Studio 54 where is it

There was a more specific, practical trigger for all this philosophical re-evaluation. Earlier this year, as Obama handed the reins of his White House tenure over to Trump, the departing leader of the free world solidified his reputation as the Disco President — remember, he had already declared Frankie Knuckles Day in his native Chicago — by adding Schrager to a list of professional pardons for crimes and misdemeanours past. The tax evasion conviction that hurt Schrager personally for so long and saw him and Rubell incarcerated for a year was no more.

Before, the conviction mattered. I wanted nothing to do with it. The Obama pardon mattered to Schrager, a lot. But I wanted it for my family and for myself. It helped bring closure to the whole thing. We were young. Schrager says his time in prison taught him several key instructions for life.

I learned that the most important thing is not to lose your enthusiasm for life. I was still hungry and enthusiastic and curious. We lost everything. It is full of familiar faces that have grown in stature and legend the further New York and the night moves from its old, utopian ideal of freedom. There may be more to come. After seeing the Alexander McQueen exhibit at the Met in and the Rolling Stones exhibition in New York at the end of last year, he has begun thinking about the possibilities of a Studio exhibition, which may or may not not turn into a nightclub.

Ian Schrager productions, his nightclubs, hotel lobbies, bars, restaurants are often the closest its patrons ever get to tasting the tantalising magic of the night at its starkest. You can touch sex in the air. It was that I was trying to create an elevated experience. The idea of going to the coolest bar in town or to go eat in the coolest restaurant in town which could be right downstairs in the lobby. It seemed like an obviously good idea. That was it. Yet still there is something of the night about him.

When art is not in a museum you can enjoy it in the closest way that rich people do when they own art. For all his instruction on sophistication and excess, there is something remarkably egalitarian about Ian Schrager. He always understood that the shop-floor staff at Fiorucci were just as important clients at Studio 54 as Liza Minnelli and Elton John. Schrager has always lived by the old Groucho Marx maxim, of wanting most to go to the places that would never have you as a member.

When it is for everybody then it has to be dumbed down, by definition. When that is well done, when that is sophisticated, it attracts a certain kind of person. Schrager first met Steve Rubell when he was a freshman at Syracuse University. I think that made an impression on Steve. It was big and I was afraid of it. That was my first impression. And it was acceptable.

And in New York, by the way, they were setting the tone for the first time ever. The economics of the city played into its devotion to the night. So everyone was willing to give it a shot. And it was the golden era of music. Development of the space was quick, but not without problems. Jules Fisher and Paul Marantz, technically peerless Tony-winning film and theatre lighting designers, came aboard. Marantz has designed some of the lighting for Public.

I was also very friendly with the flower man. In the flesh, he is comfortable, warm and no-nonsense, clear and unpretentious. Some of the notion that Schrager was backroom boy and Rubell shop-front face was true, he says.

It never is. I had a sphere of influence, which was on the creation and Steve had a sphere of influence, which was on the people. He was an incredibly bright, astute guy, obviously. So I think on the surface, Steve had a job and I had a job. But underneath, we both wanted the same thing. We wanted to blow people away and do something flamboyant. If you need video evidence of the woman herself, behold: Here is Disco Sally alongside her year-old boyfriend-manager.

View Iframe URL. The one that sticks out in my head had a midget family eating a formal dinner. Ahead of Thanksgiving in , Rubell attempted an audacious holiday event for which Valentino footed the bill. I lost Halston but I found him a little later eating a turkey leg, and he made me have some.

The last place you want to eat meat from is a discotheque, but later I saw Stevie eating the turkey, too, so I guess it was okay. What were we thinking? Steve had this passion for Diana.

He had every single song in his car. Ross prodded an even more trashed Rubell into singing himself. He was hanging off the DJ booth. He could have killed himself. The discoveries, which were reported in the press, disappointed Studio 54 regulars Warhol and Halston, but for surprising reasons. Remove Code Cancel Order. Assistive Listening Sign Interpreted. Now Showing Caroline, or Change. View Seating Chart. View Venue Accessibility information. M50 buses run cross-town via 49th and 50th Streets M31 and M57 buses run cross-town on 57th Street M10 and M20 buses head north on 8th Avenue and south on 7th Avenue.

Local Amenities.