The Sculpture Gallery at Philip Johnson's Glass House

Aila Boel Oldenburg

Can you tell me where you're from, how long you've been in New York, and what got you into showgirling?

Aila Boel Oldenburg: I grew up in Minneapolis and I also lived in Sweden a little bit when I was little. My dad's from there, and then I was planning on just moving to Sweden or around Europe because I'm a dual citizen and was feeling like I hate America. But then my uncle took me to New York, and I fell in love with it, so I applied to Parsons. I wasn’t really focused on painting yet or anything. I had a talent for it but I wasn't practicing in Minneapolis. I wasn't really inspired there. But I got in and I moved here for that, and then when I moved here six years ago, I started falling in love with painting and doing it on the streets.

I'd go out with an easel and paint a garden or a flower shop. I was waitressing and doing that and going dancing at night. I got into showgirling by happenstance, because the first time I went to The Box, I got on stage and took off all my clothes.

No way.

ABO: Something just came over me and then I was put in touch with the producers. I was in the subway waiting for the train. My phone was at 2%. I got an email from the producer that was like, I'm here right now, if you can come audition. So, I decided to go and told him to tell the bouncers there is a girl pulling up with her easel and canvas.

I pulled up. I looked so busted. I was in boot cut jeans and a tank top and cowboy boots. They started having me paint right away, during my first night working. They had me both dancing and painting a table [of guests]. The first painting I did is still at The Box.

Would you define yourself as more of a painter, a showgirl, or a combination of both?

ABO: I have to do everything. I was more into singing, and when I moved here and started painting and performing, I didn't want to confuse everyone by doing too much. I want to be taken seriously as a painter. But now that I'm established as a painter, I've been singing again. I've been really enjoying that. So I have all these different ways of expressing myself, and I feel like I need to do all of them.

I guess I want to be known as a painter and performance artist. I feel like I'm not a showgirl in the traditional sense.

Because you feel like you perform in a lot of different ways that surpass the stereotype of what you think, what comes to mind?

ABO: Exactly. I’m a painter, dancer, singer, club kid, costume designer. The New York showgirl is different from the traditional showgirl; it’s more club kid than Vegas showgirl. I'm so lucky to be a part of this cool intersection of everything where there are no boundaries and there are no definitions. It's just about creating fabulous energy.

When you’re painting, do you take inspiration from your experiences performing and vice versa?

ABO: Do they influence each other at all? Definitely, I feel like my art has just developed so much. I liked painting before, and then I really began to love it when I started going out and painting. When I was considering studying painting, someone told me not to unless I could be alone and locked away in a studio all day.

I knew that wasn’t for me, so then when I started painting on the streets, I loved it because it was so immersive with New York and the city's energy. People would come up and give me food, water, buy me flowers, take photos of me. I would play music, and it's such a vibe.

Getting into nightlife allowed me to really find my muses. It's such a magical, crazy world that I feel so lucky to have fallen into and that I just want to capture, document, and pay gratitude to. I paint with my hands, because it's quicker. It's like having 10 brushes. Blending colors has to be way more instinctual, because I don't have that much time, and I can't fucking see. There are a lot of moments that I want to document, but then there are also ones I want to keep for myself. It's such an inspiring world where making art isn't about practicing it and getting better at it. It’s about getting more inspired.

What do you feel are some of the most magical things about the nightlife scene?

ABO: The people are just the most unique, special, individualistic, and incredible, and just want to express themselves. They have such a strong sense of identity and just want to put it out into the world and have such powerful energy. Lola [Von Rox] taught me how to be a showgirl and took me under her wing. She taught me how to make costumes and do everything. I'm so inspired by her looks.

New York is just magic. The New York showgirl is different. There just aren't boundaries, there aren't barriers or definitions in New York. There are no rules, so it's just expression and joy and love and magic and yeah, what was the question?

Through meeting all of you girls, I’ve learned that you are all costume designers. 24 hours before, they'll let you know that you have to make the most niche costume ever.

ABO: Yeah! I'm not a high, high-kicks trained dancer like these Vegas showgirls. But they are not making their costumes in 12 hours. Actually, in two hours. I usually start making them at 10:30 and I have to be there at 12.

Do you have any costumes that you've made or that come to mind that you wish you could wear over and over again?

ABO: I love this one that I wore in Paris when I was performing there last time, just the headpiece. This one's really special because I made it the night before. Should have made my headpiece for Paris the night before? Maybe not, but that's just what I'm used to doing. 

What were you doing in Paris?

ABO: I was singing and painting at Maxim’s. I've been there twice now in the past few months with this party called Inferno.

Do you feel like you’re performing as yourself or a persona?

ABO: It’s me. I feel like I was born for the stage. Life's my stage, you know. The world's my stage. It's just who I am.

Showgirling takes a lot of confidence. Have you always been that type of person?

ABO: I think so. When I was little, I used to change outfits about 10 times a day. I've always been very dramatic and confident. I always wanted to grow up too. I hated being a kid. Again, like the New York showgirl. It's about energy, not so much looks or fitting a checklist of attributes. My confidence has always come from inside, not from how I look.

Would you say you take a lot of inspiration from the people around you in that community?

ABO: Definitely. I’m really inspired by Lola [Von Rox] and her looks. The pressure and the chaos make magic; that’s what she taught me. Amanda Lepore. She's top to bottom with everything manicured…which I still haven't managed to succeed at. Susanne [Bartsch] is always pushing boundaries. She’s always edgy and camp and has an ability to bring people together and make everyone feel at home.

Do you ever feel like you have to kind of set up boundaries between you and the audience? When you're working the job, you're having to exude so much sex appeal. How do you maintain control over that or keep a piece for yourself?

ABO: My energy is very big, so it naturally fits well on the stage, and that's the perfect place for it to be. I feel that same way with my sexuality. I feel like I've always had a sexual nature without even meaning to. I’m flirty and very in touch with my sexuality. When you’re performing in this way, you give so much of your energy, and you absorb so much energy.

Lola's taught me about that too. To wash the energy out of my hair, scrub yourself, sage myself. To cleanse myself. It can be a lot, but it's also a very rewarding way to let out your sexual energy. I’m probably not as sexually active as people think I am or assume I am.

Since showgirling, I have been mostly celibate. It's been a beautiful way to express my sexuality while being in control of it. You can see me, but you can’t have me.

Ann-Archy Artist

Tell me about what got you into showgirling.

Ann-Archy: Well I’m a twin, so I’m used to competing for attention, and I can never get enough of it. So show biz seemed like the perfect gig for me. It’s a tale as old as time, I fear.

You mentioned to me that you are writing a book, tell us more about it.

AA: Omg! My book! Well, it started out as an essay, but there is so much to be said and done with the topic of whiteness as an identity. I’m creating a whole “Stop being white” campaign to change the way we view ourselves and each other. Mostly everything I create is about reimagining or unveiling the world in which we live. This whole project (although seemingly random) is deeply connected to my ethos as an artist.

How do you feel your identity is portrayed and received in the nightlife space here?

AA: I think I’m seen as a good time gal with something to say. I often think I’m being too esoteric with the references in my work, so I’m very surprised whenever somebody understands exactly what I’m expressing. My supporters are a lot smarter than the general population.

What’s something people might not expect about the showgirl life?

AA: I’m a morning person.

Tell me more about your time living in the punk houses in Philly?

AA: What was that scene like, and how did it inform your art? My first five years of living in Philly were spent hopping from one unfinished basement to another until I finally got a room at this old punk house called Dream Castle. I lived with a motley crew of friends, and we all worked together on projects. We all pitched in for a warehouse space and threw iconic parties at a venue that I forced everyone to call “Right Aid.” It was a beautiful mess, and I loved mostly every minute of it. Truly Iconic times in Philadelphia.

What is your main creative passion right now?

AA: I’m driven by one desire, which is to change how we collectively perceive the world. We’re fucked up. Shit’s fucked up. The only thing I’m driven to do is expose that and attempt to make it better through any and all mediums.

Where does the name Ann - Archy Artist come from?

AA: It has been my performance name since 2012. I go by Ann Artist for a multitude of reasons. Firstly, I wanted a name with longevity that I wouldn’t get sick of calling myself. I believe strongly in the power of words, and I’ve always wanted to be known as an artist, so I figured if that’s what I want to be identified as, I'd better make it my name so people inherently recognize me as that. It worked! I be up in museums and shit, it’s crazy! Archy has always been my cheeky middle name. Altogether, Ann Archy Artist explicitly denotes the style of art that is to be expected in any medium I encounter. I’m only interested in subversion and disrupting the status quo because things are not okay and we need to wake up.

Run me through an average day in your life.

AA: Wake up. Procrastibate. Gym. Tan. Laundry. Then it’s time for me to get ready to go to the club. My life is like a continuous episode of The Jersey Shore with better clothes and more interesting people.

Why NYC?

AA: Because it’s objectively the best city in America please don’t ask obvious questions, next.

How does showgirling influence your work as a writer and vice versa?

AA: I’m not really a writer, I'm more of a town crier using any medium I can to publicly discuss the political and economic state of the world.

How has showgirling in NYC differed from other gigs elsewhere? What about NYC nightlife makes it so iconic?

AA: Okay, another obvious question. I’ll answer this briefly. Once a week from May until the end of October, I get to spend the beginning of my work week with Susanne Bartsch and Amanda Lepore at a free party on the rooftop of the Standard Hotel at the most Iconic free party in NYC known as On Top. I’ve seen everyone from Erykah and Janet KiKing in the corner to Kacey Musgraves and The Countess Luanne serving cunt with a cocktail. I literally met Billy Porter while I was drunk off my ass, dressed as Pickle Rick (because I’m a method actor) on a regular Tuesday far from Halloween.

There’s nothing like NYC, and we’re so spoiled living here that sometimes we forget to take a step back and think about how none of this exists anywhere else in the world.

If you could perform in any venue (real or fictional) where would it be?

AA: Unda da Sea.

What or who gets you moving?

AA: Sex, drugs, rock and roll…and my desire to change the world.

If you were a costume piece, what would you be and why?

AA: A cock ring because I like cock.

How has showgirling helped you explore your artistry?

AA: It’s taught me the art of the rinse and repeat. Before NYC, I never really repeated looks or numbers, but here I can perform the same number to a completely different crowd each time and am encouraged to do so. I learned the art of truly perfecting a performance.

Lola Von Rox

Tell me about what got you into showgirling.

Lola Von Rox: I didn't find showgirling through a traditional path. Performance has been at the center of my life from a young age, leading me to compete and teach professionally in ballroom dance before building a career that bridges theater, television, nightlife, and creative production. Dance is my first love. As much as I enjoyed the technical side of it, I was always drawn to exploring something more. New York nightlife felt like a natural evolution. I found a world where everything I had learned could coexist and expand further.

Who is Lola Von Rox?

LVR: Lola Von Rox is the embodiment of everything I love about performance and creative freedom. She's an extension of my spirit.

What makes the NYC showgirl different?

LVR: The NYC showgirl is unique and resilient. They have glamour and hustle. Quite often we’re creating our own opportunities, our own costumes, producing our own work. We are constantly reinventing ourselves in a city that demands innovation at every turn. We have to be resourceful and endlessly creative. Some might say, NYC showgirls have super powers.

Everyone we’ve interviewed has mentioned you, given you flowers, and referred to you as their “showgirl mother.” What do you think has led you to become such a pillar of the community?

LVR: I think I've always believed that there is room for all of us. Early on, people opened doors for me, and I felt a responsibility to do the same for others. There’s something incredibly fulfilling about helping someone recognize their own potential and guiding them to step fully into it. Being called a "showgirl mother" is a beautiful honor.

You mentioned that one of the looks we shot was the one of the first you ever made. Can you remind me which one and how it feels to put something with so many memories on?

LVR: The pearl look was something I made very early on. I had no road map, but I knew what I wanted to look and feel like. It's imperfect, but it's glamorous; that's what makes it special. Who I saw myself as when I was creating this look is who I am now, and that makes me smile.

What does this world give you that you couldn’t get anywhere else?

LVR: A chance at exploration and a shared human experience. I believe in love and kindness. This world gives me an opportunity to share that through my art.

Who was your showgirl mom?

LVR: I've been fortunate to be influenced by many incredible women throughout my career including my own mom, Luz, who is my first style icon. If I had to name one person who deeply shaped my understanding of nightlife and chosen family, it would be Susanne Bartsch. She created spaces where individuality wasn't just accepted, it was celebrated. She showed many of us what it means to lead with vision and generosity while looking absolutely fabulous.

What made you want to create Rox Republic? Can you explain what goes into it?

LVR: I created Rox Republic because I wanted to build a company I wished existed when I started. A place where performers are valued as artists and expression in any form is accepted. Running Rox Republic is equal parts art and alchemy. It’s a constant process of creating, producing, designing, casting, and dreaming up what's next. My job is to keep us evolving and pushing boundaries. Creating magic while staying true to the spirit and authenticity that got us here in the first place.

Where does your power come from?

LVR: My power comes from knowing who I am and being unapologetic about it. It comes from my experience, trusting my instincts and choosing to move forward even when the path isn’t clear. I stay true to myself in an industry that’s constantly asking people to be something else, that’s power.

How do you embody sexuality in a way that still feels fully in your control?

LVR: For me, sexuality is an energy, not a performance for someone else's approval. It's self-expression. The moment sexuality becomes something I'm giving away instead of something I'm embodying, it loses its power. True sensuality comes from ownership. What’s the sexiest thing a performer can do? Be fully present. Confidence is sexy. Authenticity is sexy.

How has the industry shifted since you first entered it?

LVR: When I started, much of what we did lived in the moment. There was mystery. Social media has created incredible opportunities for visibility, but it has also changed the relationship between artists and their audience. While it's amazing that artists can reach people all over the world, I think there's something special about preserving the magic and allowing some experiences to exist only for those who were in the room.

If you could put together the act of your absolute dreams, what would it be and who’s in it?

LVR: This is a tough one because I have so many dream acts in my head. If I could create one with anyone, it would be a collaboration between David Lynch, Guillermo del Toro, Germaine Dulac, & Federico Fellini. It would be surreal, cinematic, unsettling, and completely immersive. The kind of performance that leaves people wondering whether what they experienced actually happened.

Do you have any dreams for the future of the NYC showgirl?

LVR: I want to see the NYC showgirl recognized as a legitimate cultural institution. More opportunities, better pay, more protections, more stages, and greater visibility for the artists who dedicate their lives to this work. I want future generations to know that this lineage exists and that they're part of something bigger than themselves.

How does the community that surrounds you motivate you?

LVR: The community reminds me why I started. Every time I see someone step into their confidence, land a dream opportunity, or discover something powerful about themselves through performance, I'm inspired all over again. Their growth fuels my own. What motivates me most is connection. Whether it's an artist finding their voice or a guest being completely transported by a performance. I love witnessing those moments of transformation.

Tell me more about the Glitterati act.

LVR: You’ll have to come to The Box and experience it yourself. Meow.

We talked a lot with the Club Kids when we met. How did this group of people influence what we know as showgirling today?

LVR: I am a Club Kid, so for me, the influence comes from the inside and the outside. Growing up in New York (shout out to the Bronx), I was surrounded by queens, Club Kids, and larger-than-life characters, especially when I’d visit the East Village. I was always in awe of how grand and creative they were. I think modern showgirling carries a lot of that DNA. The audacity to be seen, the creativity to make something extraordinary out of whatever materials you have, and the belief that self-expression is an art form. Club Kids taught us that. There's an energy of "I am the party, you can join me or not.”

What is igniting your creativity right now?

LVR: The state of our world and how important art is. Showgirls aren’t just something pretty to look at. We’re storytellers, disruptors, a mirror of the culture we’re surrounded by. Art has the power to transport us and remind us of our humanity, which will always be inspiring to me.

Alexa Roosevelt

What got you into showgirling originally?

Alexa Roosevelt: I started out working behind the scenes for an entertainment agency and production company. I had already been an actor and a dancer my whole life. At that point, I was looking for another outlet in between auditions. I started auditioning more, but it didn't really start until I met Lola [Von Rox]. It wasn't until I met her that my world opened up.

You act as well?

AR: Yes, I’m an actor first and foremost. I got my BFA in acting at SUNY Purchase, and I've been singing and dancing my whole life. I studied musical theater in high school and was in a dance company growing up. The idea of burlesque and showgirling had always interested me, but I wasn’t immersed in the world until I moved to New York and saw the nightlife scene. It was thrilling and so different from anything I'd ever been a part of.

What really drew me in and kept me there was the community that I found. The women were especially supportive and uplifting. It’s a community where creativity exists in abundance. It taught me a lot about being a performer. A couple of years ago, I would have been very nervous to do something like that, but now I feel more comfortable, and it makes me a better artist.

Do you feel like it influences your work as an actor?

AR: For sure. I have a very different process when it comes to my acting. With burlesque stuff, it's more improvisational, but if I’m doing a play or a movie, I will plot it all out beforehand.

Do you feel like the costume that you're wearing defines how the night's going to go in any way?

AR: It really depends on where I am. Some venues that we work with set a theme beforehand, but you typically find out the day before. It's like, what do I have? What works? What do I toss? What pieces can I combine? It’s really about being comfortable with things changing at a rapid pace. You can't get precious about anything.

You have to be comfortable with taking risks, which connects to acting as well because a lot of risk taking that happens there.

AR: Yes! To be honest, I’ve always struggled with stage fright. Doing this for the past few years has loosened me up as a performer and made it a lot easier for me to do better work because I'm more relaxed. You can only fake confidence to a certain extent. Because of showgirling, I’m finally in a place where I’m able to embody that more truly. It’s not as much of a performance as it is an extension of myself.

So you feel like showgirling has kind of given you a lot of inner confidence?

AR: Oh, yeah, a lot more!

When do you feel most connected to yourself in your artistic pursuits?

AR: Is it in showgirling, acting, or singing? First and foremost, I set out for New York to be an actor. That's been at the heart of all of my pursuits. Even when I'm showgirling, I consider it to be in the same realm. It's definitely an extension of myself. That's why I don't have a showgirl name.

Growing up, I developed from a younger age, and I was constantly being over sexualized and shamed. I had a lot of shame surrounding that and didn't know what to do with it or where to put it. I would try to put it in dance. I would try to put it in the scenes that I did in acting class. It wasn't until I found this [showgirling] that I discovered a healthy and exciting way to challenge and learn a lot about myself. It has positively influenced all other artistic realms that I work in.

How would you define the difference between feeling sexualized vs feeling sexy? Is there anything you do when you perform that gives you a sense of control or feels grounding to you?

AR: Totally, I like what you said. They're two different things, to be honest. I feel like a lot of people see performers in this realm and think we’re doing it for the glamor, the fame, or being watched. You know, sure. I do get off a little bit on being watched by others but it's very much for myself and to push my boundaries as far as they can go.

If someone else watching gets something out of that… that's great and I hope they do. But it's not my goal. When I'm showgirling, it’s to discover new parts of myself. It brings me so much joy when I meet other women who have watched me perform and are in awe of my confidence. It's so funny because I don't feel like that most of the time. It's almost like a switch. I do hope people, especially women, can get something out of the freedom that is being exhibited in front of them. But at the end of the day, I'm nurturing that little kid inside of me.

Is there anything like you're working on right now that you're excited about that you can share?

AR: I have a Gatsby event that I'm working on and I'm excited to reunite with a lot of my girls. I’m doing a play as well. I need to do like 6 things at once, I'm very ADD. During all of this, I’m still taking acting classes too.

Do you have any favorite costumes at the moment?

AR: Some that you're seeing today. Everything that I've learned about making costumes has been from my show mother, Lola [Von Rox] and my other performers in Rox [Republic]. My mom and dad taught me how to sew.

How do your parents feel about your decision to do showgirling?

AR: They have always been completely supportive of every artistic endeavor I’ve done. They would take me to everything and would never miss a performance growing up. I went to middle school and high school for acting and musical theater while simultaneously being in a traveling dance company.

They knew from a young age what I was setting out to do but I don’t think they were totally expecting this aspect. It's interesting. My dad's very much like, “You look beautiful, sweetie.” He doesn't care. He doesn't look at it under that gaze and I'm grateful for that because I think he just sees the joy that it brings me. My mom was a little cautious at first as I feel many mothers would be. There's always nerves about how others are going to perceive you in this industry. People have very particular views on how you should be and how you should present yourself as a performer.

Through the years, my mom has also seen how much joy it brings me, how it's helped me to progress as a performer and a person. I've learned a lot about myself and become more comfortable in who I am because of it. Today, she's fully supportive. It took her a second to come around, but she is the most supportive person that I have in my life. If there's anything I want to include in this, it's that.

Is there anyone who inspires you right now?

AR: Lola Von Rox is the reason that I am comfortable to exist in this art form. She's my showgirl mother and has taught me more than I could say and has opened up my world to possibilities that I didn't know existed. Everything she does blows me away and anytime I'm able to be a part of it, I'm overjoyed.

Susanne Bartsch is another one who took me under her wing, and has brought me into another community of nightlife icons and hosts, performers, drag icons,and more. I love working with the full spectrum of artists and it always keeps things fresh. Amanda Lepore, she's another one. Love her. She's the ultimate, ultimate blueprint icon. Hedy Lamarr is one. Betty Page and Gypsy Rose Lee.

If you could perform in any venue (past, present, real, fictional) where would it be?

AR: I want to be on Broadway. That’s the ultimate dream and it’s not changing. I have a dream of us having our own venue where we could just create and thrive in any way we wish and not be under the gaze of someone else's supervision. We wouldn't need to ask permission as much. That's one thing that is difficult in this industry. You're under the gaze of a lot of people who aren't necessarily performers. It’s show business…

Give me your essentials for the perfect night.

AR: Pleasers, pasties, bobbys pins,Topstick, sweat, dancing, a shot of tequila, a joint, feathers, a boa.

And obviously, the community is the most important part. I've definitely met some characters that I will never forget through this lifestyle.

Mamiko Nakatsugawa

Tell me about what got you into showgirling.

Mamiko Nakasugwa: I started getting involved in nightlife in 2022 when I quit a modern dance company and was trying to figure out what to do next. I started by gogo-ing at a club. Then my life of a showgirl slowly started happening at The Stranger NYC, which was the venue I worked at as one of the core dancers since the opening, which is where I met Lola Von Rox, who is my NYC showgirl mother. Also, it gave me a chance to meet and started working with my burlesque mother, Angie Pontani.

You were born and raised in Japan, did you showgirl in Japan as well? What brought you to New York?

MN: I left Japan for the United States when I was about 18 years old. I didn’t really know what a showgirl was but I was obsessed with what I had seen in movies like Burlesque, Moulin Rouge, and Chicago. I came to New York wanting to attend college and learn more about theatre, dance, and musical theatre.

How is showgirling there and here different?

MN: Performance, art, theater, and night life are run very differently. In Japan, there is lots of sexism that plays out in the culture. I personally feel that Japan still struggles to empower women and accept the spectrum of sexuality. The majority of nightlife feels like it is made to please the masses (cis men and women). To my knowledge, I know that showgirls exist in Japan, but in a much different way.

As an Asian woman, how has showgirling empowered you in your sexuality?

MN: Seeing someone who looks like me dressed up, showing skin, dancing in full, and having fun in front of people can be triggering for some. Especially for my fellow Asians who grew up in a system that makes being sexy, loud, and being fully yourself so taboo. It became a mission of mine to empower the Asian community whenever I am on stage. To represent the part of them that might be forgotten in the oppressive system.

I really believe the nightlife community in the city has shaped who I am as a performer today. Talented friends and beautiful moments on and off stage. Meaningful conversations about life after shows at 5am or while putting makeup on in the chaotic dressing room, those moments have shaped the core of who I am. Sharing and being shared... how amazing it feels to be my true self. Having fun is one of the most amazing and powerful things you can do for yourself, your lovers, and haters (even if you don’t have them).

You are also a sauna master. Tell us about that.

MN: I have been working as a sauna master for about 2 years and am currently a lead sauna master at Bathhouse. I curate and facilitate Aufguss, a ceremony that lasts about 12-15 minutes in the sauna using music, essential oils, herbs, and towel waving. The guests then stay in the sauna as long as they can to sweat, release, align, and leave feeling better.

How do you balance something so relaxing (sauna), with something so charged and sexual?

MN: Being a sauna master has become such a balancing force in my life over the past few years. Honestly, It grounds me more than anything. I sometimes have double duty, meaning I do Aufguss in the afternoon and then a showgirl or dancer gig at night. People always ask me how I balance it all, but the truth is that it balances me.

It allows me to maintain balance both internally and externally. Aufguss gives me a moment to breathe and connect with my body. It reminds me of both the peace and fire that I have inside of me. Oftentimes, I notice that when I am truly in tune with myself, it inspires guests to do the same. As an artist, I love being a mirror, reflecting positivity back onto others. The more grounded I am, the more confidently I can express myself on stage. So, it is definitely a win-win.

How would you describe yourself as a creative?

MN: I am a multi-medium artist who loves serendipity and accidental creation. At this point of my creative life, I love creating things that make people feel something good and positive. Life is actually really short!

What's the difference between feeling sexy and being sexualized?

MN: Is there anything you do to claim control on stage? Being sexualized actually has nothing to do with me and everything to do with the people who sexualize me. The most I can do is not care what they think. They can try and dim my light by making me feel uncomfortable, but if I don’t care about it then they cannot do anything to me. Stand up for your beautiful self.

Tell me about a night you had on stage that felt perfect.

MN: There have been SO many moments. At The Stranger, we used to do a full-out dance number choreographed by Tislarm Bouie (love you Tislarm). I’ve had lots of moments there where I was left alone on stage. The DJ was playing such good music that I became one with it and just threw myself on stage to take it all in. It was my favorite thing to do.

There are so many little stories and portals that were opened on that stage. Another moment is definitely the night I was in Duran Duran’s sold-out Madison Square Garden on Halloween in 2024. It was so special to feel that much crazy energy all at once. I will never forget the view from that stage.

If you could perform in any venue (real or fictional) where would it be?

MN: I would really love to perform at the Super Bowl, Coachella, the Crazy Horse or the Moulin Rouge in Paris.

What's the biggest risk you've taken in a performance?

MN: Wearing pasties. Three years ago, I was so scared to wear them.

What's something you're working on right now that you're excited about?

MN: I premiered a balloon act at House of Lost, [an immersive art installation and stage] at Hulaween music festival last year with my husband Devin and now I am creating my own act with balloons. I am excited to create acts that showcase all aspects of who I am as an artist… stay tuned!

Who inspires you?

MN: All the mothers who inspire me to be who I am. Lola Von Rox, Angie Pontani, Julie Atlas Muz. My nightlife icon, Susanne Bartsch. My dance teacher in Japan named Kei Hamashima who used to be a professional dancer and showgirl in the 1970s. My mom, dad, and family back in Japan have been supportive of my crazy life.

Describe the NYC showgirl in five words or less.

MN: Be your fabulous self, fully.

What's yours and only yours?

MN: The fact that I am Mamiko Nakatsugawa and the only Mamiko Nakatsugawa in this entire world!