VAS Littlecrow:

Why did you stop performing at the Chicago Club?

After careful demographic study, comparing my objectives versus the venue’s objectives, a lot of prayer, and conversations with people I love and respect, I made one of the most radical and heart-wrenching choices in my career as a multidisciplinary artist. After eight amazing years of designing and performing quirky modern-style cabaret dance sets for this unique venue, it is time for me to move on and focus my energy on other things.

I did not arrive at this decision lightly. Thankfully, my friend and the Chicago Club’s lead dancer/booking coordinator, R. Storm, gave me some excellent guidance on what I needed to do from a career perspective. Rotating road dancers and house dancers, Tamika and Miss Boston, will be taking over my booking slots and providing the Chicago Club’s audience with the sexy entertainment that they crave.  I don’t personally know Tamika, but I can confidently say that Miss Boston is fun and absolutely personable.  Her larger-than-life personality shines confidently from the stage, and she is definitely worth the visit.

There are many reasons why I am leaving the Chicago Club, even though I adore the dancers, staff and many of the customers there.  I sincerely hope that my patrons and fans find them to be reasonable:

The Crow-Gnome Project, one of my biggest priorities as an artist, has taken a backseat to my many responsibilities as a dancer.  If I am to take the CGP out of the planning stages, and if I am to complete other pending projects, it is imperative that my schedule become more flexible.

My full booking calendar has also affected my personal life.  I miss my beloved husband and family, and I hardly see them anymore because I travel constantly.  As I’ve grown older, home life has become a greater consideration.  It is becoming increasingly emotionally painful for me to be away from my loved ones.  It is important for me to tend to how I feel.  If my emotions are not up to par, it becomes difficult for me to create art.

When I first started working a the Chicago Club in 2002, the crowd consisted mostly of older local men, bored Air Force staff and business travelers.  Because of the familiarity of the locals, and the demographic realities of the other two groups, creating innovative shows for a receptive audience seemed to be a lot easier.

The North Dakota oil boom, combined with the mass deployment of troops overseas, a competing “gentlemen’s club” that caters specifically to upscale audiences, the end of Northwest Airlines’ monopoly and the creation of direct flights to Salt Lake City and Denver at the Minot airport, have completely changed the demographics at the Chicago Club.  A younger and more mainstream audience of oil field and construction workers, is not as open to what I do.

The remaining core audience, and some of the more artistically-minded young adults still made my trips lucrative and creatively rewarding.  Unfortunately, the majority of younger audiences seek out a more standardized sexuality for their adult entertainment, and seemed confused by what I do.  I faced a choice between conforming for the sake of the audience, or make a graceful exit to maintain a show that is more consistent with the mantra of “fearless visual arts” that is the signature feature of VAS Littlecrow’s creative endeavors.  The answer seemed obvious to me.

The fact that the Chicago Club is changing format next year, has made the decision a lot easier for me.  It’s better for me to deal with the future now, than to wonder what I’ll do with myself when my services as a dancer are no longer needed there.  Being proactive is one of the keys to success.

Dealing with my artistic and personal goals, does not mean that I am abandoning the art of smutty puppetry and the doodle hoop burlesque.  Hardly.  Storm reassured me that my departure was not seen as a rejection of those I care about at the Chicago Club.  Instead, she told me, “you need to take opportunities when they come to you,” and completely understood my situation.  With her blessing and enthusiasm, I will devoting more time and energy towards performing in the Twin Cities/St Cloud area, as a solo act and, as part of the Androgyny Kings Cabaret.

In the short time I have worked with the Androgyny Kings Cabaret troupe, that project and its staff became dear to me.  The performers, remind me a lot of the performers at the Chicago Club in their attitudes and close-knit camaraderie.  The time commitment I need to invest for the Androgyny Kings Cabaret is nowhere near as intensive as that of the Chicago Club’s and their touring range is a lot closer to home. Their target demographic is a lot more receptive to my work, and the troupe itself is a lot closer to my creative ideals.  In the Twin Cities, I am considerably less hampered by the censorship that has been imposed upon the Chicago Club by the City of Minot’s often nonsensical adult cabaret regulations.  It seems like a much better situation for me overall.

Working at the same venue for eight years is a major achievement for any performer, and I consider myself very fortunate in my run at the Chicago Club. I would like to give special thanks to the following people for making this possible:

• Prairiephotos Photography Studio introduced me to the Chicago Club (back when in was still Legends,) and has graciously sponsored my stays ever since.
• Past and present booking coordinators, Jen M. and R. Storm, have been two of the greatest bosses that a cabaret performer could ever ask for.  Thank you for supporting me and putting up with my eccentricities all these years.
• My hula hooping instructor, Jess Peterson.  Your encouragement and gentle instruction have been invaluable to me.
• Fellow dancer, Candi Kal, has been my biggest moral support and #1 “Mamacita”, throughout the years.  I love you and consider you and indispensable part of my life.
• Anne Marie Hayek and Rachel Ryder at the Pure Talent School of Dance helped me realize my true potential as a cabaret performer, and how lucky I was to have the Chicago Club in my life.
• All of the friends, staff and fans at the Chicago Club that made this such an unbelievable experience.

My eight year run at the Chicago club has been extraordinary.  It taught me many lessons about art, friendship and exotic dancing.  My last set at the Chicago Club brought me $5 and $10 tips, raucous clapping  from a receptive and respectful audience and a lot of people screaming, “HULA HOOP!” and telling me, “Thank you for the show.  You’re amazing!”  The last song I danced to was the Beatles “Ob-La-Di, Ob-La-Da,” as it seemed appropriate.   As I close that chapter of my life on such a high note, a new one begins.  I can’t wait to see what the book of life has in store for me.

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