WEBVTT - André Balazs

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<v Speaker 1>Hey, everybody, thanks for pulling up a cheer on Table

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<v Speaker 1>for two. This is Bruce and we are in Hollywood. However,

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<v Speaker 1>we're not at the Tower. We're a block down from

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<v Speaker 1>the tower. Tonight, we're having dinner in someone's home. One

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<v Speaker 1>could say that.

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<v Speaker 2>I think the casion calls for vesper. Thank you.

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<v Speaker 3>Oh I like this.

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<v Speaker 1>A man who created one of the most beautiful, mysterious

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<v Speaker 1>hotels in Los Angeles called the Chateau. Oh my god,

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<v Speaker 1>look at this, cheers salt. It's not our date night,

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<v Speaker 1>we're just having just a warm This would be mister

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<v Speaker 1>Andrea Balaz. He's responsible for such hotels as the Mercer

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<v Speaker 1>in New York, Chiltern Firehouse in London, a multitude of experiences,

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<v Speaker 1>his attention to details unrivaled, his elegance unmatched. So sit back, enjoy,

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<v Speaker 1>because we're going.

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<v Speaker 3>To go deep with Andre.

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<v Speaker 1>I'm Rus Bassi and this is my podcast Table for two. Okay,

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<v Speaker 1>this is so exciting to me. Everybody, if you've pulled

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<v Speaker 1>up a chair tonight, this is very really special, my friend,

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<v Speaker 1>because we are in Hollywood, at the most glamorous place

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<v Speaker 1>undeniably in Hollywood.

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<v Speaker 3>That you have created.

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<v Speaker 1>It is not where we often find ourselves and we're

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<v Speaker 1>sitting with the empresario, the king, the master of experience

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<v Speaker 1>and hotels and so much more. So we're going to

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<v Speaker 1>talk about that, mister Andrea blaz Welcome. So this was

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<v Speaker 1>the chateau moment was your first property.

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<v Speaker 4>But you it's strange in one year, you know, I

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<v Speaker 4>was in the biotech business before. I having sort of

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<v Speaker 4>a serial entrepreneurs I started started newspapers, not school papers,

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<v Speaker 4>but newspapers in college with some partners, and I started

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<v Speaker 4>other businesses. Then I started biotech business. I did that

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<v Speaker 4>for a while. I didn't like the way my life

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<v Speaker 4>was bifurcated between my personal life and work life. So

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<v Speaker 4>after the company public, you know, I thought, you know,

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<v Speaker 4>what would be an interesting thing where basically I couldn't

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<v Speaker 4>distinguish the difference between work and play.

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<v Speaker 2>This being a perfect example of it.

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<v Speaker 4>Wow, right, we're here where friends, we've been friends for

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<v Speaker 4>a long time. We happen to be doing a podcast.

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<v Speaker 4>Is sort of a business of yours. We're talking sort

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<v Speaker 4>of about a business mind. But I couldn't tell you,

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<v Speaker 4>you know, if this if we were paying for this

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<v Speaker 4>meal and and someone said, did you just have a

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<v Speaker 4>business meeting or did you have a personal meeting. I

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<v Speaker 4>wouldn't be able to say what it was. Yeah, And

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<v Speaker 4>that was the goal, just blend everything. So that's how

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<v Speaker 4>I got into it. And in nineteen ninety just happened

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<v Speaker 4>to be a year that I bought the building that

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<v Speaker 4>then became the Mercer, and I was here staying as

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<v Speaker 4>we started a nightclub called BC down Road that we

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<v Speaker 4>never got licensed because it got so much advanced hype that.

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<v Speaker 2>The city said no, Yeah, but I tried to salvage it.

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<v Speaker 4>Right. So I was here, I was staying of the Chateau,

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<v Speaker 4>and I realized there's something about this place. So I

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<v Speaker 4>ended up buying this building the same year as I

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<v Speaker 4>bought the building in nineteen ninety. Yeah.

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<v Speaker 1>So I like how you started that by saying creating

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<v Speaker 1>the letting go of the bifurcation that we all are

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<v Speaker 1>basically trained to think that you have to live your

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<v Speaker 1>life up work, home, workplay or separate as opposed to

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<v Speaker 1>bringing them together.

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<v Speaker 4>And it's been a mission in my life to sort

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<v Speaker 4>of obliterate that line. Yeah, so that everything is play

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<v Speaker 4>or everything is work, but the whole idea of work

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<v Speaker 4>is that it should be something you like doing so

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<v Speaker 4>much that's not considered work.

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<v Speaker 1>Right, and the irony of what you're talking about is undeniably.

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<v Speaker 1>This business, I think is one of the hardest businesses

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<v Speaker 1>to work at.

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<v Speaker 5>What you would know, Yes, I spent years and difficult many.

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<v Speaker 1>And on a multitude of levels, so to be able

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<v Speaker 1>to sort of kind of understand how to bring those

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<v Speaker 1>two together.

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<v Speaker 3>You know what you do, so the chateau. So if

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<v Speaker 3>we kind of just take that beat in your life.

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<v Speaker 1>So for those of you who are who have pulled

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<v Speaker 1>up a sure today, the mercy of New York which

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<v Speaker 1>and the chateau they you know, having that vision I

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<v Speaker 1>think is really fascinating that you saw the beauty of that,

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<v Speaker 1>You saw the beauty of the sort of the symmetry

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<v Speaker 1>of to central downtown Soho, New York, which was a

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<v Speaker 1>sexy it.

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<v Speaker 4>And when I look when I recently came, I've been

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<v Speaker 4>looking through a building an upstate New York, a place

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<v Speaker 4>up there, and we've been collecting, just working on a

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<v Speaker 4>book sort of called the Ship We've Done.

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<v Speaker 3>This working title, right, is a great title, The Ship

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<v Speaker 3>We've done.

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<v Speaker 2>The Ship We've done it.

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<v Speaker 4>Now, this is a very collaborative business and there's always

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<v Speaker 4>a week, there's no eye. And I came across this,

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<v Speaker 4>this box that was sort of a mailer to introduce

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<v Speaker 4>the mercer, and I realized, you know, it's hard to

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<v Speaker 4>imagine today when every city in the world has a Soho,

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<v Speaker 4>but back then I had to it was it was

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<v Speaker 4>an old fashioned hotel bell and I had to go

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<v Speaker 4>to Nasau and get a satellite picture because I wanted.

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<v Speaker 2>No one knew where Soho was, so the.

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<v Speaker 4>Idea was this mailer was that it would see to

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<v Speaker 4>pick the little button at the top of the the

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<v Speaker 4>bell popped through Soho because no one knew where Soba

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<v Speaker 4>was in Manhattan when I bought that building, which was

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<v Speaker 4>the Astor family's headquarters, which is why it had sort

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<v Speaker 4>of more elegance to it than all its neighbors.

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<v Speaker 2>They were in a fur trapping business.

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<v Speaker 4>A mercer is someone who cleans furs, hence the name

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<v Speaker 4>or whatever.

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<v Speaker 2>And we.

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<v Speaker 4>But the biggest concern was that no one knew where

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<v Speaker 4>it was, and if they didn't know where it was,

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<v Speaker 4>whether it was sleep there because it was. There were

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<v Speaker 4>two restaurants, Raoul's being one of these, stood there. Another

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<v Speaker 4>one was a place called Food That's not there. I remember,

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<v Speaker 4>and there was there was forget retail, there was nothing.

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<v Speaker 4>There was art galleries and literally I lived on the

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<v Speaker 4>top floor of this loft buildings or walk up because

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<v Speaker 4>the four floors blow me was occupied by a rag business.

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<v Speaker 4>They collected rags and sent them out to JFK to

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<v Speaker 4>clean airplane parts. I kid you not, that's what that's

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<v Speaker 4>the soho that the mercer was born into.

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<v Speaker 2>It's it couldn't imagine what it is transformation.

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<v Speaker 1>In essence, by acquiring that real estate, bringing your vision,

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<v Speaker 1>you changed the whole.

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<v Speaker 2>The neighborhood, neighborhood.

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<v Speaker 3>How does that all work together? And why doesn't it.

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<v Speaker 1>Scare you or why you know just say, wait a minute,

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<v Speaker 1>I'm going to do this, but like there's no one

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<v Speaker 1>down here.

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<v Speaker 4>Well, the good thing is I started everything young enough.

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<v Speaker 4>When you know things are being scared, don't don't occur

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<v Speaker 4>to you.

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<v Speaker 2>You just kind of do it.

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<v Speaker 4>So this a lot to be said for not need today.

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<v Speaker 4>You can call it ballsy later on, but that's retrospective

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<v Speaker 4>and there's no option right exactly.

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<v Speaker 2>And you buy a building.

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<v Speaker 4>In a shitty neighborhood because that's what you can afford

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<v Speaker 4>to buy. So the fact that it then becomes the

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<v Speaker 4>most expensive neighborhood in Manhattan.

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<v Speaker 6>Is not.

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<v Speaker 4>It's a result of this, but it certainly it's like

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<v Speaker 4>the standard that we built over the high Line.

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<v Speaker 2>The only reason I was.

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<v Speaker 4>Able to build that, and that's the unfortunately, the only

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<v Speaker 4>hotel that I had the good fortune.

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<v Speaker 2>To be able to build from ground up.

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<v Speaker 4>Everything else has been a conversion of some other building,

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<v Speaker 4>like a warehouse, like the Mercer. But that building we're

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<v Speaker 4>able to do because nobody wanted the real estate. You know,

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<v Speaker 4>at that time, everybody was demanding that the high Line

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<v Speaker 4>be torn down. I just happened to know a bunch

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<v Speaker 4>of artists and you know, the urban planners and people

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<v Speaker 4>who are concerned about the city, and I loved the

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<v Speaker 4>Highline just as a thing, as a remnant of its history.

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<v Speaker 4>So I joined this group called Friends of the high Line,

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<v Speaker 4>and through that suddenly realized there was this site that

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<v Speaker 4>nobody wanted because it was bifurcated by a train track

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<v Speaker 4>thirty feet above ground. CSX, which is now owned by

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<v Speaker 4>what now gave the tracks to the city, but at

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<v Speaker 4>that time, when Bloomberg was mayor, CSX still owned it.

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<v Speaker 4>But it's such a huge conglomerate that you couldn't talk

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<v Speaker 4>to anyone, and they didn't give a damn about what

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<v Speaker 4>they're trying things.

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<v Speaker 2>They want to rip it down.

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<v Speaker 4>The city didn't own it yet, they hadn't been gifted

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<v Speaker 4>it by CSX.

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<v Speaker 2>It wasn't a park, it wasn't This wasn't that.

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<v Speaker 4>We had to build a hotel, so I had to

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<v Speaker 4>figure out how to build around it. So you end

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<v Speaker 4>up with these weird things. It's not in retrocirc It's

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<v Speaker 4>not like you have a vision. You just make the

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<v Speaker 4>best of what you have. Like if the mercer changed soho, Well,

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<v Speaker 4>the reason I was able to get something sobo was

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<v Speaker 4>that nobody else wanted to be there.

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<v Speaker 3>Yeah.

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<v Speaker 4>If now you know one of the most expensive neighborhoods

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<v Speaker 4>on the West Side, largely you know, Barry and Dan

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<v Speaker 4>built that spectacular pier and all of that stuff. But

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<v Speaker 4>that came years afterwards, right the Whitney moved down there afterwards.

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<v Speaker 4>The whole neighborhood changed after the Standard as well. But

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<v Speaker 4>we built the Standard there because it was the one

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<v Speaker 4>place I could do it. Because it was inexpensive, nobody

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<v Speaker 4>wanted it, nobody knew what to do.

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<v Speaker 3>And you know what you did. Well.

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<v Speaker 1>That's it's sort of a great business model plan when

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<v Speaker 1>you're but you also have to have the eye you

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<v Speaker 1>have and the I for detail.

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<v Speaker 3>Now, when you know, I've stayed in a number.

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<v Speaker 7>Of your hotels over the years as a complete guest

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<v Speaker 7>and a lover of the hotels, sometimes not even realizing

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<v Speaker 7>they were your hotels, just because they were great, you know,

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<v Speaker 7>And I'd be like with Anty Cohen, he'd be like,

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<v Speaker 7>you know, Andreas is a ton I'm just.

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<v Speaker 3>Like, Oh.

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<v Speaker 1>One of the things that you do, which I so

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<v Speaker 1>appreciate because I have such a big pet peeve, especially

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<v Speaker 1>in my beloved city of New York, is the design.

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<v Speaker 1>So when you talk about the standard, the design of

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<v Speaker 1>that hotel does not go against the neighborhood.

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<v Speaker 3>What was authentic to that neighborhood.

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<v Speaker 1>And so many buildings I see now going up in

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<v Speaker 1>New York City are just to me horrific.

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<v Speaker 3>What made you design it that way?

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<v Speaker 1>And it's very sexy and a lot of people do

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<v Speaker 1>have sex against those windows.

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<v Speaker 2>It's such a funny story about that.

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<v Speaker 4>Again, it because it's the only hotel that I've been

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<v Speaker 4>able to for circumstances, I've been able to do it

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<v Speaker 4>was it's crafted literally from the inside out, the way

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<v Speaker 4>all proper buildings should be. And because it's purpose built,

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<v Speaker 4>it's not a developer who wants to build something and

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<v Speaker 4>then they're going to sell it off to someone else.

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<v Speaker 4>Look at the worlds, let's use the modernist vocabulary. Right

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<v Speaker 4>in New York City, buildings like the Seagrums building or

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<v Speaker 4>a lever House or Rockefeller Center stand out as well.

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<v Speaker 4>It was amazing, but they were all built for the owner.

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<v Speaker 4>Lebronfons built Seagrums right, lever House was built for it.

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<v Speaker 4>The standard was built specifically to use the architecture and

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<v Speaker 4>everything to what then was it was the third sort

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<v Speaker 4>of fourth standard we've done. It took one in Hollywood,

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<v Speaker 4>one downtown LA one in Miami, and then that was

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<v Speaker 4>the fourth one and by harnessing the architecture. But I

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<v Speaker 4>remember for so long the idea. Of course it was

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<v Speaker 4>a budget hotel. That was the idea. So the idea

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<v Speaker 4>was how do you make the rooms as small as

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<v Speaker 4>possible but feel as big. But one way to do

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<v Speaker 4>that is to have Florida ceiling glass. And the other

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<v Speaker 4>thing is if you have Florida ceiling glass is you

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<v Speaker 4>can't make it reflective or it's going to look like

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<v Speaker 4>every other blue or gray or green tinted office building exactly.

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<v Speaker 4>So you had so it's very expensive lead free glass

0:13:19.640 --> 0:13:22.240
<v Speaker 4>that is perfectly clear. And the idea was that you

0:13:22.280 --> 0:13:24.880
<v Speaker 4>walk into the room and you almost can't see, like

0:13:25.160 --> 0:13:25.720
<v Speaker 4>falling out.

0:13:26.840 --> 0:13:28.800
<v Speaker 2>That was the idea. Then the other thing is we

0:13:29.440 --> 0:13:31.080
<v Speaker 2>I flipped the rooms on side.

0:13:31.120 --> 0:13:33.320
<v Speaker 4>On some of the rooms, instead of a shoe box

0:13:33.480 --> 0:13:37.120
<v Speaker 4>like thing, it became horizontal. So instead of thirty five

0:13:37.440 --> 0:13:40.640
<v Speaker 4>thirty six feet from the door to the window, it

0:13:40.720 --> 0:13:44.040
<v Speaker 4>became sixteen feet, which made you open the door and

0:13:44.080 --> 0:13:46.800
<v Speaker 4>you're like, whoa, I've just fallen into the city of

0:13:46.800 --> 0:13:47.280
<v Speaker 4>New York.

0:13:47.840 --> 0:13:48.160
<v Speaker 3>Yeah.

0:13:48.280 --> 0:13:53.160
<v Speaker 4>I mean, And that's the kind of playfulness that one

0:13:53.280 --> 0:13:55.800
<v Speaker 4>can do if you're building something from scratch.

0:14:15.960 --> 0:14:17.360
<v Speaker 3>Welcome back to Table for two.

0:14:18.200 --> 0:14:22.720
<v Speaker 1>The hotels of our guest, Andre Blas are beautiful and

0:14:22.840 --> 0:14:23.200
<v Speaker 1>one of.

0:14:23.120 --> 0:14:24.080
<v Speaker 2>The kind spaces.

0:14:24.840 --> 0:14:28.120
<v Speaker 1>One incredible example of this is the rooftop bar at

0:14:28.120 --> 0:14:31.920
<v Speaker 1>the Standard in New York City. What's Andrea's secret? How

0:14:31.920 --> 0:14:35.960
<v Speaker 1>does he bring experiences like this together where there is

0:14:36.080 --> 0:14:38.520
<v Speaker 1>like does the design in Andrea's head go all the

0:14:38.560 --> 0:14:40.800
<v Speaker 1>way up to say, okay, this is sort of like

0:14:40.920 --> 0:14:43.600
<v Speaker 1>the cherry on the top of this is going to be.

0:14:44.000 --> 0:14:47.400
<v Speaker 4>Well, every space has a narrative in my mind. I

0:14:47.400 --> 0:14:50.280
<v Speaker 4>always try to approach it with some story. But that

0:14:50.320 --> 0:14:53.760
<v Speaker 4>one was such a slam dunk in a way because

0:14:54.560 --> 0:14:57.480
<v Speaker 4>there are two places in New York that were, you know,

0:14:58.200 --> 0:15:02.360
<v Speaker 4>elegant cocktail lounges on top of the building, the rainbow

0:15:02.440 --> 0:15:04.480
<v Speaker 4>rooms and Windows in the World.

0:15:04.800 --> 0:15:05.680
<v Speaker 2>Well Windows on.

0:15:05.600 --> 0:15:10.240
<v Speaker 4>The World was no longer and Rainbow room is hardly

0:15:10.400 --> 0:15:11.160
<v Speaker 4>a cool place.

0:15:11.520 --> 0:15:14.600
<v Speaker 2>So what do you do? You need a new.

0:15:14.560 --> 0:15:19.040
<v Speaker 4>Rainbow room for a different generation in different plays. And

0:15:19.800 --> 0:15:24.200
<v Speaker 4>the advantage which we also took advances here in downtown

0:15:24.520 --> 0:15:27.160
<v Speaker 4>LA with the standard, is that you don't want to

0:15:27.160 --> 0:15:29.400
<v Speaker 4>be the tallest building because then all you're looking at

0:15:29.520 --> 0:15:30.800
<v Speaker 4>is the air conditioning and the.

0:15:30.760 --> 0:15:32.320
<v Speaker 2>Top of any buildings.

0:15:32.880 --> 0:15:34.600
<v Speaker 4>You don't want to be the lowest building, but you

0:15:34.640 --> 0:15:36.760
<v Speaker 4>want to be right in between so that when you're

0:15:37.080 --> 0:15:39.400
<v Speaker 4>looking out a window, as you can in the Boom

0:15:39.400 --> 0:15:42.240
<v Speaker 4>Boom Room, you can look up and you can look

0:15:42.280 --> 0:15:46.240
<v Speaker 4>down exactly. And the way the buildings bent because I

0:15:46.320 --> 0:15:49.400
<v Speaker 4>knew who could be a wood build to the north,

0:15:50.200 --> 0:15:54.320
<v Speaker 4>we bent the building to preserve the views onto the

0:15:54.360 --> 0:16:00.000
<v Speaker 4>Empire State Building. When one can do this, people really

0:16:00.280 --> 0:16:04.160
<v Speaker 4>to it, and then it becomes the physical platform for

0:16:04.240 --> 0:16:08.240
<v Speaker 4>that what then has to become a social platform.

0:16:08.280 --> 0:16:11.640
<v Speaker 2>But it's a little bit like a play.

0:16:11.680 --> 0:16:14.480
<v Speaker 4>I suppose you know, you need to create the set,

0:16:15.840 --> 0:16:19.880
<v Speaker 4>but a fantastic set doesn't mean that the plays create

0:16:20.560 --> 0:16:21.080
<v Speaker 4>at all.

0:16:21.320 --> 0:16:23.600
<v Speaker 1>Completely right, Well, I mean one of the things that

0:16:23.640 --> 0:16:25.760
<v Speaker 1>I think you also do very artfully.

0:16:25.920 --> 0:16:27.800
<v Speaker 3>And you're right, it's like a play or it's like

0:16:27.840 --> 0:16:28.800
<v Speaker 3>a movie, you know what I mean.

0:16:28.840 --> 0:16:31.040
<v Speaker 1>You walk in and you feel like you're kind of

0:16:31.440 --> 0:16:33.000
<v Speaker 1>going into a different place in time.

0:16:34.600 --> 0:16:38.080
<v Speaker 4>Everything I tried to my best in my ability, with

0:16:38.560 --> 0:16:41.920
<v Speaker 4>the help of a lot of good people. I think

0:16:42.080 --> 0:16:44.840
<v Speaker 4>a good hotel should be like a living room for

0:16:44.920 --> 0:16:52.720
<v Speaker 4>everybody's It should by definition be democratic and open to everybody.

0:16:52.760 --> 0:16:53.880
<v Speaker 2>If there's anything that.

0:16:55.520 --> 0:16:59.520
<v Speaker 4>Qualifying things that the more interesting you are, the more

0:16:59.600 --> 0:17:04.560
<v Speaker 4>you're well, nobody's not welcome, because if that were the case,

0:17:05.600 --> 0:17:08.800
<v Speaker 4>I don't think this kind of hotel would work. Well.

0:17:08.840 --> 0:17:13.240
<v Speaker 1>I mean, it's interesting because whatever you changed and when,

0:17:13.400 --> 0:17:15.280
<v Speaker 1>and I'm sure there were many things that you changed

0:17:15.280 --> 0:17:17.520
<v Speaker 1>from my hotel that was opened in nineteen twenty seven

0:17:17.560 --> 0:17:18.560
<v Speaker 1>when you acquired.

0:17:18.240 --> 0:17:21.359
<v Speaker 2>It in nineteen ninety ninety, specific.

0:17:21.160 --> 0:17:23.960
<v Speaker 1>The authenticity around it continues. So if you go into

0:17:24.000 --> 0:17:25.919
<v Speaker 1>like the rooms, like it's so like the rooms here

0:17:25.920 --> 0:17:28.360
<v Speaker 1>are so fascinating because this is where people live here.

0:17:28.440 --> 0:17:30.359
<v Speaker 1>You know, they choose to live here, they choose to

0:17:30.400 --> 0:17:32.640
<v Speaker 1>have secondary residences here.

0:17:32.680 --> 0:17:34.520
<v Speaker 3>I mean they have you know.

0:17:34.720 --> 0:17:36.440
<v Speaker 2>You know a few of them right now, but we

0:17:36.880 --> 0:17:38.040
<v Speaker 2>don't mention names.

0:17:38.080 --> 0:17:43.040
<v Speaker 1>So but no, that's right, and it's and you know,

0:17:43.080 --> 0:17:45.880
<v Speaker 1>it's so cool because when you go back into your spaces,

0:17:46.040 --> 0:17:47.080
<v Speaker 1>you mean, you're going.

0:17:46.880 --> 0:17:47.480
<v Speaker 3>Back in time.

0:17:47.840 --> 0:17:51.720
<v Speaker 1>You know, there's things, there's telephones, there's there's couches, there's

0:17:52.240 --> 0:17:54.200
<v Speaker 1>soul where there's things that are like, oh.

0:17:54.640 --> 0:17:56.560
<v Speaker 3>I'm in a different decade, you know what I mean,

0:17:56.600 --> 0:17:57.440
<v Speaker 3>I'm in a different time.

0:17:57.960 --> 0:18:09.200
<v Speaker 6>It's really groovy.

0:18:09.320 --> 0:18:12.560
<v Speaker 1>If you don't know, and you're listening, Andrea has been,

0:18:13.520 --> 0:18:14.920
<v Speaker 1>you've been in this business now.

0:18:14.800 --> 0:18:16.120
<v Speaker 2>Of length thirty four years.

0:18:16.400 --> 0:18:18.879
<v Speaker 1>What's the first thing that when you walk into a

0:18:18.920 --> 0:18:21.919
<v Speaker 1>hotel that you look at to should say? Because I

0:18:21.960 --> 0:18:24.159
<v Speaker 1>know what it is what I look at that you

0:18:24.359 --> 0:18:25.879
<v Speaker 1>look at and say, oh, okay.

0:18:25.880 --> 0:18:30.480
<v Speaker 4>I don't look I feel the first thing I want

0:18:30.560 --> 0:18:34.600
<v Speaker 4>to feel. And I would never pretend to try to

0:18:34.640 --> 0:18:38.640
<v Speaker 4>do something that I'm not that isn't within my.

0:18:40.440 --> 0:18:41.720
<v Speaker 2>Sphere. Like if you asked me to.

0:18:41.680 --> 0:18:44.480
<v Speaker 4>Produce a television show, I can guarantee you it'll be

0:18:44.520 --> 0:18:52.040
<v Speaker 4>a flow. It's my taste is too particular. But if

0:18:52.080 --> 0:18:54.960
<v Speaker 4>I act on what I know, I know that there's

0:18:55.080 --> 0:18:59.720
<v Speaker 4>enough people that it'll be successful. We've never had a

0:18:59.760 --> 0:19:07.440
<v Speaker 4>feel because I've never tried to overreach, so meaning that

0:19:08.680 --> 0:19:11.080
<v Speaker 4>I believe that once you stay true to what you

0:19:11.200 --> 0:19:16.560
<v Speaker 4>know yourself, what you believe, what you believe, the experience

0:19:16.600 --> 0:19:21.480
<v Speaker 4>should be. To me, a place that I feel comfortable

0:19:21.880 --> 0:19:25.200
<v Speaker 4>is number one. Place that first makes me feel safe

0:19:26.000 --> 0:19:30.359
<v Speaker 4>in every term of the word. It's embracing. I know

0:19:30.520 --> 0:19:35.720
<v Speaker 4>that my privacy is not going to be violated. Whatever

0:19:35.760 --> 0:19:36.360
<v Speaker 4>I do.

0:19:36.640 --> 0:19:41.000
<v Speaker 2>Is not going to be somehow invaded on.

0:19:43.000 --> 0:19:47.639
<v Speaker 4>And when I feel safe, then I become less inhibitive.

0:19:48.359 --> 0:19:49.360
<v Speaker 2>And if you.

0:19:49.359 --> 0:19:53.679
<v Speaker 4>Think about what one of the greatest joys one can

0:19:53.760 --> 0:19:57.919
<v Speaker 4>have in life is to feel uninhibitive. So what can

0:19:57.960 --> 0:20:00.520
<v Speaker 4>a good hotel provide One It makes you feel safe,

0:20:01.000 --> 0:20:05.439
<v Speaker 4>that triggers your lack of inhibitions, and that allows you

0:20:05.520 --> 0:20:10.960
<v Speaker 4>to then experience things that you wouldn't necessarily experience. The

0:20:11.440 --> 0:20:15.359
<v Speaker 4>old adage which kilt in their holiday and Institute. After

0:20:15.440 --> 0:20:18.920
<v Speaker 4>the Second World War, when the American hotel industry took over,

0:20:20.359 --> 0:20:22.440
<v Speaker 4>it was, you know, the world was a dangerous place.

0:20:22.480 --> 0:20:25.560
<v Speaker 4>That's the way people saw it, and things like home

0:20:25.600 --> 0:20:30.760
<v Speaker 4>away from Home, which was one hotel chains slowly, you know,

0:20:31.840 --> 0:20:34.760
<v Speaker 4>if you think about it, at least the people that

0:20:35.160 --> 0:20:37.680
<v Speaker 4>I'm interested in hanging out with, the last thing they

0:20:37.680 --> 0:20:41.440
<v Speaker 4>want to do is leave home, travel someplace else, and feel.

0:20:41.160 --> 0:20:42.840
<v Speaker 3>Like they're going at home exactly.

0:20:43.400 --> 0:20:45.800
<v Speaker 2>So the whole point is to get away from home

0:20:46.240 --> 0:20:46.800
<v Speaker 2>to be home.

0:20:48.240 --> 0:20:52.639
<v Speaker 4>But to that feeling, strangely, you first have to feel

0:20:53.040 --> 0:20:56.600
<v Speaker 4>even safer than natrone or as safe as at home.

0:20:57.359 --> 0:20:59.960
<v Speaker 4>Then you let your guard down. Then you can experience

0:21:00.119 --> 0:21:03.320
<v Speaker 4>something else, and then you made do things that you

0:21:03.359 --> 0:21:10.840
<v Speaker 4>wouldn't even do it. A romance is great, business partnerships

0:21:11.000 --> 0:21:11.720
<v Speaker 4>and whatever.

0:21:11.480 --> 0:21:11.920
<v Speaker 2>It may be.

0:21:12.080 --> 0:21:15.560
<v Speaker 1>Yeah, in one of your hotels, before I got into

0:21:15.640 --> 0:21:18.720
<v Speaker 1>the room, I had taken off all my crothes in

0:21:18.760 --> 0:21:22.680
<v Speaker 1>the hallway to be.

0:21:22.720 --> 0:21:23.920
<v Speaker 3>With the person I was going to be with.

0:21:24.080 --> 0:21:25.200
<v Speaker 2>So you clearly felt at home.

0:21:25.240 --> 0:21:38.480
<v Speaker 1>I felt right outside the doors. How does one sort

0:21:38.480 --> 0:21:42.080
<v Speaker 1>of manage this whole sort of idea that, okay, this

0:21:42.080 --> 0:21:44.879
<v Speaker 1>sort of empire to use lack of a better word,

0:21:45.040 --> 0:21:48.879
<v Speaker 1>and you're in a constant state of acquisitions, new builds,

0:21:49.000 --> 0:21:54.119
<v Speaker 1>new ideas, conversions, renovations like how does that in Andrea

0:21:54.200 --> 0:21:54.920
<v Speaker 1>Blasa's head?

0:21:54.960 --> 0:21:57.639
<v Speaker 3>How do you when you wake up? How are you

0:21:57.760 --> 0:21:58.480
<v Speaker 3>navigating this?

0:21:58.800 --> 0:22:01.879
<v Speaker 1>And also maintaining a sense of such serenity and peace

0:22:02.320 --> 0:22:03.960
<v Speaker 1>as what I'm feeling as I'm saying.

0:22:03.880 --> 0:22:06.000
<v Speaker 2>Next to you, and every time I'm like you, I

0:22:06.040 --> 0:22:06.440
<v Speaker 2>don't know.

0:22:08.440 --> 0:22:11.320
<v Speaker 1>I mean, what is the most challenging piece of in

0:22:11.359 --> 0:22:12.840
<v Speaker 1>the dynamic of what you do?

0:22:13.400 --> 0:22:20.399
<v Speaker 4>Look, navigating COVID was really difficult, definitely fueled by my

0:22:21.560 --> 0:22:27.200
<v Speaker 4>understanding of the severity, the medical the reality of pandemics

0:22:27.280 --> 0:22:28.600
<v Speaker 4>throughout history and.

0:22:28.640 --> 0:22:33.240
<v Speaker 2>What this was about. I think I lost my bearing.

0:22:32.960 --> 0:22:37.080
<v Speaker 4>A little bit in that I became overly concerned about

0:22:37.080 --> 0:22:45.440
<v Speaker 4>it and I completely underestimated societies, our societies, but most societies.

0:22:45.000 --> 0:22:49.600
<v Speaker 2>Willingness to completely ignore it. That's probably been the most.

0:22:49.359 --> 0:22:52.680
<v Speaker 4>Difficult thing I've had to navigate in this business, other

0:22:52.760 --> 0:22:55.120
<v Speaker 4>than trying to build a nursery in New.

0:22:55.080 --> 0:23:01.119
<v Speaker 3>York physically literally literally all So, what is your joy?

0:23:01.160 --> 0:23:01.800
<v Speaker 3>What you do?

0:23:02.320 --> 0:23:02.399
<v Speaker 4>Is?

0:23:02.920 --> 0:23:06.200
<v Speaker 3>It's so super hard. What is like the most joyful.

0:23:05.840 --> 0:23:10.280
<v Speaker 4>Aspect of the four It's very clear the most joyful

0:23:10.320 --> 0:23:13.399
<v Speaker 4>aspect is making people happy.

0:23:14.240 --> 0:23:17.399
<v Speaker 2>I don't know, I don't know where that gene comes from.

0:23:17.440 --> 0:23:21.040
<v Speaker 4>It's probably got something to do with why actors want

0:23:21.119 --> 0:23:23.439
<v Speaker 4>to act or comedians want to be comedians.

0:23:23.440 --> 0:23:27.520
<v Speaker 2>That you know, it just makes me happy to see

0:23:28.000 --> 0:23:33.320
<v Speaker 2>other people happy. It's it's just a psychic reward, you know.

0:23:33.359 --> 0:23:39.160
<v Speaker 4>We we we did the did this party to celebrate

0:23:39.160 --> 0:23:40.960
<v Speaker 4>the tenth anniversary of the children.

0:23:41.480 --> 0:23:44.000
<v Speaker 3>So that was a big deal and a party.

0:23:44.080 --> 0:23:48.399
<v Speaker 4>So it was it was, it was, It was a

0:23:48.480 --> 0:23:49.160
<v Speaker 4>lot of fun.

0:23:50.680 --> 0:23:53.600
<v Speaker 2>And what was interesting is.

0:23:53.320 --> 0:23:58.600
<v Speaker 4>It it's always difficult to enter a city and figure

0:23:58.640 --> 0:24:02.360
<v Speaker 4>out not only take the most basic stuff like how

0:24:02.359 --> 0:24:06.080
<v Speaker 4>do you build something without people dying, you know, and.

0:24:06.240 --> 0:24:07.840
<v Speaker 2>How do you then.

0:24:09.160 --> 0:24:12.760
<v Speaker 4>Centric because having it be a success is the easy part.

0:24:13.720 --> 0:24:18.680
<v Speaker 4>Having it survived its success is the hard party really

0:24:18.800 --> 0:24:21.600
<v Speaker 4>is and that is a whole other game, you know,

0:24:22.359 --> 0:24:24.399
<v Speaker 4>because every you know, we live in a society, or

0:24:24.440 --> 0:24:27.080
<v Speaker 4>anything new is great. The question is how do you

0:24:27.160 --> 0:24:29.320
<v Speaker 4>survive being the next.

0:24:29.119 --> 0:24:31.880
<v Speaker 3>Great, staying in the conversation, staying relevant.

0:24:32.560 --> 0:24:37.320
<v Speaker 4>And what was so satisfying in that in organizing that

0:24:37.400 --> 0:24:44.440
<v Speaker 4>event was how many people was just responded to it,

0:24:44.480 --> 0:24:47.360
<v Speaker 4>you know, and it was fascinating because some people say,

0:24:47.359 --> 0:24:50.520
<v Speaker 4>oh my god, it's already been ten years, and other

0:24:50.520 --> 0:24:54.880
<v Speaker 4>people said, it's only been ten years. So you realize

0:24:54.920 --> 0:24:58.720
<v Speaker 4>that the intensity of the interaction of the people with

0:24:59.040 --> 0:25:03.479
<v Speaker 4>that place, which is, you know, ten years versus this

0:25:03.560 --> 0:25:09.639
<v Speaker 4>is almost one hundred. Yeah, it was so refreshing to

0:25:09.720 --> 0:25:12.639
<v Speaker 4>me because that's what gives me joy, is to have

0:25:12.760 --> 0:25:17.440
<v Speaker 4>people connect to a place to say things like you say, yeah,

0:25:18.600 --> 0:25:20.280
<v Speaker 4>I think it's a wonderful lady to take your clothes

0:25:20.320 --> 0:25:21.920
<v Speaker 4>up all the way before you get into the.

0:25:21.920 --> 0:25:46.159
<v Speaker 1>Room, thanks for joining us for table for two. So

0:25:46.280 --> 0:25:48.439
<v Speaker 1>much goes into making a hotel feel like a safe,

0:25:48.640 --> 0:25:49.520
<v Speaker 1>welcoming place.

0:25:50.320 --> 0:25:54.399
<v Speaker 3>Everything from the design to casting the staff must be

0:25:54.720 --> 0:25:57.600
<v Speaker 3>just right to create a great destination.

0:25:58.200 --> 0:26:02.240
<v Speaker 1>I'm curious how does he find the right balance at

0:26:02.280 --> 0:26:04.000
<v Speaker 1>each one of his hotels.

0:26:05.040 --> 0:26:05.800
<v Speaker 3>We don't we share.

0:26:05.840 --> 0:26:07.440
<v Speaker 1>Andy Cohen as a very close friend of ours, and

0:26:07.480 --> 0:26:09.280
<v Speaker 1>I was speaking to Andy today and I said, oh, yeah,

0:26:09.320 --> 0:26:10.600
<v Speaker 1>you know, I'm gonna So it.

0:26:10.480 --> 0:26:12.240
<v Speaker 3>Was Andrea and we're gonna have a drink and we're.

0:26:12.080 --> 0:26:13.760
<v Speaker 1>Gonna and he was like, oh, I need to write

0:26:13.800 --> 0:26:15.560
<v Speaker 1>Andre note and let him know. So you know, he

0:26:15.680 --> 0:26:17.199
<v Speaker 1>was just there last week and he was there for

0:26:17.240 --> 0:26:21.399
<v Speaker 1>the week, and he was promoting his show, and he

0:26:21.560 --> 0:26:24.640
<v Speaker 1>was and this was what always filled me up when

0:26:24.680 --> 0:26:26.960
<v Speaker 1>people would talk to me about the restaurant.

0:26:27.359 --> 0:26:29.080
<v Speaker 3>I need to tell Andre how how.

0:26:28.920 --> 0:26:32.119
<v Speaker 1>Incredible the people are, how incredible the people are, that

0:26:32.200 --> 0:26:33.800
<v Speaker 1>how they treated me, how incredible.

0:26:34.040 --> 0:26:36.800
<v Speaker 3>And that is how you stay.

0:26:36.840 --> 0:26:41.280
<v Speaker 1>I think in the room, have the longevity because you

0:26:41.320 --> 0:26:42.360
<v Speaker 1>know people will come and go.

0:26:42.440 --> 0:26:45.920
<v Speaker 3>It is a transient business. There's a burnout piece to it.

0:26:46.320 --> 0:26:49.960
<v Speaker 1>But if you can maintain that culture, because it becomes

0:26:50.000 --> 0:26:53.200
<v Speaker 1>all about the culture, so you set the tone of culture.

0:26:53.560 --> 0:26:55.639
<v Speaker 3>And I think what happens, which is challenging to a

0:26:55.680 --> 0:26:57.480
<v Speaker 3>lot of places, is they lose their culture.

0:26:58.320 --> 0:27:01.600
<v Speaker 4>And when you lose the culture, it happens all the time,

0:27:01.760 --> 0:27:03.960
<v Speaker 4>and I find it fascinating.

0:27:04.359 --> 0:27:07.360
<v Speaker 2>In the say call it luxury.

0:27:07.440 --> 0:27:10.880
<v Speaker 4>I mean not that the chateau is from a physical

0:27:10.920 --> 0:27:13.680
<v Speaker 4>point of view, luxury, but from an experiential point of view,

0:27:13.680 --> 0:27:21.880
<v Speaker 4>it certainly this luxury. I think, how you The problem

0:27:21.920 --> 0:27:25.040
<v Speaker 4>I believe in this industry is how the industry is structured,

0:27:25.520 --> 0:27:30.920
<v Speaker 4>the ownership. Think of how many hotels or publicly traded corporations.

0:27:31.760 --> 0:27:34.560
<v Speaker 4>Think of how many are owned by these private equity firms.

0:27:34.680 --> 0:27:39.080
<v Speaker 4>Or other institutional money that needs certain returns and then

0:27:39.119 --> 0:27:41.199
<v Speaker 4>think of who trains these people.

0:27:42.080 --> 0:27:48.320
<v Speaker 2>I mean it's if you think of the awards system.

0:27:48.400 --> 0:27:50.520
<v Speaker 4>You know you talk about a five star hotel, Well,

0:27:51.080 --> 0:27:53.720
<v Speaker 4>the full concept of five stars are started by Mobile

0:27:53.760 --> 0:27:57.040
<v Speaker 4>Oil Corporation. It's like the Michelang Guide, which is a

0:27:57.119 --> 0:28:03.080
<v Speaker 4>rubber tire company rating restaurants, and we take it seriously

0:28:03.160 --> 0:28:04.520
<v Speaker 4>coming from a tire company.

0:28:04.840 --> 0:28:06.359
<v Speaker 2>They're rating hotels now.

0:28:06.240 --> 0:28:10.840
<v Speaker 4>This year, which we did very well and it was great,

0:28:11.040 --> 0:28:12.840
<v Speaker 4>but it's still it's a tire company.

0:28:13.119 --> 0:28:14.360
<v Speaker 2>Let's licensed its name.

0:28:15.000 --> 0:28:19.280
<v Speaker 4>Forbes is a magazine and financial magazine that's defunct, but

0:28:19.760 --> 0:28:22.560
<v Speaker 4>they've licensed their name. And now you've got a company

0:28:22.600 --> 0:28:27.920
<v Speaker 4>going around rating Forbes hotels. You've got five Stars, which

0:28:27.920 --> 0:28:30.040
<v Speaker 4>has been invented by the gas company.

0:28:31.040 --> 0:28:32.120
<v Speaker 2>All you have.

0:28:32.200 --> 0:28:37.159
<v Speaker 4>Before that, the Automobile Association of America TRIPLEA had a

0:28:37.280 --> 0:28:41.200
<v Speaker 4>rating system which goes back to when people would travel

0:28:41.280 --> 0:28:46.280
<v Speaker 4>and they want to encourage car travel, gasoline, rubber cars.

0:28:47.120 --> 0:28:47.920
<v Speaker 2>You wanted to go to this.

0:28:47.920 --> 0:28:50.160
<v Speaker 4>Different city, you didn't know where to stay, so we

0:28:50.280 --> 0:28:52.120
<v Speaker 4>went ahead and raided the hotels.

0:28:52.680 --> 0:28:55.320
<v Speaker 2>Is the way to stay.

0:28:54.320 --> 0:28:58.560
<v Speaker 4>Today that's morphed into something that's made everything but homogeneous.

0:29:00.680 --> 0:29:02.680
<v Speaker 2>It is. It's so painful.

0:29:03.080 --> 0:29:06.120
<v Speaker 4>Even i'm on Adrian Zecha, who was sort of a

0:29:06.320 --> 0:29:08.440
<v Speaker 4>mentor mind when I decided to go into the business.

0:29:08.520 --> 0:29:12.560
<v Speaker 4>I just sort of offered to be his assistant for

0:29:12.680 --> 0:29:17.320
<v Speaker 4>two years and traveled around them.

0:29:17.520 --> 0:29:20.600
<v Speaker 2>Back then, a'mon was unique.

0:29:21.200 --> 0:29:26.200
<v Speaker 4>Today it's like Four Seasons or Park Hyde or the

0:29:26.320 --> 0:29:30.800
<v Speaker 4>Peninsula or Mandarin Oriental. I mean, you go into the

0:29:30.840 --> 0:29:31.680
<v Speaker 4>lobby and you can't.

0:29:32.360 --> 0:29:34.000
<v Speaker 2>You don't know. They're all the same.

0:29:34.040 --> 0:29:36.560
<v Speaker 3>They're all the same. You can't, you don't know exactly.

0:29:36.600 --> 0:29:40.120
<v Speaker 4>So what does luxury mean today? Which is I think

0:29:40.280 --> 0:29:41.760
<v Speaker 4>is a really interesting question.

0:29:42.000 --> 0:29:44.200
<v Speaker 1>I do too, And I think you can even equate

0:29:44.240 --> 0:29:46.480
<v Speaker 1>that with the movie business, with a lot of these

0:29:46.520 --> 0:29:49.360
<v Speaker 1>studios being bought up by things like AT and T

0:29:49.880 --> 0:29:52.840
<v Speaker 1>or Comcast, you know, these big there's a you know,

0:29:53.040 --> 0:29:55.400
<v Speaker 1>you don't have, you know, the Jack Warners, you don't

0:29:55.480 --> 0:29:57.120
<v Speaker 1>have the Sharry Lansings, you.

0:29:57.040 --> 0:29:59.680
<v Speaker 3>Don't have the you know, Bob.

0:30:00.520 --> 0:30:04.200
<v Speaker 1>You know, also, you lose there's a flavor that's gone

0:30:04.240 --> 0:30:06.080
<v Speaker 1>because they're not movie people.

0:30:06.080 --> 0:30:08.480
<v Speaker 3>They don't know how to And so I think to

0:30:08.520 --> 0:30:09.240
<v Speaker 3>your point.

0:30:09.320 --> 0:30:11.120
<v Speaker 2>It's very very similar.

0:30:11.360 --> 0:30:15.920
<v Speaker 4>I mean, I I've also said this before I'm tried.

0:30:16.680 --> 0:30:21.160
<v Speaker 2>But what we do is very much like producing a movie.

0:30:21.200 --> 0:30:24.800
<v Speaker 4>The differences that it's more like a play because it

0:30:24.880 --> 0:30:27.720
<v Speaker 4>has to go on the next day and the same

0:30:27.760 --> 0:30:31.160
<v Speaker 4>person who is fantastic on Monday may be in a

0:30:31.200 --> 0:30:33.360
<v Speaker 4>bad mood on Tuesday. So it's not like you can

0:30:33.440 --> 0:30:36.760
<v Speaker 4>wrap it and it's done yet. On the other hand,

0:30:36.880 --> 0:30:39.280
<v Speaker 4>it still is like a movie production. You have to

0:30:39.520 --> 0:30:42.760
<v Speaker 4>invent it, create it, have a set, shoot it, but

0:30:42.800 --> 0:30:44.480
<v Speaker 4>then you have to do it again and again again.

0:30:47.600 --> 0:30:52.040
<v Speaker 4>How you do that is deeply dependent on who's behind.

0:30:51.680 --> 0:30:55.080
<v Speaker 1>It, deeply dependent on completely.

0:30:55.200 --> 0:30:59.440
<v Speaker 4>Look, Mike Nichols could do a play and there was

0:30:59.560 --> 0:31:03.480
<v Speaker 4>no way it was going to go off kilter. If

0:31:03.520 --> 0:31:05.080
<v Speaker 4>it went off kilter, it was because he took it

0:31:05.120 --> 0:31:09.480
<v Speaker 4>off kilter. Yeah, but it's not because someone interfered.

0:31:09.040 --> 0:31:12.080
<v Speaker 1>Right, It's true, And it's very you could really tell

0:31:12.160 --> 0:31:15.040
<v Speaker 1>and like it is like a play because it's like

0:31:15.040 --> 0:31:16.680
<v Speaker 1>we're gonna do the same thing. I'm gonna come in,

0:31:16.720 --> 0:31:18.440
<v Speaker 1>I'm gonna open the dru i'm gonna turn on the lights,

0:31:18.440 --> 0:31:21.000
<v Speaker 1>I'm gonna start, you know, get the theater, get the

0:31:21.000 --> 0:31:22.160
<v Speaker 1>the the.

0:31:22.200 --> 0:31:24.960
<v Speaker 3>Orchestra, rety. But then it's different every day because I

0:31:25.000 --> 0:31:28.200
<v Speaker 3>don't know who's gonna walk through and up to that podium.

0:31:28.240 --> 0:31:30.680
<v Speaker 1>I don't know what's gonna happen in that room that's

0:31:30.680 --> 0:31:33.400
<v Speaker 1>gonna call and say, oh okay. So the play changes

0:31:34.120 --> 0:31:37.760
<v Speaker 1>every day, and again I will bring it to when

0:31:37.800 --> 0:31:40.600
<v Speaker 1>you're paying attention, when the when the owner is there,

0:31:40.720 --> 0:31:44.760
<v Speaker 1>when it's not the corporation, then.

0:31:44.640 --> 0:31:45.600
<v Speaker 3>You have the control.

0:31:45.800 --> 0:31:48.880
<v Speaker 1>Then you have the control, which is a good word

0:31:49.000 --> 0:31:52.120
<v Speaker 1>to sort of make sure the scene that you envision

0:31:52.480 --> 0:31:56.920
<v Speaker 1>is set. Every day might shift, but the players aren't

0:31:56.960 --> 0:31:59.760
<v Speaker 1>gonna understand all of a sudden. You don't have the

0:32:01.080 --> 0:32:05.680
<v Speaker 1>corporate entity bottom lining your expenses, bottom lining your people,

0:32:05.960 --> 0:32:08.960
<v Speaker 1>putting everyone in horrible uniforms, doing all the things that

0:32:09.000 --> 0:32:13.200
<v Speaker 1>they do, and they take away, like you said, the specialists.

0:32:14.200 --> 0:32:18.440
<v Speaker 4>I think that that is one of the problem challenges

0:32:18.680 --> 0:32:23.760
<v Speaker 4>for the luxury business in general. Is not luxury Again,

0:32:24.280 --> 0:32:27.800
<v Speaker 4>I'm not talking about material or expense. I'm talking about

0:32:28.400 --> 0:32:31.240
<v Speaker 4>the richness of experience. When I talk about luxury, that's

0:32:31.240 --> 0:32:36.040
<v Speaker 4>what it is meaning. Am I giving something banal or

0:32:36.080 --> 0:32:40.440
<v Speaker 4>am I giving something interesting? It's not a function of money.

0:32:41.080 --> 0:32:45.840
<v Speaker 4>It's a function of richness of experience. And I don't

0:32:45.880 --> 0:32:51.600
<v Speaker 4>think that one can create a rich experience if the

0:32:52.240 --> 0:32:58.240
<v Speaker 4>underlying financial structure does not embrace that. So if you

0:32:58.560 --> 0:33:02.040
<v Speaker 4>have private equity firms that are looking for twelve and

0:33:02.080 --> 0:33:06.000
<v Speaker 4>a half percent return as a minimum before anyone gets

0:33:06.000 --> 0:33:08.200
<v Speaker 4>a bonus, so you really have to get twenty five percent,

0:33:08.320 --> 0:33:12.480
<v Speaker 4>and we're going to ruin what it is because this

0:33:12.640 --> 0:33:16.200
<v Speaker 4>business can't yield those kinds of returns. But since the

0:33:16.240 --> 0:33:20.760
<v Speaker 4>money goes wherever the money needs to go to finance it,

0:33:20.760 --> 0:33:23.000
<v Speaker 4>it's a very weird business. Then you get into the

0:33:23.040 --> 0:33:26.200
<v Speaker 4>flip side, which is the vanity people. But when I

0:33:26.760 --> 0:33:30.160
<v Speaker 4>can feel within a minute of walking into a place

0:33:31.520 --> 0:33:34.520
<v Speaker 4>what the ownership is, that's either ownership that's there for

0:33:34.560 --> 0:33:37.160
<v Speaker 4>the money or it's ownership that's there for the vanity,

0:33:37.280 --> 0:33:38.040
<v Speaker 4>and both of.

0:33:37.960 --> 0:33:40.840
<v Speaker 2>Them have their pitfalls.

0:33:40.960 --> 0:33:56.760
<v Speaker 8>Yeah, tell me about your function by any Warhol, What

0:33:56.960 --> 0:33:58.240
<v Speaker 8>was that timeline?

0:33:58.320 --> 0:33:58.600
<v Speaker 2>All right?

0:33:58.680 --> 0:34:03.480
<v Speaker 4>So, look, Andy, who was a very very close friend,

0:34:05.680 --> 0:34:10.840
<v Speaker 4>had a habit of picking up certain people at times

0:34:10.880 --> 0:34:14.560
<v Speaker 4>who fascinated him for whatever fascinated him at the time.

0:34:16.560 --> 0:34:20.080
<v Speaker 4>I believe that I just happened to be a person

0:34:20.560 --> 0:34:23.799
<v Speaker 4>that he was interested in for the last seven years

0:34:23.800 --> 0:34:24.200
<v Speaker 4>of his.

0:34:24.080 --> 0:34:26.360
<v Speaker 2>Life, and.

0:34:28.560 --> 0:34:32.040
<v Speaker 4>I sort of became together with Page Powell and would

0:34:32.040 --> 0:34:37.919
<v Speaker 4>sort of alternate date nights and sometimes Katie, my then

0:34:38.320 --> 0:34:43.200
<v Speaker 4>wife with the company, is but I sort of became.

0:34:43.320 --> 0:34:44.920
<v Speaker 2>His date, and.

0:34:46.800 --> 0:34:49.399
<v Speaker 4>So I was seeing three or four nights a week,

0:34:49.760 --> 0:34:55.320
<v Speaker 4>every week minimum, and we just do all kinds of things.

0:34:55.320 --> 0:34:58.440
<v Speaker 4>But I mean the range of things we go from.

0:34:58.560 --> 0:35:05.200
<v Speaker 4>I remember a dinner at the Odeon with Jean Michel

0:35:05.440 --> 0:35:11.600
<v Speaker 4>Bosca Jehn Michelle's father, who was a very upper ranking,

0:35:11.880 --> 0:35:16.399
<v Speaker 4>you know, accounting executive at a big eight accounting firm,

0:35:16.719 --> 0:35:21.360
<v Speaker 4>wearing bankers pinsiler suits. I happened to be when I

0:35:21.400 --> 0:35:23.760
<v Speaker 4>got the call from Andy, I happened to have already

0:35:23.880 --> 0:35:27.560
<v Speaker 4>told my lawyer, who was you know, blue blazer, khaki,

0:35:28.040 --> 0:35:33.680
<v Speaker 4>yellow tide things. So you can imagine Jean Michelle, me Andy,

0:35:34.280 --> 0:35:38.280
<v Speaker 4>his father, je Michelle's father, and my lawyer having dinner.

0:35:38.440 --> 0:35:42.880
<v Speaker 4>Then we go to the garage where Keith Harring is

0:35:42.920 --> 0:35:48.920
<v Speaker 4>having a party, but nobody recognized Andy or John Michell Basca.

0:35:49.480 --> 0:35:52.439
<v Speaker 4>So we were standing there and Andy had to ask

0:35:52.719 --> 0:35:56.319
<v Speaker 4>some door bouncer to go upstairs and get Keith to

0:35:56.400 --> 0:36:00.480
<v Speaker 4>come down and let us in. So it goes back

0:36:00.520 --> 0:36:03.759
<v Speaker 4>to that that weird time that was before Tony Shafrazi

0:36:03.880 --> 0:36:08.520
<v Speaker 4>put Jaman Schabaska and Andy together in that collaboration or

0:36:08.520 --> 0:36:11.560
<v Speaker 4>whatever you want to call it. So we were friends

0:36:11.560 --> 0:36:15.040
<v Speaker 4>on that level, and it just I don't know, I

0:36:15.040 --> 0:36:17.600
<v Speaker 4>spent an extraordinary amount of time with him.

0:36:18.040 --> 0:36:22.359
<v Speaker 1>I mean that is first of all, being in that room,

0:36:22.560 --> 0:36:24.200
<v Speaker 1>in that decade with those people.

0:36:25.080 --> 0:36:28.560
<v Speaker 3>Again with like, there's like no when you're in a

0:36:28.719 --> 0:36:30.359
<v Speaker 3>when you're in time in your life where you're not

0:36:30.520 --> 0:36:32.640
<v Speaker 3>just you're not aware of it and you're just in it,

0:36:32.719 --> 0:36:35.480
<v Speaker 3>and you happen to be in a historical moment of time.

0:36:35.640 --> 0:36:40.680
<v Speaker 1>Yeah, incredibly artistic people without our going to change the narrative.

0:36:41.719 --> 0:36:43.719
<v Speaker 1>It's kind of wild and it had to be a

0:36:43.880 --> 0:36:46.960
<v Speaker 1>huge influence in what you then didn't even know you

0:36:46.960 --> 0:36:48.160
<v Speaker 1>were about to go from here.

0:36:48.520 --> 0:36:52.439
<v Speaker 4>I'm sure it did, right, right, I'm sure it does.

0:36:52.600 --> 0:36:56.000
<v Speaker 4>And I was just, you know, I I feel like

0:36:56.040 --> 0:36:58.960
<v Speaker 4>I've been an extraordinarily fortunate person.

0:37:09.680 --> 0:37:10.680
<v Speaker 3>What's on the horizon.

0:37:10.800 --> 0:37:14.080
<v Speaker 1>So you've accomplished so much in your career and you

0:37:14.239 --> 0:37:17.200
<v Speaker 1>still are sort of so vibrant, and is there something

0:37:17.239 --> 0:37:19.880
<v Speaker 1>that you haven't done or is there you know, something.

0:37:19.600 --> 0:37:26.680
<v Speaker 3>That is brewing the chamber is brewing in the blas.

0:37:28.520 --> 0:37:33.960
<v Speaker 2>It's a question. I asked myself, Look, these we've never

0:37:34.000 --> 0:37:36.960
<v Speaker 2>managed other people's hotels. Who never you know, everything that

0:37:37.080 --> 0:37:37.880
<v Speaker 2>we do is.

0:37:39.600 --> 0:37:45.120
<v Speaker 4>From the ground up, right, So there are significant commitments

0:37:45.360 --> 0:37:50.080
<v Speaker 4>in time, and the question is what do you What is.

0:37:50.080 --> 0:37:53.440
<v Speaker 2>Compelling to me?

0:37:53.600 --> 0:37:57.440
<v Speaker 4>I think that the there are one or two things

0:37:57.480 --> 0:37:59.480
<v Speaker 4>that have to do with you know.

0:38:00.040 --> 0:38:03.320
<v Speaker 2>One is sort of although we developed.

0:38:02.800 --> 0:38:08.399
<v Speaker 4>Them on paper but never built them fully, is a

0:38:08.480 --> 0:38:16.280
<v Speaker 4>you know, health spa wellness thing. The other is creating

0:38:16.600 --> 0:38:23.279
<v Speaker 4>a literally a community but for older people who are

0:38:23.320 --> 0:38:28.640
<v Speaker 4>not really old in any way except certain things start

0:38:28.719 --> 0:38:33.840
<v Speaker 4>to give way, sure, and there's nothing that's of a

0:38:33.960 --> 0:38:38.960
<v Speaker 4>quality for them. If I think about okay, look someone

0:38:39.040 --> 0:38:42.839
<v Speaker 4>like Famously again I'm not speaking of school, but Carl Lagelfeld,

0:38:43.000 --> 0:38:44.799
<v Speaker 4>who was always at the Mercer.

0:38:44.560 --> 0:38:52.400
<v Speaker 2>Like, where would he be living today? Where would he

0:38:52.440 --> 0:38:55.720
<v Speaker 2>want to live? I always like to live.

0:38:55.560 --> 0:38:58.759
<v Speaker 4>At the Mercer. He had an apartment on Gramercy Park.

0:38:58.800 --> 0:39:01.919
<v Speaker 4>He wrote me a long letter saying, you know, I've

0:39:01.960 --> 0:39:04.280
<v Speaker 4>never even though I own a place a few blocks

0:39:04.320 --> 0:39:05.719
<v Speaker 4>away from me, I've never lived there.

0:39:06.760 --> 0:39:09.880
<v Speaker 3>I think you're so onto it like that is, but

0:39:10.280 --> 0:39:11.000
<v Speaker 3>that you.

0:39:10.960 --> 0:39:14.560
<v Speaker 2>Know, it has to be all the right circumstances, right.

0:39:14.520 --> 0:39:16.799
<v Speaker 1>But I think you know the idea that creating a

0:39:16.840 --> 0:39:21.160
<v Speaker 1>community for people who are aging and but aging in

0:39:21.200 --> 0:39:21.640
<v Speaker 1>the way I.

0:39:21.560 --> 0:39:23.640
<v Speaker 3>Mean, this is like the year of sixty. Like I mean,

0:39:24.040 --> 0:39:26.960
<v Speaker 3>everyone is crossing over into like a year of sixty.

0:39:27.120 --> 0:39:30.480
<v Speaker 1>Everyone looks fantastic, everyone's still vibrant in their life. But

0:39:30.560 --> 0:39:32.440
<v Speaker 1>you know we're now going to be in the sixty

0:39:32.480 --> 0:39:35.280
<v Speaker 1>to eighty zone of the next twenty years of our lives.

0:39:35.480 --> 0:39:40.040
<v Speaker 3>So to create that experience where you go downs.

0:39:40.360 --> 0:39:41.920
<v Speaker 1>I don't need that house, I don't need that stuff,

0:39:41.960 --> 0:39:44.239
<v Speaker 1>but I want the community, I want the services.

0:39:44.640 --> 0:39:45.719
<v Speaker 3>I want that.

0:39:45.719 --> 0:39:47.640
<v Speaker 2>That's what intrusion.

0:39:47.680 --> 0:39:52.720
<v Speaker 4>I haven't really sorted it out, but but you know, owning,

0:39:53.320 --> 0:39:55.560
<v Speaker 4>you know, a house here, there, and all over the

0:39:55.560 --> 0:39:59.440
<v Speaker 4>place is becomes more and more exhausting, and you realize

0:39:59.440 --> 0:40:04.000
<v Speaker 4>that you're running all these and wouldn't it be great

0:40:04.120 --> 0:40:07.880
<v Speaker 4>when you go and you run into you are fairly

0:40:07.960 --> 0:40:12.000
<v Speaker 4>sure that you're going to run into a friend that

0:40:12.080 --> 0:40:14.080
<v Speaker 4>you would love to and it just happens that there's

0:40:14.200 --> 0:40:14.520
<v Speaker 4>nick it.

0:40:14.640 --> 0:40:16.920
<v Speaker 2>You know, they're there for a month as.

0:40:16.760 --> 0:40:20.120
<v Speaker 4>Yours, yeah, or forget a month, but if it's they're

0:40:20.120 --> 0:40:21.200
<v Speaker 4>there for that's it.

0:40:21.239 --> 0:40:24.240
<v Speaker 3>That's it that's where they live and they travel from there. Well,

0:40:24.520 --> 0:40:25.840
<v Speaker 3>Andy and I will both be buying.

0:40:28.200 --> 0:40:29.840
<v Speaker 2>But this is certainly the place to start.

0:40:29.920 --> 0:40:31.279
<v Speaker 1>I mean you and I would think I would have

0:40:31.280 --> 0:40:33.720
<v Speaker 1>said my husband, but Brian Alway says, well, your real husband,

0:40:33.760 --> 0:40:36.759
<v Speaker 1>Andy Cohen, So like that will be where we're we're

0:40:36.800 --> 0:40:38.919
<v Speaker 1>going to be first. I want to thank you so much,

0:40:39.160 --> 0:40:42.800
<v Speaker 1>and I want to thank you on behalf of creating

0:40:43.440 --> 0:40:45.480
<v Speaker 1>what I think is the most valuable thing one can

0:40:45.480 --> 0:40:49.160
<v Speaker 1>create in life, which has experiences for people in community,

0:40:49.239 --> 0:40:53.840
<v Speaker 1>and like what has happened over the course of my

0:40:53.840 --> 0:40:57.000
<v Speaker 1>my adult years and as a result of the things

0:40:57.000 --> 0:41:00.399
<v Speaker 1>you've created have been magical and have bond to meet

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<v Speaker 1>a people for life.

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<v Speaker 3>And I love you.

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<v Speaker 1>You are an incredible man and it's an honor to

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<v Speaker 1>sit here with you at your first baby.

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<v Speaker 3>The chateau. It really is. This is a big deal.

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<v Speaker 2>Thank you, Thank you, Thanks, It's been an utter pleasure.

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<v Speaker 3>Thank you for pulling up a chair.

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<v Speaker 9>I love our lunches and never forget the romance of

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<v Speaker 9>a meal. If you enjoy the show, please tell a

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<v Speaker 9>friend and rate and review us on Apple Podcasts. Table

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<v Speaker 9>for Two with Bruce Bosi is produced by iHeartRadio seven three,

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<v Speaker 9>seven Part and Airmail. Our executive producers are Bruce Bosi

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<v Speaker 9>and Nathan King. Our supervising producer is Dylan Fagan.

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<v Speaker 2>Our editors are.

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<v Speaker 3>Vincent to Johnny and Cas b Bias.

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<v Speaker 5>Table for two is researched and written by Jack Sullivan.

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<v Speaker 5>Our sound engineers Our Meal, b Kl, Jesse Krainich, Evan Taylor,

0:42:02.400 --> 0:42:06.520
<v Speaker 5>and Jesse Funk. Our music supervisor is Randall Poster. Our

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<v Speaker 5>talent booking is done by Jane Sarkin. Table for two

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<v Speaker 5>Social media manager is Gracie Wiener. Special thanks to Amy Sugarman,

0:42:14.239 --> 0:42:19.360
<v Speaker 5>Uni Scherer, Kevin Yvane, Bobby Bauer, Alison Kanter Graber. For

0:42:19.480 --> 0:42:24.480
<v Speaker 5>more podcasts from iHeartRadio, visit the iHeartRadio app, Apple Podcasts,

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<v Speaker 5>or wherever you listen to your favorite shows.