and identity, making Misadventures a positive model for women both young and old. Just as importantly, Misadventures is fun to read – in fact, I read it straight through without putting it down.
The book also inspires curiousity about its author, Joyce Raskin, who is a rock star in her own right, playing in the band Scarce. Here’s what she has to say to Chicktellectual.com about being a teenage girl, rock star and risk-taker.

I recently had the pleasure of speaking with the lovely and talented filmmaker/director Gabrielle Lindau. An openly queer artist, Gabrielle's projects frequently deal with LGBT issues and themes. Her short film, These Showers can Talk, which premiered in August, is a comedic take on the world of lesbian liaisons, stereotypes, and dating. The official movie release for the film was covered by Go Magazine and girlnationnyc. Gabrielle also directed Lori Michaels in "The Right", a music video for Lori Michaels Productions and Reach Out, Inc., a non-profit organization. She officially joined Reach Out, Inc. as a spokesperson for the nationwide marriage equality campaign, "i want the RIGHT", prior to its launch on February 14, 2010.
Gabrielle's latest endeavor, Who You Are, is a feature length film which tackles the recent homophobic backlash which has been occurring worldwide. The film introduces a serious dialogue about hate crimes against the international LGBT community, and what must be done to stop them.
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Amanda Ray's Debut Album Mirrored Images recalls some of my old favorites like Massive Attack and Morcheeba, but also brings in the energy of electro-grunge bands like Garbage. Sade fans will also feel right at home in Ray's rich, deep vocals. While you, like me, may feel unable to not think of these other great musicians while you have Mirrored Images on your iTunes playlist (on repeat, maybe?) Ray adds her own voice and a smack of sci-fi to the unique mix. She draws from an era of music that is often considered stale by many music journalists (the 90's), but was actually rich with underground sounds and new forms of expression, which she has a keen ear for. Ray's soulful, powerful, yet subdued vocals bring the chill European-style hip-hop back beats to life. All together, I could see this album making an appearance wherever there is dancing, parties, lounging or just listening.
One listen to Ray's striking vocals and it's clear that she's not new to music. She is new to making it her full-time career, though. Her first album was made in Atlanta while working a full-time job. Now she's in NYC with an intern, a new album and a tour in the works. This "black electronic sci-fi chick", as Trace magazine called her, has become a very busy woman! However, she made time to talk to us a little about songwriting and making a go as a career musician.
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If you haven't had the pleasure of hearing Arielle perform in one of her numerous gigs throughout the Village club circuit, I can tell you first-hand you are missing out. Arielle is one of those rare breed of musicians who can draw you in without fancy synth beats, overwhelming noise, exotic instrumental backup, or gimmickry of any kind. When you listen to her play, regardless of venue, it feels as though you are being treated to an intimate performance in your living room. It is precisely this raw, vulnerable "just a girl and her guitar" quality that distinguishes Arielle from many of her acoustic folk/pop peers and keeps her fans coming back for more. Her voice, breathy and ethereal, is a stand-out, and her lyrics about inner conflict, love, and loss, are universally relateable.
I recently contacted Arielle to discuss her music and her upcoming gig at Recoup Lounge in the Lower East Side on October 24th. I was given the scoop on everything from her musical inspirations to her thoughts on Kanye *cough*douche*cough* West.
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An excellent production and top notch cast helped draw attention to Wildflower, and its young, up and coming playwright Lila Rose Kaplan. Although a few reviews, including the New York Times, challenged or were uncomfortable with Kaplan's choice of ending, most, including variety and curtain up were charmed, as I was, by her characters and the tale of a mother and her unusual son who escaped from New York City to a small town known for its annual flower festival.
The cast of characters includes an ex-drag queen who becomes the family's emotional and literal source of nourishment, as both mentor and innkeeper who cooks; a hard-on-the-outside-but-soft-on-the-inside forest ranger; a misfit, bubbly teenage girl; a recently divorced, struggling mother; and her son who, while intelligent, clearly has more difficulty deciphering human relationships than your average teen. While this list certainly passes any east-village political correctness checklist, it's clear that they were not created with this purpose in mind: Kaplan weaves them together in a natural way that give the audience an opportunity to see what they all have in common, and the different paths they took to reach the same end. The beauty of these characters is their realness, even when most of them are completely out of place.
We recently spoke with Lila Rose to ask her a few questions about Wildflower and her upcoming projects...
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From ice sculpting at the Ice Hotel in the Arctic to staging renegade fashion shows in the Paris subway system, the life of New York born artist Maya Erdelyi-Perez is not unlike one of her own surreal animated films. On the eve of shooting a new music video, Maya chats with me about illegal subway spectacles, collaborating with band No Surrender and Tunde Adebimpe from TV on the Radio and her upcoming exhibit this Saturday night.
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It's not often that you meet someone who says she gave up her successful career to become an artist because she was sick of working so hard for so little money. But that's how Helle Mardahl came to be an artist. In fact, she told me, "I believe in destiny and destiny told me to calm down a bit."
I met Mardahl recently at LaViolaBank Gallery, where she was preparing for her upcoming show, The Largest Possible Audience. She was white-washing a canvas in preparation for a projection, which seemed more like a Zen exercise than work. We discussed her art and her previous career in fashion and I noticed that she certainly had the energy, passion and vigor of someone in fashion, but at the same time I also noticed an air of relaxation and even contentment about her. The satisfaction she seems to have found in developing the complex and intricate works she was putting up might have surprised her a few years ago, but her drive and determination didn't mean she had the manic furvor I've seen in so many fashion designers.
Despite the complexity of her works, she explained her ideas and inspiration in very simple terms. People's obsession with the royal family, which inspired her last show, and people's desire for attention which inspired this show, are so simple that you don't have to be a 'tellectual to understand what she's talking about.
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My friend, who agreed to speak with me about burlesque on terms of anonymity, recently came back from Atlanta with stars in his eyes and a newfound passion for the South. None of us really got it until he told us about the Dames Aflame burlesque show that he had caught during his travels:
"You know I think New York women are hot. And New York burlesque dancers are really hot, just not, well... beauty queen hot. The Dames Aflame dancers are beauty queen hot. All of them. They appeal to men in the way that strippers do. Which is why, in New York, you go to see naked women at a strip club if you're a man. In Atlanta, you can go to a strip club — or you can go see a Dames Aflame show."
I was curious and so I contacted Shannon Newton, who runs the Dames Aflame Dancers in Atlanta. In a phone interview that felt more like a backstage pass, I got her to give me the inside scoop on why even mega-corporations think that her show is a stand-out.
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On my list of American things -- way above apple pie, which isn't American, and motherhood, which we all know is universal -- is Bettie Page. Page, who passed away in December, is both the most unique and most iconic symbol of the entire so-called "Cheesecake" photography movement of the 1950's.
Recently, Cheesecake, along with burlesque, has seen a big comeback, and I had a chance to chat with one of Page's biggest admirers, England's Anna Fur Laxis, about her Bettie Page inspired modeling and burlesque show. Her sense of humor, fetish, and sexuality channel something that many people don't even know existed back then. So true to Bettie's spirit (not to mention appearance!) is Anna, that it was hard for me to remember that I was speaking with a Brit -- except when she said things like "uni" for university and used the occasional British spelling. Of course, there are a few other super British things she does in this interview, but I can't give away all the surprises!
Read the full story...Seattle residents don't miss Angie and Murry Hill with the legendary Dita von Teese, Tomorrow Night, Wednesday April 1st at 7pm at the Triple Door.

From the first brick laid at the saloon, women – straight, gay and miscellany – have expressed curiosity about what goes on in entertainment venues where other women get naked. But while strip clubs may host a sprinkling of adventurous female patrons, burlesque shows can claim at least half – if not a majority – of women in their audience.
It’s Saturday night and I’m seated at “This is Burlesque,” one of the hottest tickets in the New York burlesque circuit and hosted in the intimate, sensual environs of Soho’s Corio eatery. The energy is as raucous as you would expect even if the patrons are not what you imagined: immediately behind me a decked-out bachelorette party glitters like a Christmas tree, and on every side women cheer the performers on while their dates – mostly men – look on with more quiet appreciation. On the line to the ladies’ after the show, a modestly dressed woman in her twenties confesses: “This is one of my favorite things to do on a date. It’s much more original than the dinner and a movie thing. Plus you get to see if the guy knows how to have fun.”
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I distinctly remember the first time I glimpsed Ms. Justine Marie Bassani's paintings in her artfully cluttered downtown apartment. That she was abundantly talented was obvious, but perhaps less obvious were the emotions she was trying to convey through her work -- or rather the emotions they evoked in me. Most of Justine's paintings were marginally distorted portraits of women often appearing lost in thought, on the brink of revelation, or embroiled in some sort of inner turmoil. I remember feeling vaguely disturbed when I studied her paintings closely; almost as though I was intruding on the subjects' most vulnerable, intimate moments. However, I also felt empowered by the strength and defiance the characters seemed to exude.
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When I came across Sheila Frank, I immediately took notice of her retro bathing suits. These suits would look right at home on Betty Page (or if you're young and hip like that, let's say Katy Perry), but her other looks are thoroughly contemporary. They are simple, unique and elegant. We here at Chick tee dot com love the fact that her looks aren't just designed for barbie dolls, either: most of them will fit women of various body-types equally well, so you don't have to look like a model to, well, look like a model.


I visited with Sheila recently when she was in New York for a photoshoot. Crammed into a tiny bed-stuy appartment converted for use as a photo-studio, Sheila had assembled some amazing tallent. Interacting like seasoned pros, I was surprised that they had all met online and that they were all working for free in exchange for the right to use the photos in their portfolio. Sheila, on the other hand, hardly had to do anything, and when I asked her to stand next to the makeup artist and model for a picture she got uncomfotable and didn't know what to do -- it wasn't her place to be tinkering with makeup and so on. Eventually they just chatted and teased each other. Sheila said that on some occasions she would have the work sent away and not even gone to the shoot herself.
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