1 00:00:00,720 --> 00:00:17,000 Speaker 1: Disgraceland as a production of Double Elvis. 2 00:00:17,680 --> 00:00:22,439 Speaker 2: The stories about Studio fifty four are insane. Arguably the 3 00:00:22,480 --> 00:00:27,600 Speaker 2: most legendary nightclub of all time, Studio fifty four celebrated, encouraged, 4 00:00:27,680 --> 00:00:32,760 Speaker 2: and flaunted hedonism, farm animals, little people, giant cokespoons hanging 5 00:00:32,800 --> 00:00:36,960 Speaker 2: from the ceiling, Drugs, cocaine, quelude, sex, and other romanesque 6 00:00:37,000 --> 00:00:40,559 Speaker 2: acts of debauchery were rampant inside the walls of Studio 7 00:00:40,640 --> 00:00:44,280 Speaker 2: fifty four, as were the criminal exploits of club owners 8 00:00:44,280 --> 00:00:48,200 Speaker 2: Steve Rebel and Ian Schrager, both of whom carefully cultivated 9 00:00:48,240 --> 00:00:51,120 Speaker 2: the allure of Studio fifty four, drawing first on the 10 00:00:51,159 --> 00:00:55,000 Speaker 2: inclusiveness of disco culture's early days and later on the 11 00:00:55,040 --> 00:01:00,320 Speaker 2: exclusive cult of celebrity personality. Famous musicians John Lennon, David Bowie, 12 00:01:00,400 --> 00:01:03,760 Speaker 2: Mick Jagger, along with the world's most famous celebs, not 13 00:01:03,840 --> 00:01:08,039 Speaker 2: just actors and actresses, but international heads of state, royals, 14 00:01:08,080 --> 00:01:12,039 Speaker 2: and even Braddy Dynastic Kennedy kids, were all a ubiquitous 15 00:01:12,080 --> 00:01:16,480 Speaker 2: presence seen nightly dancing with abandon amongst ordinary New Yorkers. 16 00:01:17,440 --> 00:01:20,640 Speaker 2: So constant was the celebrity presence at Studio fifty four 17 00:01:20,920 --> 00:01:24,480 Speaker 2: that Studio fifty four redefined the concept of celebrity for 18 00:01:24,560 --> 00:01:29,880 Speaker 2: the modern age. That's a fact, Andy, Truman, Eliza Suddenly 19 00:01:29,920 --> 00:01:33,319 Speaker 2: their last names didn't matter. Studio fifty four had made 20 00:01:33,319 --> 00:01:37,360 Speaker 2: them even more famous, and Studio fifty four made its owners, 21 00:01:37,600 --> 00:01:42,720 Speaker 2: Steve Rubel and Ian Schrager, a lot of money and money. 22 00:01:42,920 --> 00:01:46,160 Speaker 2: The abundance of it was the problem, not the sex, 23 00:01:46,200 --> 00:01:50,120 Speaker 2: of the drugs or the great music. That's right, great music, 24 00:01:50,440 --> 00:01:54,400 Speaker 2: because disco is great music. That music I played for 25 00:01:54,440 --> 00:01:57,080 Speaker 2: you at the top of the show. That wasn't great music. 26 00:01:57,600 --> 00:02:00,640 Speaker 2: That was a preset loop from my melotron called Coke 27 00:02:00,720 --> 00:02:05,040 Speaker 2: Baroque MK one. I played you that loop because I 28 00:02:05,080 --> 00:02:08,480 Speaker 2: can't afford the rights to La Freak by Chic And 29 00:02:08,520 --> 00:02:11,400 Speaker 2: why would I play you that specific slice of fuck 30 00:02:11,440 --> 00:02:15,519 Speaker 2: Off Cheese? Could I afford it? Because that was the 31 00:02:15,600 --> 00:02:20,079 Speaker 2: number one song in America on December fourteenth, nineteen seventy eight, 32 00:02:20,520 --> 00:02:23,160 Speaker 2: And that was the day federal agents showed up at 33 00:02:23,200 --> 00:02:26,919 Speaker 2: two fifty four West fifty fourth Street and effectively shut 34 00:02:27,000 --> 00:02:29,840 Speaker 2: down one of the greatest parties America had ever seen. 35 00:02:31,000 --> 00:02:35,800 Speaker 2: On this episode, sweat soaked and totally coked celebrities debauchery 36 00:02:35,800 --> 00:02:39,160 Speaker 2: on the dance floor cash, trash, a dead body at 37 00:02:39,200 --> 00:02:44,320 Speaker 2: the disco in Studio fifty four. I'm Jake Brennan in 38 00:02:44,400 --> 00:03:10,040 Speaker 2: This Is Disgraceland. It was simple. If you owned a 39 00:03:10,080 --> 00:03:12,640 Speaker 2: bar or nightclub in New York City and had a 40 00:03:12,680 --> 00:03:15,000 Speaker 2: jukebox in your place, you were going to have to 41 00:03:15,000 --> 00:03:18,240 Speaker 2: go into business with the Mafia. Jukeboxes were one of 42 00:03:18,240 --> 00:03:22,840 Speaker 2: the many rackets controlled by the mob. Truth was racketeering 43 00:03:22,919 --> 00:03:25,840 Speaker 2: millions of dollars in jukebox nichols all over the country 44 00:03:26,200 --> 00:03:29,080 Speaker 2: was a time honored practice, going back to Mayer Lansky 45 00:03:29,160 --> 00:03:32,800 Speaker 2: in the nineteen thirties. Movie star Debbie Reynolds caught a 46 00:03:32,840 --> 00:03:35,080 Speaker 2: taste of it when she tried getting into the jukebox 47 00:03:35,160 --> 00:03:37,920 Speaker 2: game as an investment in the sixties, only to see 48 00:03:37,960 --> 00:03:40,840 Speaker 2: most of her financial stake gobbled up by the Genovese 49 00:03:40,920 --> 00:03:45,360 Speaker 2: crime family. Mob control of jukeboxes also gave made guys 50 00:03:45,440 --> 00:03:48,880 Speaker 2: easy access to all sorts of classy nightclubs and dance 51 00:03:48,920 --> 00:03:52,480 Speaker 2: bars where they could frequent regularly with their goumas. So 52 00:03:52,560 --> 00:03:54,920 Speaker 2: if you didn't want wise guys cutting in on your profit, 53 00:03:55,080 --> 00:03:57,760 Speaker 2: or worse, hanging out at your club, you would best 54 00:03:57,800 --> 00:04:00,400 Speaker 2: find a form of entertainment that wasn't a juke box, 55 00:04:01,200 --> 00:04:04,000 Speaker 2: especially if you were gay in trying to establish a 56 00:04:04,000 --> 00:04:06,760 Speaker 2: club in New York in the nineteen seventies, you had 57 00:04:06,840 --> 00:04:09,800 Speaker 2: enough problems you didn't need the mafia jamming you up. 58 00:04:10,120 --> 00:04:14,120 Speaker 2: So a jukebox was out. And bands, good bands anyway, 59 00:04:14,400 --> 00:04:17,080 Speaker 2: not the cover's crap that would attract the unwanted straight 60 00:04:17,080 --> 00:04:20,560 Speaker 2: crowd and possibly also the mafia's attention, weren't really an 61 00:04:20,600 --> 00:04:28,159 Speaker 2: option either, So DJs were a necessity. DJs music officionados 62 00:04:28,160 --> 00:04:31,480 Speaker 2: with impeccable taste who could source new, exciting as of 63 00:04:31,560 --> 00:04:34,600 Speaker 2: yet unheard of forty fives from places as far away 64 00:04:34,600 --> 00:04:37,360 Speaker 2: as France in Western Africa, and as near as a 65 00:04:37,400 --> 00:04:39,360 Speaker 2: couple of hours down the road in the Gamble and 66 00:04:39,440 --> 00:04:43,080 Speaker 2: Half Warehouse in Philly, records like Sugar Pie Guy by 67 00:04:43,120 --> 00:04:46,880 Speaker 2: the Joneses and Wild Safari by Barabas, music that would 68 00:04:46,920 --> 00:04:50,839 Speaker 2: attract the preferred clientele, clientele who wanted to dance and 69 00:04:50,839 --> 00:04:54,159 Speaker 2: to connect emotionally out in public, sort of for the 70 00:04:54,200 --> 00:04:58,000 Speaker 2: first time. These were early to mid seventies recordings that 71 00:04:58,080 --> 00:05:00,600 Speaker 2: had nothing to do with the post sixties malaise of 72 00:05:00,640 --> 00:05:03,279 Speaker 2: the first part of the decade. These were records that 73 00:05:03,320 --> 00:05:06,360 Speaker 2: were wilfully ignorant of the societal pressures of the day, 74 00:05:06,680 --> 00:05:10,240 Speaker 2: the drag of the economy, Vietnam, and water game records 75 00:05:10,240 --> 00:05:12,640 Speaker 2: that were meant to be an escape. These were the 76 00:05:12,680 --> 00:05:16,159 Speaker 2: records being played in Manhattan's first openly gay dance clubs. 77 00:05:19,839 --> 00:05:23,360 Speaker 2: The music these DJs played rhythmically, relied on a repetitive, 78 00:05:23,440 --> 00:05:26,760 Speaker 2: reinforced kick drum nearly a constant four on the floor 79 00:05:26,839 --> 00:05:30,440 Speaker 2: beat to keep the dance floor full, and celebrated hedonism 80 00:05:30,440 --> 00:05:34,279 Speaker 2: and individuality, a sense of individuality that turned out could 81 00:05:34,279 --> 00:05:38,760 Speaker 2: be empowering for a subculture regularly persecuted because of its sexuality, 82 00:05:39,040 --> 00:05:44,400 Speaker 2: a type of music called disco. Clubs like the Ice Palace, Infinity, 83 00:05:44,440 --> 00:05:48,120 Speaker 2: and Hurrah hired DJs who not only sourced this exciting 84 00:05:48,160 --> 00:05:50,760 Speaker 2: new music, but who also knew how to perform it. 85 00:05:51,120 --> 00:05:55,040 Speaker 2: And I don't use that word perform lightly. Disco DJs 86 00:05:55,160 --> 00:05:58,320 Speaker 2: or good ones anyway sequence the records they played to 87 00:05:58,440 --> 00:06:01,279 Speaker 2: not only keep the dance floors f but to elicit 88 00:06:01,320 --> 00:06:06,120 Speaker 2: an emotional reaction from clubgoers to connect through music, through dance, 89 00:06:06,400 --> 00:06:10,400 Speaker 2: and in an emotionally resonant way, one that was enthralling, compelling, 90 00:06:10,480 --> 00:06:14,880 Speaker 2: and totally fun. Most early disco was a combination of obscure, 91 00:06:14,960 --> 00:06:18,800 Speaker 2: deep grooved Black American soul and imported world music being 92 00:06:18,880 --> 00:06:25,000 Speaker 2: played in European discothechts. In addition to attracting sophisticated gay Manhattanites, 93 00:06:25,240 --> 00:06:29,279 Speaker 2: some of whom worked in fashion stylists, hairdressers, and makeup artists, 94 00:06:29,400 --> 00:06:33,479 Speaker 2: these clubs also attracted beautiful women models who would follow 95 00:06:33,520 --> 00:06:36,600 Speaker 2: their gay male coworkers from the fashion industry for an 96 00:06:36,680 --> 00:06:40,000 Speaker 2: undeniable good time to clubs where there were no obnoxious 97 00:06:40,040 --> 00:06:42,280 Speaker 2: straight men to hit on them, Clubs where they were 98 00:06:42,279 --> 00:06:44,440 Speaker 2: free to dance and to have fun until the early 99 00:06:44,480 --> 00:06:48,960 Speaker 2: morning hours. The vibe at these clubs was specially unique. 100 00:06:49,120 --> 00:06:52,360 Speaker 2: It was a moment in time post Stonewall, pre Reagan. 101 00:06:52,920 --> 00:06:55,760 Speaker 2: For the first time anywhere in America, being gay was 102 00:06:55,800 --> 00:06:58,880 Speaker 2: being seen as something other than a liability. It was 103 00:06:58,960 --> 00:07:02,320 Speaker 2: fun in am I opened if you were gay or 104 00:07:02,400 --> 00:07:05,480 Speaker 2: straight in an ally, the experience of dancing at these 105 00:07:05,480 --> 00:07:09,400 Speaker 2: clubs was glorious. You couldn't help but feel emotionally connected 106 00:07:09,440 --> 00:07:13,880 Speaker 2: to most everyone in the room. The DJ at Hurrah 107 00:07:13,920 --> 00:07:17,920 Speaker 2: knew this, and he calibrated his set accordingly. The last 108 00:07:17,960 --> 00:07:21,200 Speaker 2: song was crucial. It wasn't about kicking the party off 109 00:07:21,200 --> 00:07:23,240 Speaker 2: from the club at four point thirty am to some 110 00:07:23,400 --> 00:07:27,160 Speaker 2: driving after hours. It was about creating a lasting emotional 111 00:07:27,200 --> 00:07:31,760 Speaker 2: connection before parting ways. He had just the song Donna 112 00:07:31,840 --> 00:07:35,160 Speaker 2: Summers Loved to Love You Baby, the Georgio Moroder Penn 113 00:07:35,320 --> 00:07:38,680 Speaker 2: sixteen and a half minute vamp filled with Summer's ecstatic 114 00:07:38,760 --> 00:07:41,960 Speaker 2: moans and groans was more than just sex. It was 115 00:07:41,960 --> 00:07:44,720 Speaker 2: a high walk cable of connectivity that pulsed through the 116 00:07:44,720 --> 00:07:48,400 Speaker 2: early discuss scene, Timed right, played at just the right 117 00:07:48,440 --> 00:07:51,000 Speaker 2: moment during the night, the song was enough to make 118 00:07:51,040 --> 00:07:54,440 Speaker 2: those in the know openly weep on the dance floor because, 119 00:07:54,480 --> 00:07:57,320 Speaker 2: aside from the sex, the sweat, the pulsing lights, the 120 00:07:57,360 --> 00:08:01,240 Speaker 2: requisite clubland drugs and booze, the burgeoning hedonism, if you 121 00:08:01,280 --> 00:08:03,360 Speaker 2: were in on this song, it meant you were in 122 00:08:03,400 --> 00:08:07,480 Speaker 2: on something special. It meant you were special because you 123 00:08:07,640 --> 00:08:10,320 Speaker 2: were in on what was going on. He couldn't help 124 00:08:10,360 --> 00:08:13,120 Speaker 2: but feel it, and not just on the dance floor, 125 00:08:13,240 --> 00:08:15,440 Speaker 2: but in the larger club scene in New York at 126 00:08:15,440 --> 00:08:19,760 Speaker 2: the time. Something big was about to happen. The little 127 00:08:19,840 --> 00:08:22,400 Speaker 2: dude from Brooklyn at the bar knew it too, and 128 00:08:22,480 --> 00:08:25,400 Speaker 2: it didn't matter how fucked up he was either. Last 129 00:08:25,480 --> 00:08:28,400 Speaker 2: call had come and gone, and the quayludes had kicked 130 00:08:28,400 --> 00:08:32,040 Speaker 2: in big time. The bartender asked him if he was 131 00:08:32,120 --> 00:08:35,079 Speaker 2: going anywhere, and the little dude smiled riley, as if 132 00:08:35,120 --> 00:08:38,760 Speaker 2: in on an even deeper secret. The bartender then shouted 133 00:08:38,800 --> 00:08:41,559 Speaker 2: over the pulsing Donna summer track, you look like you're 134 00:08:41,600 --> 00:08:45,080 Speaker 2: having a good time. The short dude replied. 135 00:08:44,679 --> 00:08:51,160 Speaker 3: With, yeah, I think I'd taken too many queens. 136 00:08:52,400 --> 00:08:57,360 Speaker 2: On your name it address. The bartender smiled and wrote 137 00:08:57,360 --> 00:08:59,400 Speaker 2: his info in the back of the match book. The 138 00:08:59,440 --> 00:09:01,840 Speaker 2: short dude's around back at him and tried again to 139 00:09:01,840 --> 00:09:02,800 Speaker 2: make his mouth work. 140 00:09:03,240 --> 00:09:13,600 Speaker 3: Thanks writing bell, He's called steal fifty fool Scot. 141 00:09:38,080 --> 00:09:41,240 Speaker 2: There was simply too much money, too much cash, too 142 00:09:41,280 --> 00:09:44,520 Speaker 2: much to count, too much to account for. At the 143 00:09:44,600 --> 00:09:47,319 Speaker 2: end of another successful night at his new clubs Studio 144 00:09:47,400 --> 00:09:51,640 Speaker 2: fifty four, co owner and master of Ceremonies extraordinaire Steve 145 00:09:51,720 --> 00:09:54,320 Speaker 2: Rubel used to collect all the cash in a big 146 00:09:54,360 --> 00:09:58,280 Speaker 2: plastic trash bag. He'd stash it in a safe, hide 147 00:09:58,320 --> 00:10:01,360 Speaker 2: it in the ceiling squirrelhundreds of thousands of dollars of 148 00:10:01,400 --> 00:10:04,800 Speaker 2: it away in his Upper East Side apartment. He'd flaunt it. 149 00:10:04,920 --> 00:10:07,280 Speaker 2: He'd stuff it into the insides of his puffy winter 150 00:10:07,400 --> 00:10:09,960 Speaker 2: jacket and roam the bowels of the studio, handing it 151 00:10:10,000 --> 00:10:14,200 Speaker 2: out to unsuspecting clubgoers. He'd set an extra trash bag 152 00:10:14,240 --> 00:10:16,640 Speaker 2: full of cash aside in his office and let his 153 00:10:16,720 --> 00:10:19,760 Speaker 2: new friend Andy Warhol come over and just play with it. 154 00:10:20,040 --> 00:10:23,720 Speaker 2: Andy loved cash, but most of all Steve Rubell and 155 00:10:23,720 --> 00:10:27,800 Speaker 2: his business partner Ian Schrager would skim it off the 156 00:10:27,840 --> 00:10:32,280 Speaker 2: top of the nightly take illegally. Skimming cash was always 157 00:10:32,320 --> 00:10:34,880 Speaker 2: part of the plan, going all the way back to 158 00:10:35,000 --> 00:10:42,880 Speaker 2: opening night April twenty sixth, nineteen seventy seven, two fifty 159 00:10:42,920 --> 00:10:46,080 Speaker 2: four West fifty fourth Street. The first guests to show 160 00:10:46,160 --> 00:10:48,920 Speaker 2: up at the opening of Studio fifty four were ushered 161 00:10:48,960 --> 00:10:52,800 Speaker 2: in with little fanfare. Near empty, the new club, an 162 00:10:52,800 --> 00:10:58,640 Speaker 2: old converted CBS television studio, seemed cavernous cold. The guests, 163 00:10:58,920 --> 00:11:00,880 Speaker 2: one of whom was an ambition his up and coming 164 00:11:00,920 --> 00:11:04,440 Speaker 2: real estate tycoon from Queen's Donald Trump, and his new 165 00:11:04,440 --> 00:11:07,280 Speaker 2: wife Evnna, fresh from dinner at A Lane's to see 166 00:11:07,320 --> 00:11:10,440 Speaker 2: what all the hype was about, were not impressed, but 167 00:11:10,559 --> 00:11:13,880 Speaker 2: that would soon change. Shortly the clubs started to fill 168 00:11:13,960 --> 00:11:19,040 Speaker 2: up around them, and it filled up fast. They came 169 00:11:19,120 --> 00:11:21,600 Speaker 2: pouring in through the front door, the side door, the 170 00:11:21,640 --> 00:11:24,199 Speaker 2: back exits had to be opened to accommodate the surge 171 00:11:24,240 --> 00:11:28,600 Speaker 2: and crowd inside. Months of smart publicity, well placed notices 172 00:11:28,600 --> 00:11:32,520 Speaker 2: in local papers, perfectly timed tip offs to celebrity handlers, 173 00:11:32,720 --> 00:11:35,839 Speaker 2: an organic word of mouth throughout the disco scene had 174 00:11:35,840 --> 00:11:39,040 Speaker 2: created a swell of anticipation for the new club, and 175 00:11:39,120 --> 00:11:42,360 Speaker 2: an hour or so after its official opening, that swell 176 00:11:42,440 --> 00:11:47,080 Speaker 2: had crashed down upon Studio fifty four. Chaer made the scene. 177 00:11:47,120 --> 00:11:50,600 Speaker 2: People freaked out. She and actress Margot Hemingway hit the 178 00:11:50,600 --> 00:11:53,839 Speaker 2: empty dance floor before anyone else and just went for it. 179 00:11:54,800 --> 00:11:58,880 Speaker 2: Strategically placed photographers from local rags started snapping picks of 180 00:11:59,040 --> 00:12:01,600 Speaker 2: basically the only thing that was happening at the club 181 00:12:01,679 --> 00:12:06,000 Speaker 2: up to that point. Two celebrities dancing norms soon joined them, 182 00:12:06,000 --> 00:12:09,480 Speaker 2: and it was cool, this mixing of class status. It 183 00:12:09,600 --> 00:12:14,040 Speaker 2: was compelling. More people joined on the dance floor. Brooke Shields, 184 00:12:14,080 --> 00:12:17,240 Speaker 2: not yet a teenager, brought there by British journalist Robin Leech, 185 00:12:17,360 --> 00:12:20,439 Speaker 2: was one of them. Michael Jackson showed up accompanied by 186 00:12:20,440 --> 00:12:23,560 Speaker 2: Diana Ross, both of whom were in town filming The Whiz. 187 00:12:23,960 --> 00:12:28,319 Speaker 2: Photogs photographed. The music pulsed deep, deep bass from the 188 00:12:28,360 --> 00:12:30,640 Speaker 2: state of the art sound system. Got to Give It 189 00:12:30,720 --> 00:12:33,640 Speaker 2: Up by Marvin Gabe, I Feel Love by Donna Summer, 190 00:12:33,880 --> 00:12:38,640 Speaker 2: Sir Duke by Stevie Wonder Chicks. Everybody dance. The music 191 00:12:38,840 --> 00:12:42,360 Speaker 2: was contagious, and thus so was the dancing. The vibe 192 00:12:42,440 --> 00:12:45,800 Speaker 2: was real right, The dance floor was hot, sticky, euphoric. 193 00:12:46,280 --> 00:12:50,880 Speaker 2: Self consciousness wasn't an option, abandoned, visceral and fun filled 194 00:12:50,920 --> 00:12:54,800 Speaker 2: the room. Liberation, men dancing with men, women dancing with 195 00:12:54,840 --> 00:12:59,880 Speaker 2: whoever they wanted, Unencumbered bartenders, young cut, twenty somethings, shirtless 196 00:13:00,080 --> 00:13:03,080 Speaker 2: clad nothing but type jim shorts, and tennis seekers hustled 197 00:13:03,080 --> 00:13:06,400 Speaker 2: the crowd for tips. Celebrities mingled with New Yorkers in 198 00:13:06,480 --> 00:13:09,560 Speaker 2: off the street. No one busted the vibe or the groove. 199 00:13:10,600 --> 00:13:15,120 Speaker 2: It was almost innocent for a New York minute anyway. Inside, 200 00:13:15,280 --> 00:13:17,920 Speaker 2: all of a sudden, there were one thousand people, and 201 00:13:17,960 --> 00:13:23,400 Speaker 2: there were another thousand people trying to get in. Outside 202 00:13:23,440 --> 00:13:26,800 Speaker 2: on a fifty fourth Street, the crowd ballooned. Steve Rubelle 203 00:13:26,800 --> 00:13:28,680 Speaker 2: stood on a fire hydrant next to his head of 204 00:13:28,679 --> 00:13:31,920 Speaker 2: club security and cherry picked want to be discoers from 205 00:13:31,920 --> 00:13:35,200 Speaker 2: the sidewalk for entry into his own private theatrical production. 206 00:13:36,080 --> 00:13:39,480 Speaker 2: Choosing lucky entrance into his suddenly exclusive club was like 207 00:13:39,520 --> 00:13:43,440 Speaker 2: he would say, casting a play. Like Grocho Marx's famous 208 00:13:43,480 --> 00:13:45,280 Speaker 2: line that he wouldn't want to be part of any 209 00:13:45,280 --> 00:13:47,720 Speaker 2: club that would have him as a member. Steve Rubell 210 00:13:47,880 --> 00:13:50,839 Speaker 2: knew what kind of people should get in, and ironically 211 00:13:51,160 --> 00:13:55,040 Speaker 2: he joked that Studio fifty four clubgoers shouldn't look anything 212 00:13:55,120 --> 00:13:59,560 Speaker 2: like himself, schlubby, short, unimpressive, outer borrow bridge and tunnel, 213 00:13:59,640 --> 00:14:04,760 Speaker 2: a frame he invented. Despite his self perceived shortcomings, Steve 214 00:14:04,840 --> 00:14:08,840 Speaker 2: Rubelle had a keen eye for glamour, not celebrity necessarily, 215 00:14:08,920 --> 00:14:14,120 Speaker 2: but physical beauty, vitality, charisma, individualism. The scrawnye boy from 216 00:14:14,120 --> 00:14:17,000 Speaker 2: Brooklyn with the pockmarked face had found a loophole in 217 00:14:17,040 --> 00:14:20,080 Speaker 2: Grudgo's joke. He wasn't just a member of the club, 218 00:14:20,400 --> 00:14:23,000 Speaker 2: He owned the club, and so he ruled, like a 219 00:14:23,000 --> 00:14:26,800 Speaker 2: little disco Napoleon that he was casting his embittered glamorous 220 00:14:26,800 --> 00:14:28,880 Speaker 2: spell with a new kind of magic wand of his 221 00:14:28,920 --> 00:14:33,680 Speaker 2: own invention, the original velvet rope. The velvet rope connected 222 00:14:33,720 --> 00:14:37,040 Speaker 2: on stanchions was first deployed outside Studio fifty four. His 223 00:14:37,200 --> 00:14:40,360 Speaker 2: entrance to keep the prostitutes working Times Square out from 224 00:14:40,440 --> 00:14:43,240 Speaker 2: under the marquee and away from the customers. But with 225 00:14:43,320 --> 00:14:46,040 Speaker 2: the swelling crowds looking to gain entrance into the club, 226 00:14:46,360 --> 00:14:49,320 Speaker 2: it quickly became a tool to keep the crowd at bay, 227 00:14:49,360 --> 00:14:53,080 Speaker 2: clearly dividing those who had it from those who didn't. 228 00:14:53,120 --> 00:14:56,120 Speaker 2: The velvet rope empowered Steve to keep anyone who looked 229 00:14:56,160 --> 00:15:00,000 Speaker 2: like him out. Steve had started from the bottom, now 230 00:15:00,000 --> 00:15:02,560 Speaker 2: he made it. He was special, and his club was 231 00:15:02,600 --> 00:15:04,800 Speaker 2: only for the special people, and he was going to 232 00:15:04,840 --> 00:15:08,920 Speaker 2: make damn sure he was the only person like himself inside. 233 00:15:09,000 --> 00:15:12,800 Speaker 2: Outside the studio on opening night, while Steve cast clubgoers, 234 00:15:13,000 --> 00:15:16,400 Speaker 2: the crowd spilled into the street in completely blocked traffic. 235 00:15:16,880 --> 00:15:21,280 Speaker 2: Sirens wailed, beatcops shook their heads in discussed prostitutes wondered 236 00:15:21,320 --> 00:15:23,520 Speaker 2: what in the hell was happening to their neighborhood. What 237 00:15:23,640 --> 00:15:27,200 Speaker 2: an ass pain? Warren Batty tried unsuccessfully to get in, 238 00:15:27,480 --> 00:15:29,880 Speaker 2: so did Henry Winkler, and the Fawns was shit out 239 00:15:29,880 --> 00:15:32,760 Speaker 2: of luck. Words spread around the excited crowd that Frank 240 00:15:32,800 --> 00:15:35,600 Speaker 2: Sinatra was circling in a limo his people trying to 241 00:15:35,640 --> 00:15:38,560 Speaker 2: devise a quick entrance, and there was the doctor in 242 00:15:38,600 --> 00:15:41,000 Speaker 2: the crowd, who, like most of the people around him, 243 00:15:41,000 --> 00:15:43,800 Speaker 2: had been trying without any luck to get in. Soon, 244 00:15:43,880 --> 00:15:46,800 Speaker 2: he figured that if no party was to be had inside, 245 00:15:47,040 --> 00:15:48,520 Speaker 2: then there was a party to be had out on 246 00:15:48,560 --> 00:15:51,560 Speaker 2: the sidewalk about thirty or so waves of people back 247 00:15:51,600 --> 00:15:55,280 Speaker 2: from the studio's entrance. He pulled the man a his 248 00:15:55,400 --> 00:15:58,840 Speaker 2: jarricized container of queludes from his coat pocket and began 249 00:15:59,000 --> 00:16:02,840 Speaker 2: passing them out to everyone around him. About twenty minutes later, 250 00:16:02,880 --> 00:16:05,520 Speaker 2: the pills kicked in, and so too did the pent 251 00:16:05,640 --> 00:16:09,240 Speaker 2: up sexual tension in the good Doctor's immediate vicinity. A 252 00:16:09,280 --> 00:16:12,640 Speaker 2: street side orgy kicked up amongst the fully looted crowds 253 00:16:12,680 --> 00:16:16,520 Speaker 2: surrounding the doctor. Sex in the street on opening night, 254 00:16:16,640 --> 00:16:19,960 Speaker 2: because why not, because it was something to do, because 255 00:16:19,960 --> 00:16:25,880 Speaker 2: it was Studio fifty four. The next day, Steve Rubelle 256 00:16:26,040 --> 00:16:28,880 Speaker 2: was ecstatic the opening was a smash it all, but 257 00:16:28,960 --> 00:16:31,080 Speaker 2: said so right there on the cover of the Goddamn 258 00:16:31,160 --> 00:16:33,440 Speaker 2: New York Post with its front page coverage of the 259 00:16:33,480 --> 00:16:36,080 Speaker 2: club's first night, complete with a photo of share at 260 00:16:36,080 --> 00:16:39,480 Speaker 2: the studio. Rubell worked the phones, called everyone he knew 261 00:16:39,480 --> 00:16:41,560 Speaker 2: to let them know what a success. The opening was 262 00:16:42,160 --> 00:16:45,840 Speaker 2: his business partner, Ian Schrager worked the books. Ian, an 263 00:16:45,840 --> 00:16:48,960 Speaker 2: attorney with a sharp mind for business, calculated the skin 264 00:16:49,400 --> 00:16:52,360 Speaker 2: the cut for him. Steve and his other partner, Jack Ducha, 265 00:16:52,520 --> 00:16:54,600 Speaker 2: off the gross from the door of the bars. The 266 00:16:54,680 --> 00:16:58,320 Speaker 2: code checked cigarette concessions. It was not an insignificant number. 267 00:16:58,680 --> 00:17:03,080 Speaker 2: Business was about to go boom. Steve took a call. 268 00:17:03,480 --> 00:17:06,840 Speaker 2: It was international fashion designer Halston. He'd read about the 269 00:17:06,840 --> 00:17:09,239 Speaker 2: studio in the morning paper and wanted to know if 270 00:17:09,280 --> 00:17:11,359 Speaker 2: he could throw a birthday party for the soon to 271 00:17:11,400 --> 00:17:15,200 Speaker 2: be ex missus McJagger Bianca Jagger at Steve's new club. 272 00:17:15,960 --> 00:17:19,680 Speaker 2: Of course, Steve exclaimed. He quickly made arrangements with Halston, 273 00:17:19,800 --> 00:17:23,920 Speaker 2: hung up in deadpan to his business partner Ian Bianca 274 00:17:24,000 --> 00:17:27,439 Speaker 2: Jagger is throwing her birthday party here. We need a horse. 275 00:17:29,040 --> 00:17:38,560 Speaker 2: We'll be right back after this word word word mark. 276 00:17:38,640 --> 00:17:41,840 Speaker 2: Benecke Studio fifty four st doorman and head of security 277 00:17:42,000 --> 00:17:45,440 Speaker 2: couldn't believe what he was seeing there. Cutting through the 278 00:17:45,520 --> 00:17:48,639 Speaker 2: nightly mass of wannab Be Studio fifty four entrants lined 279 00:17:48,720 --> 00:17:50,639 Speaker 2: up and assembled on the other side of the velvet 280 00:17:50,680 --> 00:17:54,320 Speaker 2: rope on fifty fourth Street were two women naked women 281 00:17:54,760 --> 00:17:58,439 Speaker 2: on horses, riding the horses through the crowd up to 282 00:17:58,480 --> 00:18:01,080 Speaker 2: the velvet rope in hopes of getting by Steve Rebel 283 00:18:01,440 --> 00:18:05,879 Speaker 2: and gaining entry into the studio. The women, like everyone 284 00:18:05,960 --> 00:18:08,720 Speaker 2: else in the world, had read about Bianca Jagger's party 285 00:18:08,760 --> 00:18:12,160 Speaker 2: at the studio and the papers. Bianca was photographed riding 286 00:18:12,200 --> 00:18:14,400 Speaker 2: into the club and to her party on the back 287 00:18:14,440 --> 00:18:17,840 Speaker 2: of a beautiful white horse that Steve had arranged. So 288 00:18:17,920 --> 00:18:20,560 Speaker 2: these two women figured they could one up Bianca and 289 00:18:20,600 --> 00:18:23,720 Speaker 2: not only mount horses, but mount them naked and be 290 00:18:23,840 --> 00:18:27,600 Speaker 2: so over the top they would be guaranteed entrance. Steve 291 00:18:27,640 --> 00:18:30,000 Speaker 2: Rebel took one look at them. They were bridge and 292 00:18:30,080 --> 00:18:32,840 Speaker 2: tunnel all the way. Steve told them their horses could 293 00:18:32,840 --> 00:18:35,600 Speaker 2: come in, but they couldn't to take their naked asses 294 00:18:35,640 --> 00:18:38,199 Speaker 2: back home to Bay Ridge or wherever the fuck, and 295 00:18:38,200 --> 00:18:44,280 Speaker 2: that's exactly what happened. Steve Rebel could be vicious at 296 00:18:44,280 --> 00:18:47,360 Speaker 2: the door, demeaning want to be customers right to their faces, 297 00:18:47,560 --> 00:18:51,280 Speaker 2: insulting their appearance, their fashion choices, their clout. It made 298 00:18:51,320 --> 00:18:55,680 Speaker 2: for a cult of exclusivity. Steve made sure the qualifications 299 00:18:55,680 --> 00:18:59,040 Speaker 2: for getting inside remained hard to pin down. It wasn't 300 00:18:59,080 --> 00:19:04,439 Speaker 2: just novelty or hamp or glamour. It was originality and authenticity. Disco'sally, 301 00:19:04,520 --> 00:19:07,800 Speaker 2: a widowed septagenarian born in nineteen hundred who still had 302 00:19:07,800 --> 00:19:11,280 Speaker 2: the craziest moves on the dance floor. Rollerina, a staple 303 00:19:11,320 --> 00:19:13,680 Speaker 2: of Greenwich Village and the club scene, who was never 304 00:19:13,760 --> 00:19:17,919 Speaker 2: spotted without our trademark skates on inside the club, stockbrokers 305 00:19:17,960 --> 00:19:20,439 Speaker 2: blowing off steam by coming out to party in drag 306 00:19:20,560 --> 00:19:23,359 Speaker 2: and mingling with drag. Queen Royalty Divine, who could be 307 00:19:23,400 --> 00:19:26,720 Speaker 2: seen yucking it up with Elton John For all the 308 00:19:26,760 --> 00:19:30,080 Speaker 2: excess inside the club, Steve had an eye for balance, 309 00:19:30,480 --> 00:19:34,640 Speaker 2: keeping the blend of crazy characters, celebrities and regular clubgoers 310 00:19:34,920 --> 00:19:39,000 Speaker 2: just right like a secret recipe Studio fifty four as 311 00:19:39,080 --> 00:19:43,200 Speaker 2: eccentric regulars and velvet rowe policy became legend. Doorman Mark 312 00:19:43,280 --> 00:19:47,439 Speaker 2: Bennecky regularly exchanged entrance for sex. The shot of super 313 00:19:47,440 --> 00:19:50,199 Speaker 2: ego adrenaline Steve got from ruling over the crowd was 314 00:19:50,280 --> 00:19:53,480 Speaker 2: better than sex. Steve may have been callous and mean 315 00:19:53,560 --> 00:19:56,760 Speaker 2: to his customers outside, but inside he took care of 316 00:19:56,800 --> 00:20:02,600 Speaker 2: his guests, especially his celebrity guests, showering them with drugs, alcohol, gifts, 317 00:20:02,720 --> 00:20:06,520 Speaker 2: and elaborate parties. Whether it was New Year's Eve or Halloween, 318 00:20:06,760 --> 00:20:10,640 Speaker 2: Bianca Jagger's birthday, Andy Warhol's, the parties at the studio 319 00:20:10,720 --> 00:20:14,240 Speaker 2: were not to be topped. Magic rained from the ceiling, 320 00:20:14,240 --> 00:20:16,320 Speaker 2: whether it took the form of a literal ton of 321 00:20:16,359 --> 00:20:20,639 Speaker 2: glitter or wrapped gift boxes full of designer fashion. Dolly 322 00:20:20,680 --> 00:20:23,119 Speaker 2: Parton held an after party at the club with live 323 00:20:23,240 --> 00:20:27,120 Speaker 2: farm animals. One Halloween party featured peep show booths where 324 00:20:27,119 --> 00:20:32,000 Speaker 2: inside little people performed everyday scenes. Another birthday was circus themed, 325 00:20:32,000 --> 00:20:37,720 Speaker 2: with costumes provided by legendary Italian filmmaker Federico Fellini. Celebrities 326 00:20:37,800 --> 00:20:41,359 Speaker 2: flocked the studio. Fifty four, Liza Minelli, Andy Warhol, and 327 00:20:41,400 --> 00:20:45,000 Speaker 2: Truman Capoti. New Yorkers all adopted the club as their 328 00:20:45,000 --> 00:20:48,800 Speaker 2: regular and there were more celebrities, of course. Robert de 329 00:20:48,880 --> 00:20:51,280 Speaker 2: Niro co mingled with his native New Yorkers and hit 330 00:20:51,320 --> 00:20:54,960 Speaker 2: out from paparazzi. Bruce Springsteen traded in his blue collar 331 00:20:54,960 --> 00:20:57,959 Speaker 2: credentials for the high life. Andre the Giant hung out 332 00:20:58,000 --> 00:21:01,560 Speaker 2: with the little people literally. Jagger got bored with Bianca 333 00:21:01,560 --> 00:21:04,680 Speaker 2: and found a new love Texas model Jerry Hall. Keith 334 00:21:04,760 --> 00:21:08,280 Speaker 2: Richards found his future wife as well another model, Patti Hanson. 335 00:21:08,640 --> 00:21:11,679 Speaker 2: Steven Tyler got to know Michael Jackson. Michael Jackson got 336 00:21:11,720 --> 00:21:15,439 Speaker 2: to know Brooks Shields. John Travolta got sweaty with Sylvester Stallone. 337 00:21:15,480 --> 00:21:20,439 Speaker 2: Grace Jones got naked a lot. Despite the velvet rope politics, 338 00:21:20,440 --> 00:21:24,200 Speaker 2: Studio fifty four on the inside, like disco culture, was 339 00:21:24,280 --> 00:21:30,119 Speaker 2: about inclusivity, celebrities, working stiffs, stockbrokers, firemen, whoever. It didn't matter. 340 00:21:30,160 --> 00:21:32,840 Speaker 2: As long as you were interesting and had something to offer. 341 00:21:33,440 --> 00:21:37,520 Speaker 2: Young old, gay, straight, drag trans you were welcome, provided 342 00:21:37,560 --> 00:21:39,919 Speaker 2: you could get inside, where you were granted access to 343 00:21:40,000 --> 00:21:43,280 Speaker 2: a never ending shangri law for freaks, weirdos, and outcasts, 344 00:21:43,480 --> 00:21:46,200 Speaker 2: where even the most stigmatized members of society could rub 345 00:21:46,280 --> 00:21:50,560 Speaker 2: shoulders among other body parts with high society shining stars. 346 00:21:51,440 --> 00:21:54,360 Speaker 2: New York's underground queer community was at home It's Studio 347 00:21:54,440 --> 00:21:57,639 Speaker 2: fifty four in a way that no suburban commuters could 348 00:21:57,800 --> 00:22:01,760 Speaker 2: ever be because the squares imagineas just weren't big enough. 349 00:22:02,359 --> 00:22:05,760 Speaker 2: But in this nighttime Xanadu on fifty fourth, the shadowy 350 00:22:05,800 --> 00:22:09,240 Speaker 2: corners of the outside world, like bus station glory holes, 351 00:22:09,480 --> 00:22:12,359 Speaker 2: became the main attraction in the club. Balcony, which was 352 00:22:12,440 --> 00:22:15,359 Speaker 2: rubber lined for convenience, to make for easy clean up 353 00:22:15,400 --> 00:22:19,840 Speaker 2: after heat of the moment. Sex X and that was upstairs. Upstairs, 354 00:22:19,920 --> 00:22:23,440 Speaker 2: the balcony at Studio fifty four was for sure for blowjobs, 355 00:22:23,960 --> 00:22:26,360 Speaker 2: but if you were looking for something more, there were 356 00:22:26,359 --> 00:22:30,440 Speaker 2: mattresses in the basement, grimy, filthy mattresses strewn upon the 357 00:22:30,520 --> 00:22:33,440 Speaker 2: dingy basement floor of Studio fifty four for those who 358 00:22:33,520 --> 00:22:36,879 Speaker 2: just needed to fuck. The basement was sort of the 359 00:22:36,960 --> 00:22:40,520 Speaker 2: unofficial backstage where pretty much anything was allowed, as if 360 00:22:40,520 --> 00:22:43,480 Speaker 2: the open sex and blatant drug use going on upstairs 361 00:22:43,520 --> 00:22:47,920 Speaker 2: wasn't heatonistick enough. Downstairs was where the truly debauche got down. 362 00:22:49,000 --> 00:22:52,280 Speaker 2: To gain access to the basement, he needed to be somebody, 363 00:22:52,560 --> 00:22:55,200 Speaker 2: and Steve needed to believe you were somebody and worthy 364 00:22:55,240 --> 00:22:59,240 Speaker 2: of his attention and his drugs cocaine and quailudes, lots 365 00:22:59,280 --> 00:23:03,520 Speaker 2: and lots of coin and quayludes. A trusted bartender a 366 00:23:03,520 --> 00:23:05,640 Speaker 2: security member would lead you behind one of the main 367 00:23:05,720 --> 00:23:09,040 Speaker 2: room's bars. There was a secret door. It would open 368 00:23:09,280 --> 00:23:12,200 Speaker 2: and you'd be guided down a dark, dingy stairway into 369 00:23:12,240 --> 00:23:17,040 Speaker 2: a darker expanse. Instantly you transcend it from glitz to grime, 370 00:23:17,520 --> 00:23:22,359 Speaker 2: a concrete floor, low ceiling, sticky stained furniture randomly placed 371 00:23:22,359 --> 00:23:25,520 Speaker 2: amongst old set props from the venue's past days as 372 00:23:25,520 --> 00:23:29,000 Speaker 2: a television studio, and there was little light. The throb 373 00:23:29,119 --> 00:23:32,160 Speaker 2: from the massive subs upstairs, propelling those on the dance 374 00:23:32,200 --> 00:23:36,400 Speaker 2: floor into primal motion. Bled through. You'd hear murmurs, random 375 00:23:36,440 --> 00:23:40,000 Speaker 2: fits of funhouse mirror laughter amidst bottles being popped and 376 00:23:40,080 --> 00:23:44,160 Speaker 2: blow being hoovered. Debbie Harry grabbing the ear of Andy Warhol, 377 00:23:44,359 --> 00:23:47,560 Speaker 2: Truman Capoti sprawled out on a sofa in his bathrobe, 378 00:23:47,720 --> 00:23:51,440 Speaker 2: champagne bottle dangling from his hand, Margaret Trudeau and Linda 379 00:23:51,520 --> 00:23:55,080 Speaker 2: Ronstein hanging off of a jin soak, Ryan O'Neil sweating 380 00:23:55,160 --> 00:23:58,480 Speaker 2: subterranean sex appeal, and Steve Rubelle hanging off of his 381 00:23:58,560 --> 00:24:02,240 Speaker 2: every word mattresses. They were set off to the side 382 00:24:02,280 --> 00:24:05,879 Speaker 2: and makeshift cubicles for privacy. If the drugs allowed, and 383 00:24:05,920 --> 00:24:07,680 Speaker 2: if the blow didn't blow your top, and if the 384 00:24:07,760 --> 00:24:10,560 Speaker 2: kayludes didn't cut you down to size, you could steal 385 00:24:10,600 --> 00:24:17,080 Speaker 2: away for a quick romp. During the daytime, the basement 386 00:24:17,200 --> 00:24:20,720 Speaker 2: was largely avoided by Studio fifty four staff, but one 387 00:24:20,760 --> 00:24:23,960 Speaker 2: morning avoiding the effects of last night's party was no 388 00:24:24,080 --> 00:24:28,120 Speaker 2: longer an option. The smell was too much, too strong. 389 00:24:30,320 --> 00:24:33,440 Speaker 2: The doormen and money counters could barely go about their business. 390 00:24:33,800 --> 00:24:36,840 Speaker 2: They swore a stray animal had climbed in and gotten trapped. 391 00:24:37,280 --> 00:24:40,920 Speaker 2: The scent of rot was seeping in through the air vents. Reluctantly, 392 00:24:41,200 --> 00:24:44,720 Speaker 2: Steve had the air vents inspected. What they found was 393 00:24:45,119 --> 00:24:49,720 Speaker 2: rattling inside the basement ceiling air vents. A dead man. 394 00:24:51,280 --> 00:24:53,879 Speaker 2: Shunned from the velvet rope too many times to count. 395 00:24:54,040 --> 00:24:56,880 Speaker 2: He donned his tucks and decided to sneak in Studio 396 00:24:56,920 --> 00:25:00,000 Speaker 2: fifty four through the air vent. Something jammed him up. 397 00:25:00,320 --> 00:25:03,040 Speaker 2: Who knew how long he'd been trapped in there, screaming 398 00:25:03,040 --> 00:25:06,320 Speaker 2: in horror, competing with the blasting music, the funhouse laughter, 399 00:25:06,440 --> 00:25:10,639 Speaker 2: and the constant ecstatic din and hum of hedonism. He 400 00:25:10,760 --> 00:25:13,119 Speaker 2: was dressed to the nines, dressed for the party, a 401 00:25:13,160 --> 00:25:19,560 Speaker 2: party he'd never attend. Dead in the air vent, Steve 402 00:25:19,680 --> 00:25:23,160 Speaker 2: breathed a sigh of relief. The air vent, not the drywall. 403 00:25:23,520 --> 00:25:26,359 Speaker 2: No need for the sledgehammers, no need for poking around 404 00:25:26,359 --> 00:25:29,240 Speaker 2: and potentially exposing what was hidden. Mere feet from the 405 00:25:29,280 --> 00:25:32,479 Speaker 2: dead man in the ceiling rose and rows of cash, 406 00:25:32,920 --> 00:25:36,159 Speaker 2: the skim hundreds and hundreds of thousands of dollars hidden 407 00:25:36,160 --> 00:25:38,679 Speaker 2: away from the irs right there in the rafters and 408 00:25:38,720 --> 00:26:07,560 Speaker 2: crawl spaces of Studio fifty four. Fuck off. Fuck off. 409 00:26:10,040 --> 00:26:12,320 Speaker 2: It was New Year's Eve and disco hit maker Nile 410 00:26:12,440 --> 00:26:15,919 Speaker 2: Rogers and his Sheep bandmate Bernard Edwards were at Nile's 411 00:26:15,960 --> 00:26:19,679 Speaker 2: apartment a couple blocks away from Studio fifty four, fucking 412 00:26:19,720 --> 00:26:24,080 Speaker 2: around on their guitars, totally dejected, angry, pissed at doorman 413 00:26:24,200 --> 00:26:26,800 Speaker 2: Mark Benecke for not letting them buy the velvet rope 414 00:26:26,840 --> 00:26:30,359 Speaker 2: and into the studio's much hyped, highly exclusive New Year's 415 00:26:30,359 --> 00:26:34,520 Speaker 2: Eve party. To make matters worse, Nile and Bernard weren't 416 00:26:34,560 --> 00:26:36,840 Speaker 2: just going to the club to party. They were going 417 00:26:36,840 --> 00:26:40,160 Speaker 2: on business to meet with Grace Jones to discuss producing 418 00:26:40,200 --> 00:26:43,080 Speaker 2: her next album, so in effect, they were standing her 419 00:26:43,160 --> 00:26:46,600 Speaker 2: up and fucking up their business in the process. They 420 00:26:46,640 --> 00:26:49,639 Speaker 2: banged on their guitars in between chugs of warm champagne 421 00:26:49,680 --> 00:26:54,359 Speaker 2: straight from the bottle. Fuck off. They were messing around, 422 00:26:54,680 --> 00:26:57,919 Speaker 2: channeling their anger at Benecke. At Steve Hubll Ats Studio 423 00:26:57,960 --> 00:27:01,679 Speaker 2: fifty four, the house the disco while disco music was 424 00:27:01,720 --> 00:27:05,280 Speaker 2: being built in part by Nile and Bernard fuck Off, 425 00:27:05,880 --> 00:27:07,879 Speaker 2: and the more they played, the more it became clear 426 00:27:08,080 --> 00:27:10,080 Speaker 2: that the sound of what they were messing around with 427 00:27:10,400 --> 00:27:14,520 Speaker 2: was actually sounding pretty good. As they dug in fuck Off, 428 00:27:14,640 --> 00:27:19,359 Speaker 2: soon organically morphed into freak Off and then freak Out, 429 00:27:20,560 --> 00:27:25,320 Speaker 2: and just like that, ic created a disco anthem born 430 00:27:25,359 --> 00:27:28,920 Speaker 2: out of Studio fifty four is ridiculous exclusivity. Sheikh's Le 431 00:27:29,040 --> 00:27:31,679 Speaker 2: Freeque would go on to sell seven million copies and 432 00:27:31,760 --> 00:27:34,760 Speaker 2: hit number one on the Billboard Hot one hundred, becoming 433 00:27:34,800 --> 00:27:37,440 Speaker 2: the first song to hit number one three different times 434 00:27:37,480 --> 00:27:40,600 Speaker 2: over its lifespan of twenty five total weeks on the chart. 435 00:27:41,800 --> 00:27:44,960 Speaker 2: Nile Rogers and Mark Beneckey are now friends, no doubt, 436 00:27:44,960 --> 00:27:48,480 Speaker 2: because Mark's actions led to the creation of Sheikh's massive hit. 437 00:27:48,960 --> 00:27:52,000 Speaker 2: In part, the success of Le Freak led to now 438 00:27:52,119 --> 00:27:55,640 Speaker 2: Rogers becoming an in demand producer into working with Madonna 439 00:27:55,720 --> 00:27:58,919 Speaker 2: and David Bowie, not to mention the untold millions of 440 00:27:58,960 --> 00:28:04,080 Speaker 2: dollars the track nerated for its songwriters, and the millions 441 00:28:04,080 --> 00:28:07,159 Speaker 2: were stacking up elsewhere as well. In an interview in 442 00:28:07,240 --> 00:28:10,520 Speaker 2: New York Magazine in nineteen seventy seven on the success 443 00:28:10,520 --> 00:28:14,320 Speaker 2: of Studio fifty four, Steve Rubel told the magazine only 444 00:28:14,359 --> 00:28:18,880 Speaker 2: the Mafia does better. That set off alarms at IRS headquarters. 445 00:28:19,240 --> 00:28:21,760 Speaker 2: Clearly Rubel was joking about the amount of money the 446 00:28:21,760 --> 00:28:24,320 Speaker 2: club was making, but the joke must have been rooted 447 00:28:24,359 --> 00:28:29,080 Speaker 2: in some sort of truth. Everyone knew, especially IRS agents, 448 00:28:29,119 --> 00:28:32,680 Speaker 2: how notorious the nightclub business was for skimming. It was 449 00:28:32,720 --> 00:28:35,080 Speaker 2: a cash business, so it was easy to skim money 450 00:28:35,119 --> 00:28:37,560 Speaker 2: off the top of the nightly take and not report 451 00:28:37,560 --> 00:28:40,440 Speaker 2: it to the federal government and thus not pay taxes. 452 00:28:40,520 --> 00:28:44,200 Speaker 2: In business taxes in nineteen seventy seven, or a robust 453 00:28:44,320 --> 00:28:48,880 Speaker 2: forty eight percent, the IRS suspected Rubel was screwing Uncle 454 00:28:48,920 --> 00:28:53,880 Speaker 2: out of serious coin, so they got to work. Rumor 455 00:28:54,080 --> 00:28:57,120 Speaker 2: was the IRS had a plant, a snitch, a disgruntled 456 00:28:57,120 --> 00:29:01,360 Speaker 2: employee or regular, someone disrespected angered by Steve Rebelt. Someone 457 00:29:01,440 --> 00:29:05,000 Speaker 2: Steve treated like shit, either dressed down in front of others, 458 00:29:05,080 --> 00:29:07,440 Speaker 2: kicked out of the club, or more than likely refused 459 00:29:07,440 --> 00:29:11,040 Speaker 2: to let pass the velvet rope. It didn't matter either way. 460 00:29:11,160 --> 00:29:14,360 Speaker 2: The snitch was pissed, angered at being treated like shit, 461 00:29:15,560 --> 00:29:19,640 Speaker 2: and so he told the IRS everything he knew. The drugs, 462 00:29:19,960 --> 00:29:23,400 Speaker 2: Mountains of cocaine, an endless supply of coludes. Steve kept 463 00:29:23,400 --> 00:29:25,800 Speaker 2: it in his office, kept it hidden away in various 464 00:29:25,800 --> 00:29:29,000 Speaker 2: spots around the club, kept drugs on him, especially when 465 00:29:29,000 --> 00:29:31,400 Speaker 2: he had his big, frumpy winter coat on. Then he 466 00:29:31,480 --> 00:29:34,800 Speaker 2: was definitely holding and more than drugs. The coat was 467 00:29:34,800 --> 00:29:38,160 Speaker 2: big enough to stash stacks of cash as well. Cash 468 00:29:38,320 --> 00:29:41,760 Speaker 2: Steve would hand out to friends, Warhol especially, but would 469 00:29:41,800 --> 00:29:44,240 Speaker 2: also use it to bring back to his East Side apartment, 470 00:29:44,440 --> 00:29:46,959 Speaker 2: where he had close to nine hundred grand and small 471 00:29:47,000 --> 00:29:51,320 Speaker 2: bills ensconced in his safe. Ian Schrager, Steve's business partner, 472 00:29:51,560 --> 00:29:53,440 Speaker 2: was rumored to be driving around the city with four 473 00:29:53,480 --> 00:29:56,800 Speaker 2: hundred grand in cash in his trunk. Ian managed the 474 00:29:56,880 --> 00:29:59,840 Speaker 2: nightly take and most everyone worked at Studio fifty four 475 00:30:00,160 --> 00:30:03,200 Speaker 2: New Every night. At midnight, the receipts and the cash 476 00:30:03,240 --> 00:30:07,880 Speaker 2: registers would be switched. The cash register receipts from the 477 00:30:07,920 --> 00:30:10,480 Speaker 2: earlier part of the evening would account for one set 478 00:30:10,520 --> 00:30:13,400 Speaker 2: of financial books, and the cash register receipts from the 479 00:30:13,480 --> 00:30:16,000 Speaker 2: second part of the evening would account for a second 480 00:30:16,040 --> 00:30:19,360 Speaker 2: set of financial books, two sets of books that Ian 481 00:30:19,400 --> 00:30:24,840 Speaker 2: Schrager kept meticulous records off. When thirty Federal Irs agents 482 00:30:24,920 --> 00:30:28,080 Speaker 2: rated Studio fifty four in the morning of December fourteenth, 483 00:30:28,200 --> 00:30:31,120 Speaker 2: nineteen seventy eight. The books stay On, earthed in the 484 00:30:31,200 --> 00:30:34,640 Speaker 2: raid made clear to them that on average, Steve Rubelle 485 00:30:34,640 --> 00:30:38,040 Speaker 2: and Ian Schrager were skimming about seventy thousand dollars a 486 00:30:38,160 --> 00:30:40,480 Speaker 2: night over the course of a year and a half. 487 00:30:40,640 --> 00:30:43,920 Speaker 2: All in, they'd taken two point five million dollars off 488 00:30:43,960 --> 00:30:47,760 Speaker 2: the top into their pockets tax free. In addition to 489 00:30:47,800 --> 00:30:51,680 Speaker 2: seizing records, agents also seized trash bags filled with cash 490 00:30:51,680 --> 00:30:56,719 Speaker 2: from the basement and five ounces of cocaine. Steve Rubelle 491 00:30:56,800 --> 00:30:59,520 Speaker 2: was arrested that day. He and Ian hired a high 492 00:30:59,560 --> 00:31:03,240 Speaker 2: profile attorney, Roy Cone, a bull of a lawyer, former 493 00:31:03,280 --> 00:31:07,520 Speaker 2: attack dog for the red baiting disgraced Wisconsin Senator Joseph McCarthy, 494 00:31:07,800 --> 00:31:11,120 Speaker 2: and future mentor to the aforementioned queen's real estate developer 495 00:31:11,160 --> 00:31:14,840 Speaker 2: and future President Donald J. Trump. Roy Cone did not 496 00:31:15,120 --> 00:31:17,720 Speaker 2: fuck around. He dug in and began to fight for 497 00:31:17,800 --> 00:31:21,640 Speaker 2: Ian and Steve. And Steve Rubell, perhaps inspired by Roy 498 00:31:21,680 --> 00:31:25,480 Speaker 2: Cohen's notoriously aggressive tactics with the press in his most 499 00:31:25,480 --> 00:31:28,880 Speaker 2: egregious act of hubris, decided it was a good public 500 00:31:28,920 --> 00:31:33,840 Speaker 2: relations strategy to accuse White House Chief of staff Hamilton Jordan, 501 00:31:34,080 --> 00:31:37,040 Speaker 2: of using cocaine in the basement of the studio earlier 502 00:31:37,080 --> 00:31:41,800 Speaker 2: that year. Not about Sealed Steve and Ian's faith, The hubris, 503 00:31:41,920 --> 00:31:45,600 Speaker 2: the elitism, the success Steve Ian's Studio fifty four, the 504 00:31:45,720 --> 00:31:48,480 Speaker 2: high profile crime and court case were in the papers 505 00:31:48,520 --> 00:31:50,880 Speaker 2: almost every day. By the time the sun came up 506 00:31:50,920 --> 00:31:55,640 Speaker 2: on the party of the nineteen seventies New Yorker's Americans. Frankly, 507 00:31:55,760 --> 00:32:00,200 Speaker 2: they were pissed off and tired of the elitist, bullshit celebrities, 508 00:32:00,480 --> 00:32:04,680 Speaker 2: designer drugs. These were high society East Coast delete problems 509 00:32:04,840 --> 00:32:08,360 Speaker 2: for a culture that was bending toward Ronald Reagan conservatism 510 00:32:08,360 --> 00:32:11,600 Speaker 2: in an idealized, regressive notion of what America should be. 511 00:32:12,520 --> 00:32:15,240 Speaker 2: It was schadenfreud when the judge gave Steve Rubell and 512 00:32:15,280 --> 00:32:17,959 Speaker 2: Ian Schrager three and a half years in federal prison 513 00:32:18,280 --> 00:32:21,720 Speaker 2: for corporate and personal tax evasion, a sentence that was 514 00:32:21,800 --> 00:32:25,360 Speaker 2: ultimately reduced due to the duo's participation in helping the 515 00:32:25,360 --> 00:32:29,240 Speaker 2: government convict four other New York City club owners competitors 516 00:32:29,280 --> 00:32:32,280 Speaker 2: of Studio fifty four. What a swell couple of guys. 517 00:32:32,680 --> 00:32:35,760 Speaker 2: The studio remained to open under new management and eventually 518 00:32:35,840 --> 00:32:38,480 Speaker 2: new ownership when Steve and Ian went to jail in 519 00:32:38,560 --> 00:32:42,160 Speaker 2: nineteen eighty, but effectively, with their departure in the turn 520 00:32:42,200 --> 00:32:46,960 Speaker 2: of the decade, the party was over. Disco began with 521 00:32:47,000 --> 00:32:50,160 Speaker 2: the spirit of inclusiveness, a music and a culture that 522 00:32:50,400 --> 00:32:54,720 Speaker 2: encouraged and celebrated individuality, a culture that was welcoming no 523 00:32:54,800 --> 00:33:02,760 Speaker 2: matter where you came from or what your identity was, male, female, gay, straight, trans, drag, rich, poor, young, old. 524 00:33:03,160 --> 00:33:06,080 Speaker 2: It didn't matter. You were welcome, so long as you 525 00:33:06,080 --> 00:33:10,880 Speaker 2: were welcoming yourself. Studio fifty four embodied the spirit of 526 00:33:10,920 --> 00:33:13,680 Speaker 2: disco in a lot of ways, but not for everyone. 527 00:33:14,160 --> 00:33:18,320 Speaker 2: That was the irony. Steve Rubelle's exclusive velvet rope policy 528 00:33:18,680 --> 00:33:21,520 Speaker 2: smacked of elitism and led to not only the demise 529 00:33:21,560 --> 00:33:24,680 Speaker 2: of Studio fifty four, but of disco as a dominant 530 00:33:24,680 --> 00:33:32,640 Speaker 2: cultural force as well. Nineteen eighty nine, July Aloft in 531 00:33:32,720 --> 00:33:37,200 Speaker 2: downtown Manhattan, the remnants of a dinner party turned cocaine pregame, 532 00:33:37,280 --> 00:33:40,080 Speaker 2: turned night out at the club with more coke, turned 533 00:33:40,120 --> 00:33:42,560 Speaker 2: after party back at the loft where it all started, 534 00:33:42,760 --> 00:33:45,200 Speaker 2: with more lines and some grass to take the edge 535 00:33:45,200 --> 00:33:50,720 Speaker 2: of early morning hanging out. Semi famous DJs, stockbrokers, a 536 00:33:50,760 --> 00:33:54,360 Speaker 2: street artist in Grace Jones, still naked a decade plus 537 00:33:54,360 --> 00:33:57,600 Speaker 2: since their days at Studio fifty four, smoking a joint 538 00:33:57,600 --> 00:34:02,640 Speaker 2: in the corner, relatively chill scene, despite the better part 539 00:34:02,640 --> 00:34:05,480 Speaker 2: of the evening being in the rear view. Too high 540 00:34:05,480 --> 00:34:07,960 Speaker 2: to go home, too tired to do much of anything 541 00:34:08,000 --> 00:34:12,120 Speaker 2: but wait on the sun. Steve Rebel is sitting alone 542 00:34:12,120 --> 00:34:15,560 Speaker 2: on the sofa. He's frail, ten years removed from his 543 00:34:15,640 --> 00:34:20,000 Speaker 2: heyday at Studio fifty four, his life since a prison term, 544 00:34:20,120 --> 00:34:23,760 Speaker 2: a quick career resurgence upon his in Ian Schrager's release, 545 00:34:24,680 --> 00:34:28,240 Speaker 2: new clubs and hotel ventures, and then the gut punt 546 00:34:28,280 --> 00:34:36,200 Speaker 2: reality of AIDS. Steve was positive HIV, and on that night, 547 00:34:36,520 --> 00:34:40,080 Speaker 2: the night he effectively escaped Beth Israel Medical Center to party, 548 00:34:40,480 --> 00:34:43,880 Speaker 2: he looked like death, knowing that the writing was on 549 00:34:43,920 --> 00:34:46,040 Speaker 2: the wall, that he only had a few days left 550 00:34:46,040 --> 00:34:49,640 Speaker 2: to live. Steve had been drinking heavily and taking whatever 551 00:34:49,719 --> 00:34:53,799 Speaker 2: drugs were put in front of him, and now the 552 00:34:53,840 --> 00:34:57,120 Speaker 2: coughing wouldn't stop, much to the annoyance of the other 553 00:34:57,160 --> 00:35:00,040 Speaker 2: guests in the loft. Steve knew it, and Steve I 554 00:35:00,080 --> 00:35:02,120 Speaker 2: knew he had to get back to the hospital, and 555 00:35:02,200 --> 00:35:04,400 Speaker 2: through the fits of coughing, he tried to make the 556 00:35:04,480 --> 00:35:08,480 Speaker 2: dial on the rotary phone work, but no luck. Whenever 557 00:35:08,480 --> 00:35:10,440 Speaker 2: he'd get his bony little finger into the hole to 558 00:35:10,480 --> 00:35:14,319 Speaker 2: spin the dial, he'd start coughing again violently, and he'd 559 00:35:14,320 --> 00:35:17,680 Speaker 2: have to start all over. And the coughs were thunderous, 560 00:35:18,080 --> 00:35:21,640 Speaker 2: despite coming from such a frail man and seemingly endless, 561 00:35:21,880 --> 00:35:25,120 Speaker 2: and driving the others in the loft to distraction. To annoyance, 562 00:35:25,800 --> 00:35:29,279 Speaker 2: Steve tried to dial again, more coughing, no dice, and 563 00:35:29,280 --> 00:35:33,239 Speaker 2: again more coughs. Steve's hacking was now drowning out not 564 00:35:33,320 --> 00:35:36,960 Speaker 2: only the conversation but the music coming from the stereo. 565 00:35:37,239 --> 00:35:40,720 Speaker 2: Soon he was likely to start waking the neighbors. Something 566 00:35:40,760 --> 00:35:43,319 Speaker 2: had to be done. The owner of the loft took 567 00:35:43,360 --> 00:35:47,440 Speaker 2: it upon himself to let Steve Rubel know he wasn't welcome. 568 00:35:52,400 --> 00:36:16,760 Speaker 2: I'm Jake Brennan and this is Disgraceland. Disgraceland was created 569 00:36:16,760 --> 00:36:19,960 Speaker 2: by Yours Truly and is produced in partnership with Double Elvis. 570 00:36:20,200 --> 00:36:22,480 Speaker 2: Credits for this episode can be found on the show 571 00:36:22,520 --> 00:36:26,279 Speaker 2: notes page at disgracelampod dot com. If you're listening as 572 00:36:26,280 --> 00:36:29,640 Speaker 2: a Disgraceland All Access member. 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