FROM DISCO BALLS to HOTEL LOBBIES the Mastermind Behind Some of the World’S Most Modern Hotels on His Style Evolution

inbrief ACCOUNTING FOR TASTE Ian Schrager in his well-appointed home office in Manhattan FROM DISCO BALLS TO HOTEL LOBBIES The mastermind behind some of the world’s most modern hotels on his style evolution AN SCHRAGER is in the midst of another hot streak of hotel But the hotelier wasn’t always so self-assured. The turn- openings. The second of his EDITION hotels, a collabora- ing point, he says, came when he renovated New York’s Ition with Marriott International, opened in London last Gramercy Park Hotel with the artist Julian Schnabel in September, and Miami Beach EDITION will debut this 2006. “I went off in a new direction when I worked with fall. Schrager described the London outpost to Rhapsody Julian,” Schrager says. “We did something more decorative as “sophisticated, in warm palettes of dusty rose, khaki and ornate than we’d ever done before, and no one expected and mustard, and elegantly furnished with eclectic pieces that from us. I was rejecting and moving on from everything inspired by Salvador Dalí and Donald Judd.” else in the past.” It’s no fluke that Schrager finds himself at the top of the While Schrager admits that the Gramercy wasn’t his hotel game, as he’s been at it for some time. The native New personal style—it was a bit too baroque, quirky, eclectic Yorker started the legendary Manhattan nightclub Studio and edgy—he was nevertheless breaking new ground. Fol- 54 with his friend Steve Rubell in 1977, and in the 1980s lowing this “intellectual exercise,” as he puts it, he returned he brought the glitz and glamour of his disco days to the to a more natural, pared-down style when he began work creation of Morgans, which many acknowledge as the first on PUBLIC Chicago, as part of his own brand, and the boutique hotel. EDITION series, whose first outpost opened in 2011 in For Schrager, good taste is about “how something feels, Istanbul. And in doing so, he returned to his roots. “I re- if it has magic and is something special,” he says. “I don’t ally jettisoned everything that wasn’t simple and pure—no have to be overzealous because I’m confident about what I tricks and void of artifice,” he says. “Just good old-fashioned like. If I wasn’t, I would hang it up.” taste.” —JULIE EARLE-LEVINE BRIANSHUMWAY — february 2014 R1_RHAP0214_026_IB_Hotelier.indd 26 14/01/2014 10:12.

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Baird, Alison 2019
IF YOU’RE ON THE OUTSIDE, YOU’RE IN: THE INFAMOUS RED VELVET ROPE CULTURE AT STUDIO 54 A Senior Thesis submitted to the Faculty of the College of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Bachelor of Arts in American Studies By Alison P. Baird Washington, D.C. April 15, 2019 IF YOU’RE ON THE OUTSIDE, YOU’RE IN: THE NOTORIOUS RED VELVET ROPE CULTURE AT STUDIO 54 Alison P. Baird Thesis Adviser: Ellen Gorman, Ph.D. ABSTRACT Studio 54, the infamous New York City discotheque open from 1977 to 1980, was a notorious site in New York City for not only being one of the most sought-after venues in nightlife, but also for its ruthless red velvet rope culture. Disco was a defining artifact in American culture in the 1970s and greatly reflected the social and political atmosphere across the country. With the culmination of various political upheavals such as the Vietnam War and the Watergate Scandal, many Americans simply wanted to party, use drugs, and openly explore their sexuality. Studio 54 was, arguably, the most influential and well-known of the many discos— admired and loathed by those within and on the outside of the disco scene. Many outsiders and eager spectators observed the club as exclusionary and dictator-like. This thesis deconstructs the red velvet rope culture and analyzes the innate behavior and qualities of the clubbers with the aim to understand how these people contributed to the tremendous popularity of Studio 54. Gossip columns, newspapers, tabloids and archived footage offers compelling insight to the way of the disco-door as well as the qualities and behaviors that club goers possessed as such to gain admission.
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South London Artists Francesca Gavin Reports
I I "' FINDERS KEEPERS Miami's power collecting couple are exploring new avenues of art with a maverick insider. south london artists Francesca Gavin reports. Portrait by Lea Crespi usband and wife Don and Mera also with Ian Schrager, of Morgans Hotel before there are reviews, before there Rubell are acknowledged art Group - the couple inherited his interests are incentives". The couple's quest has royalty. With over 50 years of and later launched their own successful recently brought them to south London. collecting under their belt, they hotel group with a number of properties "There's something very powerful in have supported generation- in their home town of Miami. As their going into a new neighbourhood," Hdefining artists at key moments early in business prospects grew, so did their art says Mera. ''Art feels good when it's their careers, such as Jeff Koons, Keith collection - the publicly accessible Rubell part of a reinvention, a revitalisation. Haring and Jean-Michel Basquiat. Where Family Collection (RFC) now comprises We are very, very excited." the Rubells go, everyone else is quick to over 7,000 works and is housed in a They began working with London- follow. When they first started collecting, 3,750sq m space. The couple was also based Eugenio Re Rebaudengo, the Don worked as a doctor, while Mera was instrumental in setting up the Miami founder of digital art platform Artuner, a teacher. They began their collection outpost of Art Basel and is generally after visiting his Studioscape project in soon after marrying in 1964, always agreed to have had a huge influence on 2015.
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Rhetoric and Fictions of AIDS Discourses Have Impinged Particularly
o I RHETORIC AND FIGTIONS OF AIDS MASTER OF ARTS (RESEARCH) THESIS RIKKI WILDE DISCIPLINE OF ENGLISH UNIVERSITY OF ADELAIDE JUNE 2OO5 for the award of any This work contains no material which has been accepted or other tertiary institution and, to the s no material previously published or due reference had been made in the text' , when deposited in the UniversitY tocopying. Signed Wilde) Date GONTENTS Acknowledgements l1 Abstract I Introduction 13 ChapterlNarrativesofTransgender,MimêsêsofHIV/AIDS the Psyche and cl.npter 2 Psychographies: 'written' Narratives of 51 neaãing the Maladies of the (Queer) Male Body 86 Chapter 3 The Rule of Blood 111 chapter 4 The Production and circulation of an AIDS Bestseller 133 Chapter 5 Death Lines 155 Conclusion 161 Bibliography Illustrations 49 Figure 1 Bunny Bed-hopping (Photo byMazz Image) 50 Figure 2 EncMichaels (Photo by Penny Taylor) Acknowledgements the writing of this I have received a greatdeal of support in many ways during Dr Catherine Driscoll thesis. I wish to thank my supervisòis, Dr Susan Hosking, colleagues. and Dr Mandy Treagus, and my family, friends and Stanton (1929- The thesis is dedicated to the memory of my mother, Margaret 2001.) Abstract perceptions of This thesis insists that it is rhetoric and fictions that construct that followed the HIV and the AIDS body. It examines cultural production of the identification and naming of the virus and attempts a queer reading significations of this cultural response to AID in ttre period from 1987 to 1995 and events st finds useful in this critique the critical approa Benjamin, Derrida, and Deleuze and Guattari and sometimes trow ttris rhetoric and these fictions interacted, supplemented sexual praxis' challenged aheady existing discourses of biomedicine, bodies and lntroduction By "rhetoric" I mean the art of persuasion, the persuasion of sexuality, being construct the persuaded by the flesh; but also the words of persuasion, the words that historical hysteria and panic of the 'gay disease' of AIDS.
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Disco Inferno
Section 2 Stay in touch: Looking for monocle.com a smart podcast to give you monocle.com/radio the low-down on all cultural Edition 4 happenings worldwide? Tune in 07/06—13/06 to the freshly relaunched weekly Culture Show on Monocle 24. but that had no standing at Studio whatsoever. If you’re talking about something from 40 years ago that’s still compelling today then there’s got to be some underlying social reason. Section Section Section M: What about the door policy, the line – it was infamous. Was that something that you and Steve planned or did it just happen and you decided it worked for you? IS: It was definitely part of the idea. To me we were trying to do in the public domain what everyone else does in their private domain: to get an alchemy and an energy; we were trying to curate the crowd and we wanted it to Adam Schull be a mixture that had nothing to do with wealth or social Iamge: standing, it had to do with creating this combustible energy every night. When you are doing a door policy I wasn’t in New York then but I remember the tail-end that doesn’t have a rational objective criteria other than of that before it was cleaned up; it was very distinctive. instinct, then mistakes get made and people get infuri- TELEVISION / AUSTRIA Here, a rundown of the ladies: It’s a lost analogue world too – if you notice in the film, ated by it but we didn’t understand that because it was the telephones on Ian’s desk are rotary dial and that was really quite honest.
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The Art of the Rubell Family Collection Miami
http://onforb.es/1ZTpXgL Tom Teicholz Contributor I write about culture and the cult of luxury Opinions expressed by Forbes Contributors are their own. LIFESTYLE 1/27/2016 @ 3:29PM 365 views The Art of the Rubell Family Collection Miami The Rubell Family Collection (RFC) in Miami, housed in a former DEA warehouse, is remarkable in many respects. First and foremost, as it name advertises, it is the collection of one family, Donald and Mera Rubell and their two adult children Jason and Jennifer collected over the last half century, that continues to grow with the involvement of the next generation (one of whom is an artist herself). The Rubells were also instrumental in Art Basel deciding to hold its American event in Miami — which cemented Miami’s status as an art destination. As a collector driven institution they face many of the potential conflicts of interest inherent in exhibiting work they own and lending it to other art institutions. Yet they have also made accessible their 40,000 volume library accessible as well as being the anchor for the now very hip Wynwood Design District. The Rubells started collecting art shortly after marrying in the 1960s. Donald was a Doctor whose brother Steve Rubell was the co-founder and co-owner of Studio 54. This brought the Rubells into the orbit of many of the young artists who were part of the Studio 54 zeitgeist, including Keith Haring, Jean-Michel Basquiat, and Cindy Sherman. As the years went on, they continued to collect those artists that interested them, at one point purchasing one artwork a week for several decades.
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Steve Rubell and Ian Schrager Opened Studio 54 40 Years Ago, and It Soon Became the Epicenter of New York City's Nightlife for Nearly Three Years
Steve Rubell and Ian Schrager opened Studio 54 40 years ago, and it soon became the epicenter of New York City's nightlife for nearly three years. While it lasted, many photographers flocked to the bacchanal to capture the celebrities and other lucky denizens as they danced and snorted and frolicked under that iconic Man in the Moon with the coke spoon sculpture. One of the men on the scene was Gene Spatz, a pioneering paparazzo and street photographer who most people have never heard about. Unlike Ron Galella's work – which has been exhibited and is collected as fine art – after Spatz died in 2003 the archive of images was inherited by his younger sister, Amy Lowen, and packed away in filing cabinets in her Kentucky home. She avoided the task of assessing what she had in her possession for nearly a decade until she began to unearth her brother's forgotten treasures. "While he was working in the late Seventies, I had gotten married, moved to Louisville, Kentucky, and wasn't a part of Gene's day-to-day life," Lowen tells Rolling Stone. "It wasn't until he was gone, and I had brought everything home and put it in storage, that I began to open up these envelopes and discover his work." The black-and-white photographs included scenes from iconic clubs like Studio 54 and Xenon; shots of Carrie Fisher, Jackie Kennedy Onassis, Mary Tyler Moore and Robert Redford; as well quirky New York City street life tableaus in the 1970s and Eighties. Lowen recognized some of the celebrities in the photos, but she wasn't sure what exactly her brother's archives contained – or its value to the world.
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Andy Warhol: When Junkies Ruled the World
Nebula 2.2 , June 2005 Andy Warhol: When Junkies Ruled the World. By Michael Angelo Tata So when the doorbell rang the night before, it was Liza in a hat pulled down so nobody would recognize her, and she said to Halston, “Give me every drug you’ve got.” So he gave her a bottle of coke, a few sticks of marijuana, a Valium, four Quaaludes, and they were all wrapped in a tiny box, and then a little figure in a white hat came up on the stoop and kissed Halston, and it was Marty Scorsese, he’d been hiding around the corner, and then he and Liza went off to have their affair on all the drugs ( Diaries , Tuesday, January 3, 1978). Privileged Intake Of all the creatures who populate and punctuate Warhol’s worlds—drag queens, hustlers, movie stars, First Wives—the drug user and abuser retains a particular access to glamour. Existing along a continuum ranging from the occasional substance dilettante to the hard-core, raging junkie, the consumer of drugs preoccupies Warhol throughout the 60s, 70s and 80s. Their actions and habits fascinate him, his screens become the sacred place where their rituals are projected and packaged. While individual substance abusers fade from the limelight, as in the disappearance of Ondine shortly after the commercial success of The Chelsea Girls , the loss of status suffered by Brigid Polk in the 70s and 80s, or the fatal overdose of exemplary drug fiend Edie Sedgwick, the actual glamour of drugs remains, never giving up its allure. 1 Drugs survive the druggie, who exists merely as a vector for the 1 While Brigid Berlin continues to exert a crucial influence on Warhol’s work in the 70s and 80s—for example, The Philosophy of Andy Warhol , as detailed by Bob Colacello in the chapter “Paris (and Philosophy )”—her street cred.
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Studio 54, Disco, and the Culture of the Night Pdf, Epub, Ebook
THE LAST PARTY: STUDIO 54, DISCO, AND THE CULTURE OF THE NIGHT PDF, EPUB, EBOOK Anthony Haden-Guest | 407 pages | 08 Dec 2009 | It Books | 9780061723742 | English | United States The Last Party: Studio 54, Disco, and the Culture of the Night PDF Book Trying to edit it down to just the necessary facts was clearly impossible for him, so we end up reading a lot of useless stories about people only those in the scene would know. I took it over," Brahms says. He gave a sudden hiss of a laugh, like escaping steam, at the memory. But the cousins got on fine. It was a bellwether of what was to come. He worked with Francesco Scavullo and became a long-term lover of the photographer. So I have learned of the shenanigans that went on there in documentar Although there are many of my generation who will heartily deny any association with disco, I must say that it was a formative part of my early adulthood and that I loved it, and still listen to the songs. It was painted black inside, with neon balls. Ken Auletta, the writer, was twenty-two, in his first year as a graduate student there and was a resident hall adviser. Michael Fesco, a club owner and promoter, says that running a gay club at the time was a breeze. It didn't affect their relationship one whit. Flamingo was in an upstairs loft space, and there were two stunning women on the door, with gardenias behind their ears and Tuinal smiles. Grew up in Brooklyn.
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With Their Pioneering Museum and All-For-One Approach, the Rubells Are the Art World’S Game Changers
FAMILY AFFAIR With their pioneering museum and all-for-one approach, the Rubells are the art world’s game changers. By Diane Solway Photographs by Rineke Dijkstra In 1981, on their regular rounds of New York’s East Vil- lage galleries and alternative spaces, the collectors Mera and Don Rubell struck up a friendship with a curator they’d met at the Mudd Club, a nexus of downtown cool. His name was Keith Haring, and he organized exhibitions upstairs. One day, in passing, he mentioned he was also an artist. At the time, Don, an obstetrician, and Mera, a teacher, lived on the Upper East Side with their two kids, Jason and Jennifer. Don’s brother Steve had cofounded Studio 54, the hottest disco on the planet, and artists would often refer to Don as “Steve Ru- bell’s brother, a doctor who collects new art with his wife.” The Rubells had begun buying art in 1964, the year they mar- ried, putting aside money each week to pay for it. Their limited funds led them to focus on “talent that hadn’t yet been discovered,” recalls George Condo, whose work they acquired early on. They loved talk- ing to artists, often spending hours in their studios. When they asked Haring if they could visit his, he told them he had nothing ready for them to see. But a few months later, he invited them to his first solo show, at Club 57. Struck by the markings Haring had made over iconic images of Elvis Presley and Marilyn Monroe, the Rubells asked to buy everything, only to learn that a guy named Jeffrey Deitch, an art ad- viser at Citibank, had arrived just ahead of them and snapped up a piece.
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IAN SCHRAGER: KING of CLUBS Missed out on a Normal Family Life? “I Have finally Learned That There Is a Balance
LONDON EVENING STANDARD | JUNE 12, 2013 After a life of drink, drugs and sex in the late Seventies, does Schrager think he He clearly isn’t short of cash, so why is the king of cool working with a dull corporate IAN SCHRAGER: KING OF CLUBS missed out on a normal family life? “I have finally learned that there is a balance. giant such as Marriott? AND HOTELS, IS BACK IN LONDON Having a perfect family isn’t enough. And having the best job isn’t, either.” “I see it like Disney and Pixar. We are both very successful at what we do but we are He is pretty privileged to have been able to have both. He has two daughters from his different. I can turn on a dime and I travel at 100mph and they are in a huge battleship. The king of clubs and hotels is back in town with a new venture and our very own first marriage, and a son with his second wife, Tania, who also has two daughters Turning takes a long time. But I can’t do what they can and they can’t do what I do.” Studio 54. Ian Schrager talks to Laura Chesters about fast living and fatherhood. from a previous relationship. Both his present and former wives were ballerinas (“My wife doesn’t like me to say it, but I like dancers”). “I have done it all,” he says. “I’m He insists it isn’t all about the money. “Money hasn’t driven me. If it’s not something Dressed comfortably in jeans, white socks and slip-on shoes, Ian Schrager appears fortunate.
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Studio 54: Night Magic, the First Exhibition to Explore the Trailblazing Aesthetics and Continuing Impact of New York City's L
Installation March Museum 13 ) –November 8 view, Studio , 2020. 54: Night Magic (Photo: Jonathan . Brooklyn Dorado Museum, , Brooklyn Studio 54: Night Magic, the First Exhibition to Explore the Trailblazing Aesthetics and Continuing Impact of New York City’s Legendary Nightclub, on View through November 8 Highlighting the revolutionary creativity, expressive freedom, and sexual liberation celebrated at the world-renowned nightclub, the exhibition will present over 650 objects ranging from fashion, photography, drawings, and film to stage sets and music Following the Vietnam War, and amid the nationwide Civil Rights Movement and fights for LGBTQ+ and women’s rights, a nearly bankrupted New York City hungered for social and creative transformation as well as a sense of joyous celebration after years of protest and upheaval. Low rents attracted a diverse group of artists, fashion designers, writers, and musicians to the city, fostering cultural change and the invention of new art forms, including musical genres such as punk, hip-hop, and disco. In a rare societal shift, people from different sexual, sociopolitical, and financial strata intermingled freely in the after-hours nightclubs of New York City. No place exemplified this more than Studio 54. Though it was open for only three years—from April 26, 1977, to February 2, 1980—Studio 54 was arguably the most iconic nightclub to emerge in the twentieth century. Set in a former opera house in Midtown Manhattan, with the stage innovatively re-envisioned as a dance floor, Studio 54 became a space of sexual, gender, and creative liberation, where every patron could feel like a star.
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Looks: Studio 54 and the Production of Fabulous Nightlife
Looks: Studio 54 and the Production of Fabulous Nightlife Feature Article madison moore University of Richmond (United States) Abstract This article combines my experience as a party-host and nightlife-creator with a close reading of Studio 54 as a theatrical production. I call for a consideration of how the staging of nightlife functions as an art form, relying on the dual practices of creation and curation. I provide a close reading of the tightly-staged Studio 54 experience, focusing on the club’s infamously tight door policy and production of fabulousness to reveal what scholars and ethnographers of nightlife can learn from approaching nightlife as an artistic production. This approach can also inform a nightlife-focused research agenda. Keywords: Studio 54; fashion; nightlife; Andy Warhol; relational aesthetics; ethnography; velvet rope; disco; New York madison moore is a Staff Writer at Thought Catalog and a Post-Doctoral Fellow in the Department of Theater and Dance at the University of Richmond. In December 2012 madison earned the PhD in American Studies from Yale University. He is the author of the Thought Catalog eBookHow To Be Beyoncé and is at work on a book about fabulousness. Email madison at <[email protected]. edu> or visit his website, <http://www.madisonmooreonline.com>. Dancecult: Journal of Electronic Dance Music Culture 5(1): 61–74 ISSN 1947-5403 ©2013 Dancecult http://dj.dancecult.net DOI: 10.12801/1947-5403.2013.05.01.04 62 Dancecult 5(1) Introduction My name is on the flyer underneath hers in bold, green letters. The letters of my name are smaller than hers, but I do not feel any less significant because of it.
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