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Speaker 1: This is Alec Baldwin and you're listening to Here's the thing,

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Speaker 1: My chance to talk with artists, policy makers, and performers,

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Speaker 1: to hear their stories. What inspires their creations, what decisions

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Speaker 1: change their careers, what relationships influenced their work. The Vietnam

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Speaker 1: War had ended, the AIDS epidemic had not yet begun,

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Speaker 1: and a nightclub one night club will forever symbolize the

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Speaker 1: glamor and debauchery of that time. If you managed to

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Speaker 1: get through the doors of Studio fifty four, you'd find

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Speaker 1: yourself among the biggest stars of the day, Warhol, Liza Minnelli,

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Speaker 1: Halston Share, Mick Jagger, the midtown Manhattan hotspot pulsed with

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Speaker 1: sexual experimentation, drug culture, and yes, disco fever. My guest today.

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Speaker 1: Ian Schrager opened Studio fifty four nineteen seventy seven with

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Speaker 1: his then partner, the late Deve Rubel. Before becoming a

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Speaker 1: club owner. Schraeger, a lawyer with little interest in practicing,

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Speaker 1: searched for a business opportunity close to home. You know,

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Speaker 1: I didn't realize, you know, what a global capital in

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Speaker 1: New York City was, you know, to me, it was

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Speaker 1: kind of I lived in New York. It was very provincial.

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Speaker 1: I grew up in Brooklyn. And you know what, I well, well,

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Speaker 1: what's happened here is New York has kind of followed

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Speaker 1: the lead that happened in London. It's become a world capital.

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Speaker 1: It's a safe place. People from all over the world

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Speaker 1: want to live here, and and and because of that,

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Speaker 1: I mean, it's made the real estate prices grow, and

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Speaker 1: it's also made a hotel dusty change. When I when

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Speaker 1: I first started in the industry, there was sixty thousand

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Speaker 1: hotel rooms. Now there's almost a hundred thousand hotel rooms.

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Speaker 1: And I and I think it's just completely different. And

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Speaker 1: I think what's so funny, because everything is so cyclical,

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Speaker 1: is that, you know, I came from Brooklyn. My my

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Speaker 1: dream was to come and be in Manhattan. Now everybody's

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Speaker 1: in Manhattan, and everybody's dreams go back to Brooklyn. Did

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Speaker 1: you did you ever predict that was possible? That I

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Speaker 1: had no idea? What you had no idea? And did you?

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Speaker 1: Did you? I mean, I hate to see use this

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Speaker 1: kind of slang with did you get it on that?

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Speaker 1: Did you? Did you head out to Brooklyn Queen's in

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Speaker 1: a timely way to develop, did you develop? I totally

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Speaker 1: missed it because I thought I left. I had never

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Speaker 1: gone back, but I I But you know, it's so

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Speaker 1: funny the way these things happened every generation. That's what

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Speaker 1: happened to Brooklyn a hundred fifty years ago. And well,

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Speaker 1: women started to go to go over there. You got

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Speaker 1: two crowded. Here was too expensive for you. People went

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Speaker 1: to Brooklyn happening again. And when you grew up with

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Speaker 1: your father in real estate, with your father, what your

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Speaker 1: father coute matter of factoring he's in the clothing business.

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Speaker 1: And did your parents live to see you become the

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Speaker 1: success that you've become. No, they didn't. They didn't act

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Speaker 1: they That's something you know, I really sanssen to me.

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Speaker 1: They didn't get to see me successful. They also didn't

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Speaker 1: get to see me go into Studio fifty four, which

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Speaker 1: they would not have approved of. They wanted a doctor

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Speaker 1: and other things they wouldn't have approved that. They wanted

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Speaker 1: a doctor, they wanted a lawyer. But the one thing

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Speaker 1: is that I you know, because they died so young,

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Speaker 1: I didn't have an opportunity to give back, like say

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Speaker 1: with me with my dad. My dad died when I

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Speaker 1: was twenty five and he was only fifty five. You know,

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Speaker 1: he was very young when he did. I was nineteen.

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Speaker 1: My dead was fifty one, and he didn't get to

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Speaker 1: see me become successful, which would have given him so

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Speaker 1: much joy. Which so the same thing with your dad.

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Speaker 1: So you come out of Brooklyn. You went to Syracuse

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Speaker 1: undergraduate or undergrad and law undergrad? And where'd you go

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Speaker 1: to law school? St? John's? You go to St. John's

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Speaker 1: Law school and you and you really don't want to

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Speaker 1: be a lawyer. Didn't want to be a lawyer. You

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Speaker 1: just were killing time. I didn't know what I wanted

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Speaker 1: to do. How could you possibly know what you want

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Speaker 1: to do when you were like nineteen or twenty years old?

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Speaker 1: I mean, you know, now I went to law school.

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Speaker 1: I never worked. And then when the law school was over,

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Speaker 1: I said, now, what first job I got was a

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Speaker 1: fourteen tho dollars a year and I was filing papers

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Speaker 1: as an associate law firm. How long did that last?

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Speaker 1: How long were you win? About three and a half years.

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Speaker 1: You know, Laura's the kind of profession that I required

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Speaker 1: to out of discipline. A lot of years. I got

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Speaker 1: bored by it. So I wanted to a nightclub business.

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Speaker 1: I read an interview where you said you were driving

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Speaker 1: by and you saw people lined up out in front

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Speaker 1: of a club, and you thought, that looks like a

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Speaker 1: good business to me. Yeah. I mean, do you remember

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Speaker 1: what club where it was one? It was on forty

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Speaker 1: third Street between um sixth Avenue and Broadway. At that time,

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Speaker 1: the whole social millennium was being set by gay clubs,

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Speaker 1: not blacks, the way it is now and the way

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Speaker 1: it was before then. But then it was gay because

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Speaker 1: everything was just emerging sexually, and if you had a

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Speaker 1: successful gay club, you were trying to keep all the

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Speaker 1: straight people out because once the straight people came to

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Speaker 1: gay people left. And that was one of the first

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Speaker 1: clubs that I call a fusion club that they're really

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Speaker 1: It was gay, and it had that kind of sexual

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Speaker 1: electricity in the air that gay clubs at. But there

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Speaker 1: was a lot of straight people there and and there

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Speaker 1: were people waiting in lines, and all these great people

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Speaker 1: were being insulted and try to be turned away because

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Speaker 1: everybody just wanted to get in there. That was a

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Speaker 1: business I wanted to get into because he were giving nothing,

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Speaker 1: offering nothing, and people are paying to get in now

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Speaker 1: for people my generation. When I say your name, all

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Speaker 1: you have to do is say uh Ian and Steve

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Speaker 1: and people will know who the Steve is. But for

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Speaker 1: those who don't know, in our listening audience to Steve Rebel,

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Speaker 1: who was your the late Steve Rebel? Who was your partner?

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Speaker 1: How did you hook up with him? And how did

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Speaker 1: you meet him? To birth? We both born in Brooklyn

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Speaker 1: and different they were Jason neighborhood, but you know, different

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Speaker 1: school districts. We didn't know each other, middle class Brooklyn.

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Speaker 1: You know, his his dad was a mailman, his mother

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Speaker 1: was a teacher. We went up to school. He was

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Speaker 1: a few years older than I. He was up in Syracuse,

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Speaker 1: and we just became fast friends from from when we

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Speaker 1: when we met. You know, I left after four years.

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Speaker 1: He stayed on because it was the Vietnam War. Everybody

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Speaker 1: was trying to stay in school. And and when he

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Speaker 1: ultimately came back to New York, you know, we stayed

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Speaker 1: friends obviously, and and and I repre prevented him. He

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Speaker 1: went into the stake business tachmon like for five dollars,

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Speaker 1: you could have all the steak and beer you wanted.

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Speaker 1: And he went into the restaurant owned Yeah, what was

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Speaker 1: it called steakloft stick. It's like unsuccessful undercap for people

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Speaker 1: who want to go have steak and soho stake loft

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Speaker 1: and so uh. And I represented him, keeping the credits

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Speaker 1: off his back because he was under capitalized. And then

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Speaker 1: it was during that time that I saw like the

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Speaker 1: nightclub thing was just emerging. When it was kind of

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Speaker 1: shifting away from you know, going into a nightclub and

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Speaker 1: trying to meet people and meet girls and it was

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Speaker 1: pick up places and things like that. It was kind

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Speaker 1: of evolving into like a gay club kind of scene

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Speaker 1: where it was serious, sweaty dancing, you know, and and

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Speaker 1: and that's the kind of club that I liked. But

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Speaker 1: do you do you ever? I mean, you're married, you've

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Speaker 1: got a young kid, you're super successful businessman. Do you

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Speaker 1: ever stick your finger in the night club business? Now,

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Speaker 1: we'll see what it's like, you know, different. Well, you know,

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Speaker 1: there are certain things that never change. Fashion change, but

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Speaker 1: there are kind of certain things that never change. You know,

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Speaker 1: people always ask me to do nightclubs. I'm not interested.

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Speaker 1: I have nothing new to offer. I mean, it's a

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Speaker 1: young person's business. You know. When I went into it, it

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Speaker 1: it was like a like a garage business. It was

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Speaker 1: like making music in a garage or inventing a technology

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Speaker 1: company in the garage. Now it's become big business. You

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Speaker 1: need a lot of money to do a nightclub. But

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Speaker 1: I do them. I still do them when I think

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Speaker 1: it'll have a positive impact on a hotel. You do

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Speaker 1: I'm doing. I'm doing a couple for the additions, but

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Speaker 1: but not big ones, like with studio to two thousand,

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Speaker 1: three thousand square feet, but still with dancing at the

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Speaker 1: hot sweaty serious dancing where I'm one in Miami, which

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Speaker 1: is like probably the nightclub capital in this country, and

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Speaker 1: a couple of other places where I have the facility

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Speaker 1: sectacular lighting effect I Vegas. It's nothing my competition, you know,

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Speaker 1: with spectacular lighting effects, and it still works. Like I

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Speaker 1: remember Steve asking me when we did a Platium a

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Speaker 1: second nightclub, but people still like to dance, And I

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Speaker 1: would say, of course, I like the dancing and dancing

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Speaker 1: some sodom and gomor. You just have to kind of

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Speaker 1: find what it is that kind of activate you know,

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Speaker 1: people and let them, you know, get loose and let

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Speaker 1: the head down. What were the other places that were

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Speaker 1: the top clubs? Then you guys opened Palladium a couple

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Speaker 1: of years later on fourteen Street. When we opened up um,

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Speaker 1: when we when we had Studio fifty four, there was

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Speaker 1: a kind of Uh, there was a place called Zeno

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Speaker 1: with a knockoff. Knockoff was where you went because you

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Speaker 1: couldn't get into studio exactly great, you said it, Yeah,

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Speaker 1: but but there was some some great, great, great great

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Speaker 1: gay place. There's a flamingo, very creative twelve West. Uh.

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Speaker 1: This is a cliche office. But when the early eighties

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Speaker 1: roll around, did aids kill that culture? Today it's uh,

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Speaker 1: it didn't kill it, but a change things because all

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Speaker 1: of a sudden, before age, there wasn't anything you couldn't

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Speaker 1: do at night, and it went up to their frauning

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Speaker 1: and walk away. Sure, it was carefree, it was different

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Speaker 1: things things, things were different. But but I think the

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Speaker 1: nightclub business got killed not because of age, but but

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Speaker 1: but because I think government when they started to regulate it,

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Speaker 1: it became so expensive to do a nightclub to comply

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Speaker 1: with all that read what you said that we're a

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Speaker 1: nightclub to open it, of course to you tens of

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Speaker 1: thousands of dollars, now somebody a million. Well because of

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Speaker 1: why because if it was because directs and things like that,

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Speaker 1: So all of a sudden, young people didn't franchise. I

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Speaker 1: did my first nightclub with twenty seven thousand dollars. You know,

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Speaker 1: you didn't have to know anything, You didn't have to

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Speaker 1: have a lot of money. It was like you roll

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Speaker 1: up the carpet, you put on a record player when

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Speaker 1: you have a nightclub. And did that stopped? That kind

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Speaker 1: of roll all energy stopped. That happened in rock and roll,

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Speaker 1: and it happened with technology do when appleca invented in

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Speaker 1: the garage and so it changed. The business evolved, and

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Speaker 1: so young people can't do it anymore. And that's why

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Speaker 1: now in the nightclub business, nobody owns anything anymore. They

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Speaker 1: have promoters going around from clubs to clubs because it's

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Speaker 1: just too expensive. When you and Reubel decided to go

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Speaker 1: into business, what did you think he brought to the

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Speaker 1: table and what did he think you broke to the

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Speaker 1: Was it kind of a front of the house back

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Speaker 1: of the house battery? Oh, it wasn't that simple. It's

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Speaker 1: just like with a husband and a wife, nobody really

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Speaker 1: knows what goes on except the husband and a wife.

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Speaker 1: With a fifty fifty partners. You're not going to share

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Speaker 1: a fifty percent with someone that's not making a fifty

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Speaker 1: percent contribution. You know. They weren't mutual exclusive fears of influence.

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Speaker 1: I mean, he was more of the people person and

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Speaker 1: I was more of the creative person, you know. But

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Speaker 1: but like, for instance, I might be in the nightclub

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Speaker 1: and I would see Steve go get friendly with Austin

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Speaker 1: over there, you know, And if I was wanting to

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Speaker 1: do something, I would go to Steve and he'd be like,

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Speaker 1: my did one man sample survey that he had had

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Speaker 1: good instincts and and and it's just so funny that

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Speaker 1: the vision of responsibility happened naturally. You know. We we

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Speaker 1: had a we had a first night club was in Queens,

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Speaker 1: which was about six months before studio. It got killed

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Speaker 1: by Son of Sam. I remember the first night we opened,

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Speaker 1: Steve went to hang out with the kids at the

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Speaker 1: bar and Queen's and I went up into the d

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Speaker 1: J boot the play with the Lights. It just kind

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Speaker 1: of happened. And that club was called what Enchant of

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Speaker 1: Garden and then that died after the Son of Sam shoots.

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Speaker 1: It was hord to get people to come in to

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Speaker 1: a nightclub and someone was out there killing me on

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Speaker 1: the streets and parked cars. Yeah. Now, when you open

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Speaker 1: up the studio and you uh were you married at

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Speaker 1: the time, when you come to your first wife, how

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Speaker 1: soon after your studio for quite a while, so you

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Speaker 1: could live that life and out a different boy. But

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Speaker 1: you were letting somebody down, crawling in the door at

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Speaker 1: eight o'clock in the morning, So it was long night's view.

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Speaker 1: You were in it. You weren't somebody who was turned

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Speaker 1: into somebody blowing them a kiss and I'm going home

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Speaker 1: and you were in bed by one o'clock. No, but

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Speaker 1: Steve used to say he stayed too long and I

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Speaker 1: left too early. You know what would really happen is

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Speaker 1: I stayed two one, two o'clock till the night to thirty,

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Speaker 1: sometimes until the night turned the corner and I knew

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Speaker 1: it was stable, and then I would grab somebody and

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Speaker 1: go home. Now back stairs, Now back then, is it

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Speaker 1: safe to say? Another risk of businesses back then with

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Speaker 1: the credit cards were not that big back in the Lake.

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Speaker 1: It's a cash business. And ultimately that was part of

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Speaker 1: the problem, was that it was a cash We didn't

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Speaker 1: have any money, you know, There was a movie once

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Speaker 1: was to Go the Brings Robbery And after they robbed

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Speaker 1: the truck and they were in the room, they're throwing

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Speaker 1: the money up in the air. Was one of the

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Speaker 1: scenes in the movie touched the way it was with

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Speaker 1: Steve and I. We didn't have any money. All of

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Speaker 1: a sudden, we were the toast of the town and

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Speaker 1: all this money was coming in and it was it was,

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Speaker 1: you know, like you couldn't believe it. It wasn't we

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Speaker 1: went in it. We weren't motivated by the money. It

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Speaker 1: was just the kind of byproduct that kind And I'm trying,

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Speaker 1: I'm trying to be generous here insofar as that when

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Speaker 1: you get yourself into trouble with taxes and so forth,

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Speaker 1: and eventually led to some tough consequences. Was it Did

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Speaker 1: you find that it was more difficult back in the

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Speaker 1: day when things weren't computerized and things weren't credit cards

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Speaker 1: and you have to handle that much cash. We were

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Speaker 1: the gang that couldn't shoot straight, you know, we were

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Speaker 1: just it was kind of very spontaneous and impulsive. It

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Speaker 1: was like a kind of silly, stupid thing. Everybody in

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Speaker 1: the whole world knew what was going on and you

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Speaker 1: weren't the only ones to say, well, I mean, I

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Speaker 1: know this has been brought up to you added infinitum

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Speaker 1: about going to prison. You're you're there for thirteen months,

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Speaker 1: and where did you go? We were in the mcc

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Speaker 1: here for six months, and then we were in Montgomery,

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Speaker 1: Alabama for six months. So you say, we who's weed?

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Speaker 1: Steve and I so you got to see him pretty regularly.

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Speaker 1: What was that like? Oh, it's the worst. I mean,

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Speaker 1: you know, we were the only and that were guilty.

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Speaker 1: Nobody else in jail was guilty. Uh, it was. It

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Speaker 1: was terrible. I mean, you know, like even I mean

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Speaker 1: if I would take you and put you in the

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Speaker 1: grandest suite in the grandest hotel for a year and

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Speaker 1: let you have room service, it's still gonna hate it. Yeah,

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Speaker 1: maybe it's just you. You arrived, You are robbed of

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Speaker 1: your discretion as a human being a terrible What got

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Speaker 1: you through that? I mean you're young, so you're still

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Speaker 1: pretty tough. But what did you keep telling yourself to

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Speaker 1: keep yourself together? You know? Uh, we would read a

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Speaker 1: lot and dream a lot. It was a very very

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Speaker 1: tough thing. Being with Steve made it a little bit easier,

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Speaker 1: you know, someone who could understand, Yeah, I mean, and

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Speaker 1: someone I mean when you're in there with a lot

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Speaker 1: of psychopaths, and and and it's just it's just kind

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Speaker 1: of difficult. Life is cheap, and you know, and and

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Speaker 1: and it was just a very difficult thing. And you know,

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Speaker 1: you you try and not let them rob you of

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Speaker 1: your enthusiasm for life, from your verb for life. You know,

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Speaker 1: you know when you succeeded at that. So by the

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Speaker 1: time you're ready to get out of there, by the

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Speaker 1: time were you both released at the same time, And

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Speaker 1: when at the same time we released the same time,

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Speaker 1: we went to a halfway house here and I think

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Speaker 1: it was in on seventy nine or something, and on

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Speaker 1: the website, and you were there for how long? Three months?

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Speaker 1: And then you're free, right And when you were even

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Speaker 1: then very tentative and very you know, very tentative, couldn't

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Speaker 1: even open a bank account. It was kind of re

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Speaker 1: entry and it's tough. So three months you're done with

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Speaker 1: the halfway house. So what does the team of Schraeger

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Speaker 1: and Rebel, what's the first thing that comes to hotel Hotel? Why,

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Speaker 1: you know, when we were in jail, first of all,

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Speaker 1: I was reading all these great books, you know, you

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Speaker 1: know David Apperstram, you know, the best and the brightest,

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Speaker 1: and you know, and and which was a kind of

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Speaker 1: study of the rise of the media empire, and and

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Speaker 1: and in there a lot of those guys had interludes

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Speaker 1: in their life the war, and and and after those

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Speaker 1: interlude they all did gain changing switches in their lives,

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Speaker 1: and one open to different directions. Well, you know, the

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Speaker 1: Bill Pilly decided to CBS after the war, and the

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Speaker 1: New York Times up to the anti and so are

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Speaker 1: intlude force. But but that's when when Harry Helmsley and

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Speaker 1: and and Donald Trump, the newspapers were playing up this

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Speaker 1: big rivalry. Uh. Harry Helmsley was doing a hotel and

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Speaker 1: fifty one to Madison that was called the Palace, and

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Speaker 1: Donald was doing one on on Fort Street, and they

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Speaker 1: were playing up the rivalry and that kind of rivalry,

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Speaker 1: and the papers sucked me in, boy, and I said, well,

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Speaker 1: we can do a better hotel than than both of them.

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Speaker 1: And when you say better hotel, weren't you're actually doing

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Speaker 1: just a completely different outtel. They're doing big, are they?

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Speaker 1: This is safe to say they're still doing the old style,

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Speaker 1: and you wanted to do what we liked. We went

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Speaker 1: to to a hotel that was that that that it

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Speaker 1: wasn't rocket science, was just what kind of hold We

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Speaker 1: did a club we liked, and and and and we

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Speaker 1: went to do a hotel that manifested who we were

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Speaker 1: all popular culture and not my parents, but but but

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Speaker 1: but what we liked. No rules, start from scratch. And

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Speaker 1: then Morgan was the first hotel and that was on

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Speaker 1: one Street A thirty eight and Madison. And so when

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Speaker 1: and why that property good story. When we sold Studio

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Speaker 1: fifty four, we took back promisory notes. You know, it

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Speaker 1: took a very meaga down payment and promisory notes, and

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Speaker 1: we were helping the person run the clubs. We get

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Speaker 1: a promisory notes paid well, he couldn't pay the promisory notes.

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Speaker 1: So when he couldn't pay the promisory notes, we traded

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Speaker 1: his promisory note for his interest in the hotel, which

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Speaker 1: happened to be Morgan's. And so there was a hotel before.

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Speaker 1: It wasn't like a private mansion or something before what

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Speaker 1: had it been before? It was a hotel. It was

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Speaker 1: a dump was called executive hotel, and it was a

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Speaker 1: dumpy hotel, looming house, you know, you know in a

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Speaker 1: kind of very how many floors, uh fourteen and you

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Speaker 1: took it over and you just hand gratted the whole thing.

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Speaker 1: And we did the whole thing. We we we we

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Speaker 1: didn't bang on the walls because once you start doing

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Speaker 1: that in an old building, you can't have a definitive budget.

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Speaker 1: So you know, the rooms are very small. So we

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Speaker 1: took the rooms the way we found them, and we

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Speaker 1: try to have good design, come up with solutions, and

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Speaker 1: we did a lot a lot of tricks. You know,

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Speaker 1: we made the furniture, always scaled the furniture down ten

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Speaker 1: percent to make the room feel bigger, and etcetera, etcetera.

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Speaker 1: And it was a natural hit. Light to Way studio

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Speaker 1: was a natural hit. It just it resonated with people

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Speaker 1: to day one. And were now before you access the crowd?

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Speaker 1: I mean you and rebel owning a nightclub in Queens

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Speaker 1: did not give you access to the crowd that came

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Speaker 1: to the studio. So how did you access that crowd?

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Speaker 1: Who got who to come? You know, it's kind of

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Speaker 1: a two pronged approach. We hired a couple of party

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Speaker 1: promoters and then Steve went out to conquer the town.

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Speaker 1: He was a kind of very people oriented person. When

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Speaker 1: you talk to him, you thought you were the only

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Speaker 1: person in the world, and etcetera, and etcetera. And so

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Speaker 1: a few months before, you know, Steve would do that.

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Speaker 1: He'd go to this restaurant that red, president this and

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Speaker 1: and meet these people and he was kind of entertaining

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Speaker 1: and fund and so on and so forth, and that

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Speaker 1: gave us a platform. Then the next thing was is

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Speaker 1: that you do a great place and a great product,

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Speaker 1: and if it's really really cool, people come. Don't tell

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Speaker 1: me how they come the time time from beat out there.

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Speaker 1: They know and they beat the door to get to it.

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Speaker 1: And then we had a bunch of parties um with

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Speaker 1: the right people, you know, Like I remember one time,

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Speaker 1: you know, somebody had called we had opened up the

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Speaker 1: place and it was nothing like it in New York

390
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Speaker 1: at the time, and and and and somebody called up

391
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Speaker 1: and and Houlston wanted to have a party for Bianca.

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Speaker 1: It was on Monday night when we were ordinarily dark,

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Speaker 1: and we we we opened up for that night and

394
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Speaker 1: there were more celebrities are about people like we were like,

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Speaker 1: you know, the Oa you look right from Mick Jagger

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Speaker 1: and Jack on Beset, all the movie people, I mean,

397
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Speaker 1: and and and we had a naked woman. We painted

398
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Speaker 1: a like Lady Gouldive and put her on a white

399
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Speaker 1: horse to come out and give Bianco a birthday cake.

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Speaker 1: That picked you went all over the world. This reminds

401
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Speaker 1: me of a quote your at I always used to

402
00:20:34,840 --> 00:20:38,119
Speaker 1: like the Halloween parties, who said in an interview it

403
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Speaker 1: was the one night that anybody could get into Studio

404
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Speaker 1: fifty four. You just had to come up with a

405
00:20:43,000 --> 00:20:45,800
Speaker 1: great costume and you were in. You could not believe

406
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Speaker 1: some of the things that people would wear. I remember

407
00:20:48,680 --> 00:20:52,960
Speaker 1: doing a party inspired by the artist Bosh with midgets

408
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Speaker 1: eating cornish game hens and walking in on a floor

409
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Speaker 1: full of white mice lit with ultra violet light. It

410
00:21:00,520 --> 00:21:03,600
Speaker 1: was just anything goes. Mayhem you said now that picks

411
00:21:04,960 --> 00:21:09,320
Speaker 1: mice finals, so there was. It was anything goes, whatever

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Speaker 1: your imagination you could think of. That's a great part

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Speaker 1: of the nightclub business. When we did it, it wasn't

414
00:21:15,840 --> 00:21:21,200
Speaker 1: constrained and you could work in any discipline film, music, theater, fashion.

415
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Speaker 1: It's like wide open. When we were in it above

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Speaker 1: the dance floor at Studio fifty four hung a giant

417
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Speaker 1: sculpture of the Man in the Moon with an animated

418
00:21:34,280 --> 00:21:39,400
Speaker 1: cocaine spoon that glided down to the moon's nose. Take

419
00:21:39,440 --> 00:21:43,080
Speaker 1: a listen to more conversations in our archives with other

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Speaker 1: longtime New Yorkers, like the late Elaine Stretch. About a

421
00:21:48,400 --> 00:21:51,320
Speaker 1: month ago, I really said, I want out of here.

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Speaker 1: I want out of New York. I shouldn't live in

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Speaker 1: New York anymore. It's not for me anymore. It's too

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00:21:58,080 --> 00:22:01,399
Speaker 1: fast for me. Or no, it's not too fast. And

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Speaker 1: I changed my mind about that. It's not this, it's

426
00:22:04,280 --> 00:22:09,119
Speaker 1: not that, it's just not for me. Take a listen

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00:22:09,280 --> 00:22:36,160
Speaker 1: at Here's the Thing dot org. This is Alec Baldwin

428
00:22:36,359 --> 00:22:39,920
Speaker 1: and you're listening to Here's the Thing my guest. Ian

429
00:22:39,960 --> 00:22:44,280
Speaker 1: Schrager's current life hardly resembles his days and nights at

430
00:22:44,320 --> 00:22:47,640
Speaker 1: Studio fifty four. Schweger is one of the most important

431
00:22:47,640 --> 00:22:51,280
Speaker 1: hotelier and real estate developers in New York today. He

432
00:22:51,400 --> 00:22:53,520
Speaker 1: and his second wife have a four year old boy.

433
00:22:53,960 --> 00:22:56,760
Speaker 1: He has two daughters from his previous marriage, and he

434
00:22:56,840 --> 00:22:59,560
Speaker 1: prefers to spend his nights at home with his family.

435
00:23:00,359 --> 00:23:03,000
Speaker 1: Life is calmer, but it's not as if Schreeger is

436
00:23:03,040 --> 00:23:06,280
Speaker 1: slowing down. I was just talking to my wife about

437
00:23:06,320 --> 00:23:08,560
Speaker 1: this the other day, you know, I I you know

438
00:23:08,640 --> 00:23:11,760
Speaker 1: that somebody sent me an interesting article on Georgio ALMANI.

439
00:23:12,200 --> 00:23:16,040
Speaker 1: The guy's eighty years old, so incredibly wealthy, still out

440
00:23:16,040 --> 00:23:19,679
Speaker 1: there working every single day. Clint Eastwood eighty three or

441
00:23:19,680 --> 00:23:24,000
Speaker 1: eighty four years old, you know, I mean better, becoming

442
00:23:24,080 --> 00:23:26,800
Speaker 1: more and more and more of a servious, serious filmmaker.

443
00:23:27,080 --> 00:23:30,480
Speaker 1: Why it's not about the money, because you love it.

444
00:23:30,480 --> 00:23:33,160
Speaker 1: It's the way you express yourself and you just truly

445
00:23:33,160 --> 00:23:35,760
Speaker 1: really love it. I feel the same way. I love

446
00:23:35,800 --> 00:23:39,040
Speaker 1: what I do. It never was about the money, and

447
00:23:39,040 --> 00:23:42,560
Speaker 1: and it's putting my name on something. You're doing something

448
00:23:42,840 --> 00:23:48,040
Speaker 1: you're interested in, another creative field fashion, no home film,

449
00:23:48,320 --> 00:23:52,960
Speaker 1: film or theater. Seriously, you would want to when Julian

450
00:23:53,040 --> 00:23:57,720
Speaker 1: Snobble did that film The Diving Bell in the Butterfly

451
00:23:57,840 --> 00:24:01,959
Speaker 1: and it had no knowledge, no schooling, know anything, just

452
00:24:02,040 --> 00:24:06,040
Speaker 1: a really really creative guy. Uh to go into that

453
00:24:06,119 --> 00:24:09,400
Speaker 1: and do it with such credibility and do a real film,

454
00:24:09,440 --> 00:24:11,560
Speaker 1: which had made me want to work with him, to

455
00:24:11,560 --> 00:24:14,080
Speaker 1: do a hotel because maybe people convinced how talent that

456
00:24:14,200 --> 00:24:17,639
Speaker 1: he was. I could see what I do in the

457
00:24:17,720 --> 00:24:21,560
Speaker 1: hotels and what I've done in nightclubs and putting things together.

458
00:24:21,680 --> 00:24:25,120
Speaker 1: And you know, I could see that kind of methodology

459
00:24:25,200 --> 00:24:29,320
Speaker 1: working in the film business or theater business. So after

460
00:24:29,800 --> 00:24:36,600
Speaker 1: the Morgan you dot four two, things start to get

461
00:24:36,640 --> 00:24:42,080
Speaker 1: easier because you eat each time, you have to up

462
00:24:42,600 --> 00:24:44,760
Speaker 1: the ante. I mean, we we we did Morgan to

463
00:24:44,800 --> 00:24:47,600
Speaker 1: It was really big. It Everyone in the industry took note.

464
00:24:48,640 --> 00:24:50,479
Speaker 1: Everyone came to buy it from us and said, you're

465
00:24:50,520 --> 00:24:53,000
Speaker 1: better sell it because somebody's just going to copy you

466
00:24:53,080 --> 00:24:55,320
Speaker 1: and and do it better, and somebody's going to go

467
00:24:55,359 --> 00:24:57,520
Speaker 1: into the business doesn't care about making money, spend more

468
00:24:57,520 --> 00:25:02,720
Speaker 1: money than you. So the challenge for doing Royalton was

469
00:25:02,760 --> 00:25:07,000
Speaker 1: to do a hotel that had a different personality, not

470
00:25:07,200 --> 00:25:10,239
Speaker 1: one that merely looked differently, but one that attracted a

471
00:25:10,280 --> 00:25:12,440
Speaker 1: different kind of person because it had a different fields,

472
00:25:12,480 --> 00:25:15,800
Speaker 1: different vibe. So Morgan's was a kind of quiet, understated,

473
00:25:15,880 --> 00:25:19,120
Speaker 1: introverted hotel. No lobby. You went in there, quietly, went

474
00:25:19,200 --> 00:25:22,639
Speaker 1: up to your room. Royalton was the opposite, a big

475
00:25:22,800 --> 00:25:26,760
Speaker 1: extrovert of scene. You're in the lobby, see and be seen,

476
00:25:26,880 --> 00:25:29,440
Speaker 1: so and so what. So I gave people a choice

477
00:25:29,480 --> 00:25:32,640
Speaker 1: you could stay here, you could stay there. They were

478
00:25:32,760 --> 00:25:35,920
Speaker 1: choosing a hotel because the personality was different, and emic

479
00:25:35,960 --> 00:25:39,520
Speaker 1: goes it look different. So after you do the Morgan

480
00:25:39,920 --> 00:25:41,600
Speaker 1: and people come to you, as you just said, and

481
00:25:41,640 --> 00:25:44,359
Speaker 1: they say, you better sell this because someone's gonna copy

482
00:25:44,359 --> 00:25:46,879
Speaker 1: it and do it better. Do you find now that

483
00:25:46,920 --> 00:25:49,199
Speaker 1: people are taking you seriously because they are trying to

484
00:25:49,200 --> 00:25:53,119
Speaker 1: squeeze you when they are interestingly just just recently, you

485
00:25:53,160 --> 00:25:58,520
Speaker 1: know when when W came out, Up until then, it

486
00:25:58,720 --> 00:26:02,639
Speaker 1: was still thought up that only people who wear black

487
00:26:03,000 --> 00:26:06,520
Speaker 1: and live in Soho come to my hotels. It wasn't

488
00:26:06,560 --> 00:26:10,600
Speaker 1: until W came out, you know whenever, that was a

489
00:26:10,600 --> 00:26:15,439
Speaker 1: while ago, that it gave real credibility. Hey, this is

490
00:26:15,440 --> 00:26:19,800
Speaker 1: a real idea. Now there isn't a hotel company in

491
00:26:19,840 --> 00:26:22,800
Speaker 1: the world that doesn't want to do a boutique hotel.

492
00:26:23,160 --> 00:26:26,560
Speaker 1: And it's the fastest growing segment. There are thousands and

493
00:26:26,640 --> 00:26:29,119
Speaker 1: thousands of versions all over. But it was treated with

494
00:26:29,280 --> 00:26:34,359
Speaker 1: absolute skepticism and dismissively by by because you know why,

495
00:26:34,400 --> 00:26:36,320
Speaker 1: they couldn't They couldn't put it in a box. They

496
00:26:36,320 --> 00:26:39,880
Speaker 1: couldn't understand what it was. Uh So, do you find

497
00:26:39,920 --> 00:26:43,400
Speaker 1: that that major hotel companies not only want you because

498
00:26:43,400 --> 00:26:46,360
Speaker 1: you're doing additions now, is that with Marriott and that

499
00:26:46,640 --> 00:26:49,159
Speaker 1: you're partnering with Maryott to do this addition series. It's

500
00:26:49,240 --> 00:26:51,200
Speaker 1: it's a style of hotel you're gonna do with them.

501
00:26:51,520 --> 00:26:53,399
Speaker 1: Do you find out with that that you wouldn't call

502
00:26:53,440 --> 00:26:56,719
Speaker 1: that a bouktic hotel? I would? You? Would? You know?

503
00:26:56,800 --> 00:26:59,320
Speaker 1: Like to me, I you know, because it's so over you. Steve,

504
00:26:59,400 --> 00:27:01,320
Speaker 1: it's the one that came up with the name boutique.

505
00:27:01,359 --> 00:27:03,720
Speaker 1: By the way, because we were in New York. The

506
00:27:03,840 --> 00:27:07,960
Speaker 1: fashion business is probably the central most important business here

507
00:27:08,000 --> 00:27:11,040
Speaker 1: and uh and when he was trying to explain to

508
00:27:11,119 --> 00:27:14,040
Speaker 1: people what we were trying to do, he said, look,

509
00:27:14,080 --> 00:27:16,040
Speaker 1: all the other hotels are like the Poppin stores. They

510
00:27:16,119 --> 00:27:18,080
Speaker 1: try and be all things to all people. That's kind

511
00:27:18,080 --> 00:27:22,200
Speaker 1: of generic. We have a specific thing to say. We're

512
00:27:22,320 --> 00:27:25,600
Speaker 1: very specific, have a specific attitude will like a boutique.

513
00:27:26,160 --> 00:27:29,320
Speaker 1: And that was the invention and the use of that name,

514
00:27:29,359 --> 00:27:32,639
Speaker 1: which we've lost ownership of. It become part of the

515
00:27:32,640 --> 00:27:35,520
Speaker 1: English language. But Steve really was the first one to

516
00:27:35,720 --> 00:27:38,679
Speaker 1: use that when he tried to when when we were

517
00:27:38,680 --> 00:27:40,639
Speaker 1: promoting mortgage and we're trying to explain to people what

518
00:27:40,640 --> 00:27:43,280
Speaker 1: we were trying to do. So it was Marryott trying

519
00:27:43,320 --> 00:27:45,919
Speaker 1: to take Marryott properties and make them more like a

520
00:27:45,920 --> 00:27:48,719
Speaker 1: boutique hotel, or were they buying other properties that are

521
00:27:48,760 --> 00:27:51,720
Speaker 1: boutique hotels and putting the Marry Up label on both.

522
00:27:52,400 --> 00:27:57,000
Speaker 1: They're doing both. What Marriott realizes that this lifestyle hotel,

523
00:27:57,600 --> 00:28:00,600
Speaker 1: this space is the future of the business. This that

524
00:28:00,760 --> 00:28:02,960
Speaker 1: people are not going to choose a hotel because of

525
00:28:03,000 --> 00:28:06,399
Speaker 1: its location or price points, or because of its loyalty points,

526
00:28:06,520 --> 00:28:08,920
Speaker 1: but they're going to choose a hotel because the experience

527
00:28:09,040 --> 00:28:14,360
Speaker 1: is unique and elevat and so they're getting into that business.

528
00:28:14,400 --> 00:28:18,320
Speaker 1: And I kind of felt that with everyone in the

529
00:28:18,359 --> 00:28:22,520
Speaker 1: world rushing into the boutique space, it was a little

530
00:28:22,560 --> 00:28:25,080
Speaker 1: less interesting for me. So I'm gonna team up with

531
00:28:25,119 --> 00:28:26,680
Speaker 1: a big guy and do a lot of them. Then

532
00:28:26,680 --> 00:28:29,439
Speaker 1: I have had my own brand, Public, which is a

533
00:28:29,520 --> 00:28:34,679
Speaker 1: less expensive, hilly skylized hotel, but a real value proposition,

534
00:28:34,920 --> 00:28:37,080
Speaker 1: which I think is always a cool idea, you know,

535
00:28:37,160 --> 00:28:40,000
Speaker 1: because I always think people, no matter how much money

536
00:28:40,080 --> 00:28:42,560
Speaker 1: they have, they get it when something's something's cool. Now,

537
00:28:42,560 --> 00:28:44,600
Speaker 1: when the world of boutique tells them, they've been people

538
00:28:44,600 --> 00:28:46,720
Speaker 1: who have come to you and said Ian Straker, we

539
00:28:46,760 --> 00:28:48,680
Speaker 1: want you to design a hotel for us, and they

540
00:28:48,680 --> 00:28:54,120
Speaker 1: wanted to have something insane, you know, like Peacock's. You know, No,

541
00:28:54,480 --> 00:28:57,120
Speaker 1: I couldn't do it. I mean I I you know,

542
00:28:57,200 --> 00:29:01,120
Speaker 1: to me, I think that, Um, have you seen some

543
00:29:01,200 --> 00:29:04,720
Speaker 1: hotels like that? Yes? You thought? This is just crazed

544
00:29:04,760 --> 00:29:06,520
Speaker 1: my kind of thing. And I don't think they're really

545
00:29:06,720 --> 00:29:11,400
Speaker 1: sophisticated people. I think it's more Vegas. Yeah, pretty, I

546
00:29:11,440 --> 00:29:13,479
Speaker 1: mean over the top kind of stuff. I I I

547
00:29:13,560 --> 00:29:17,680
Speaker 1: don't think more. I think less is not only more.

548
00:29:18,400 --> 00:29:20,960
Speaker 1: I think it's better. And I think it's a little

549
00:29:21,000 --> 00:29:23,320
Speaker 1: bit like a writer. If you have time, you're gonna

550
00:29:23,520 --> 00:29:25,960
Speaker 1: edit it and bear it down. And I think it's

551
00:29:26,000 --> 00:29:29,160
Speaker 1: more powerful. And I think that that that people who

552
00:29:29,240 --> 00:29:32,880
Speaker 1: have good taste today rather than money, because so many

553
00:29:32,880 --> 00:29:36,720
Speaker 1: people have it. It's really a status temple, you know.

554
00:29:36,840 --> 00:29:41,000
Speaker 1: Leonardo da Vinci says, simplicity is the ultimate sophistication. I

555
00:29:41,000 --> 00:29:43,320
Speaker 1: believe that, and I have I have confidence in in

556
00:29:43,880 --> 00:29:46,720
Speaker 1: the people that that if it's simple and well done,

557
00:29:47,040 --> 00:29:48,680
Speaker 1: they kind of get it and you don't have to

558
00:29:48,720 --> 00:29:50,880
Speaker 1: hit him over and add with marble and gold. Have

559
00:29:50,960 --> 00:29:52,560
Speaker 1: you had people come to you and ask you to

560
00:29:52,720 --> 00:29:55,480
Speaker 1: design private homes for them. Yes, you have, and you

561
00:29:55,560 --> 00:29:58,280
Speaker 1: never never got you know, I would do it if

562
00:29:58,320 --> 00:30:01,200
Speaker 1: I was selling home and the clod those and there

563
00:30:01,280 --> 00:30:04,080
Speaker 1: was some you know something, some kind of financial benefit

564
00:30:04,120 --> 00:30:06,920
Speaker 1: for me and my bar and I. But you know, look,

565
00:30:07,040 --> 00:30:11,360
Speaker 1: I enjoy all of the benefits that come with the money.

566
00:30:11,840 --> 00:30:14,480
Speaker 1: But you can't do what I do for money. I'm

567
00:30:14,520 --> 00:30:17,320
Speaker 1: sure you can't do what you do for money. It's

568
00:30:17,320 --> 00:30:20,080
Speaker 1: a benefit, but it's it's now you're driving force. We're

569
00:30:20,160 --> 00:30:22,840
Speaker 1: so to go from the nightclub business to the hotel business,

570
00:30:22,840 --> 00:30:25,680
Speaker 1: two different businesses obviously, and then is it this is

571
00:30:25,720 --> 00:30:27,960
Speaker 1: it another transition to go into the condominium business and

572
00:30:27,960 --> 00:30:32,400
Speaker 1: their real estate. They're all very related. In the nightclub business,

573
00:30:32,400 --> 00:30:34,920
Speaker 1: your primary goal, if you script it down, you know,

574
00:30:35,280 --> 00:30:38,280
Speaker 1: of all the smoke screens the night clubs, your primary

575
00:30:38,280 --> 00:30:40,760
Speaker 1: goal is to look after people, make sure people have fun,

576
00:30:41,280 --> 00:30:46,080
Speaker 1: elevate the experience, make them comfortable. Same going all business,

577
00:30:46,440 --> 00:30:50,240
Speaker 1: same going to business, you know, and so there is

578
00:30:50,280 --> 00:30:53,239
Speaker 1: a common denominated there were differences in it, you know,

579
00:30:53,320 --> 00:30:55,560
Speaker 1: like the people that work in the nightclub business most

580
00:30:55,560 --> 00:30:58,080
Speaker 1: of the time they look like vampires in the day.

581
00:30:58,920 --> 00:31:01,040
Speaker 1: The you know, most of the time they can't cut

582
00:31:01,040 --> 00:31:05,160
Speaker 1: it during the day. There are differences, but there are many,

583
00:31:05,200 --> 00:31:09,240
Speaker 1: many more similarities that by the Royal quote hospitality businesses,

584
00:31:09,320 --> 00:31:13,000
Speaker 1: because it's it's it's looking at the people. How has

585
00:31:13,080 --> 00:31:16,000
Speaker 1: New York changed totally different? I, you know, like to me,

586
00:31:16,160 --> 00:31:18,400
Speaker 1: I you know, there was two there are two New York's.

587
00:31:18,560 --> 00:31:21,880
Speaker 1: There's one downtown and there's one uptown. You know, I

588
00:31:21,920 --> 00:31:24,760
Speaker 1: think the real New York is Downtown. It's not about

589
00:31:24,760 --> 00:31:27,040
Speaker 1: the restaurants or anything like that. It's just that it

590
00:31:27,120 --> 00:31:31,240
Speaker 1: feels more like a village down there. Uptown it's kind

591
00:31:31,280 --> 00:31:37,520
Speaker 1: of anonymous, it's intense, it's a hostility there. I it's

592
00:31:37,560 --> 00:31:40,360
Speaker 1: it's no different than London, except the architecture is different.

593
00:31:41,640 --> 00:31:45,040
Speaker 1: I if it doesn't have a personality to me, you know,

594
00:31:45,480 --> 00:31:48,040
Speaker 1: you know, I think we we've had a real dichotomy

595
00:31:48,080 --> 00:31:51,440
Speaker 1: now between uptown and downtown. You know, in the seventies

596
00:31:51,480 --> 00:31:53,560
Speaker 1: and eighties when we were bumping around, you know, downtown

597
00:31:53,680 --> 00:31:55,200
Speaker 1: is really when you went down to hung out and

598
00:31:55,280 --> 00:31:58,240
Speaker 1: have fun. It's not like that now. And then now

599
00:31:58,320 --> 00:32:01,360
Speaker 1: you live down there, it's a different city. And I

600
00:32:01,400 --> 00:32:04,120
Speaker 1: think New Yorkers most of the time New Yorkers don't

601
00:32:04,160 --> 00:32:07,320
Speaker 1: live uptown. There were Farigners. You know, rem coolhouse. It's

602
00:32:07,320 --> 00:32:09,840
Speaker 1: a great architect, says to meet me. Good keep it.

603
00:32:09,840 --> 00:32:13,120
Speaker 1: Don't live in London. It's only Fargners live who lived there.

604
00:32:13,320 --> 00:32:16,760
Speaker 1: I think that's happening, you know now with New York.

605
00:32:16,840 --> 00:32:18,480
Speaker 1: I think if you want to see the way in

606
00:32:18,520 --> 00:32:20,920
Speaker 1: New York is you just look at London because it's

607
00:32:21,000 --> 00:32:24,720
Speaker 1: on that same continuum. I mean, obviously there's there's benefits

608
00:32:24,720 --> 00:32:27,320
Speaker 1: to both. But I lived up there for twenty five years.

609
00:32:27,760 --> 00:32:29,600
Speaker 1: I did too, I lived up there. I used to

610
00:32:29,640 --> 00:32:31,400
Speaker 1: say that, you know, I live up down, I go

611
00:32:31,440 --> 00:32:34,200
Speaker 1: downtown to a restaurant. You live in the park. No,

612
00:32:34,480 --> 00:32:36,400
Speaker 1: I lived on the Park a while, but you know,

613
00:32:36,560 --> 00:32:38,840
Speaker 1: when I didn't have money all the time to live there.

614
00:32:39,080 --> 00:32:40,680
Speaker 1: You know, I lived on the Upper east Side. Then

615
00:32:40,720 --> 00:32:43,000
Speaker 1: I moved to the West Side, and I moved back

616
00:32:43,080 --> 00:32:45,520
Speaker 1: to the east Side, and then I eventually, you know,

617
00:32:45,640 --> 00:32:50,440
Speaker 1: what's the longest you've ever lived one place? Now, I'm

618
00:32:50,560 --> 00:32:52,680
Speaker 1: I'm I've been living in the same apartment now for

619
00:32:52,760 --> 00:32:55,520
Speaker 1: ten years? Is it getting aunty? Do you like to move? Well?

620
00:32:55,720 --> 00:32:58,400
Speaker 1: Do my two projects so we may move. My kids

621
00:32:58,400 --> 00:33:01,040
Speaker 1: are leaving for school. And one question I want to

622
00:33:01,080 --> 00:33:03,880
Speaker 1: ask you is were you close with your dad and

623
00:33:03,920 --> 00:33:06,640
Speaker 1: he died when you were how old you were nineteen?

624
00:33:06,880 --> 00:33:09,800
Speaker 1: Were you closer through bell? Yes? Where were you when

625
00:33:09,800 --> 00:33:12,920
Speaker 1: he died by his bed? You were? So you were

626
00:33:12,960 --> 00:33:15,560
Speaker 1: still that close right to the end. You were best

627
00:33:15,600 --> 00:33:18,280
Speaker 1: friends with him, and you were there he We took

628
00:33:18,360 --> 00:33:24,600
Speaker 1: him to the hospital. We watched the monitor numbers sinks terrible.

629
00:33:25,480 --> 00:33:28,560
Speaker 1: And then your dad not in your life and your

630
00:33:28,600 --> 00:33:34,280
Speaker 1: partner gone. He died in nineteen nine. Who's been your

631
00:33:34,320 --> 00:33:37,720
Speaker 1: mentor or who's been your trusted advisor for the last

632
00:33:38,040 --> 00:33:41,760
Speaker 1: five years? You know? By myself now? You don't have

633
00:33:41,840 --> 00:33:44,360
Speaker 1: my wife, you know, and I have some good friends,

634
00:33:45,080 --> 00:33:47,360
Speaker 1: but you know that it's it's a it's a loss

635
00:33:47,400 --> 00:33:49,840
Speaker 1: when you buy yourself. You know, it's good to have

636
00:33:50,040 --> 00:33:54,440
Speaker 1: somebody to bounce things off of. It. It keeps you moral, comfistrated.

637
00:33:55,000 --> 00:33:59,360
Speaker 1: It almost operates like our conscience. You know, it's it's tough.

638
00:34:00,000 --> 00:34:02,400
Speaker 1: I'm bombed by myself now. You don't have a partner.

639
00:34:02,520 --> 00:34:05,160
Speaker 1: Who's you're someone you consulted. You don't have friends that

640
00:34:05,200 --> 00:34:09,120
Speaker 1: I asked questions, but no one replaced rebel. No, you

641
00:34:09,280 --> 00:34:11,960
Speaker 1: never have a friend or a part like that. Lucky

642
00:34:12,040 --> 00:34:18,000
Speaker 1: to have that. Um, you're married now and you've been

643
00:34:18,000 --> 00:34:21,359
Speaker 1: married the tier your current wife for how long you've

644
00:34:21,360 --> 00:34:23,000
Speaker 1: been with for eight years? And you have a five

645
00:34:23,080 --> 00:34:27,680
Speaker 1: year old child almost almost five? Boy? You have a boy.

646
00:34:28,040 --> 00:34:31,759
Speaker 1: Finally you have two girls from your and she has

647
00:34:31,800 --> 00:34:33,759
Speaker 1: to you know, you and I are the same. I've

648
00:34:33,760 --> 00:34:35,040
Speaker 1: got a girl, and then I had a girl, and

649
00:34:35,040 --> 00:34:37,920
Speaker 1: now I'm having a boy in July. What a pleasure?

650
00:34:37,960 --> 00:34:40,200
Speaker 1: Tell me, what's it been like? What's it like having

651
00:34:40,280 --> 00:34:43,400
Speaker 1: a son? When we're definitely in the in the in

652
00:34:43,440 --> 00:34:46,960
Speaker 1: the night, we're in the seventh inning. Here we're with

653
00:34:47,040 --> 00:34:50,960
Speaker 1: a girl. Everything's too tight, too low, too much to everything.

654
00:34:51,480 --> 00:34:53,200
Speaker 1: It's just I used to think when I used to

655
00:34:53,200 --> 00:34:55,440
Speaker 1: go to kindergarten and the nursery school, and all the

656
00:34:55,520 --> 00:34:57,960
Speaker 1: boys will be bouncing off the wall, and I do

657
00:34:58,000 --> 00:35:00,480
Speaker 1: with my girl, she'd be sitting at the desperately stats boar.

658
00:35:00,520 --> 00:35:03,040
Speaker 1: I got a maid in a shade. But it reverses

659
00:35:05,080 --> 00:35:08,799
Speaker 1: the boys I I identify. We wrestle. I don't know

660
00:35:08,800 --> 00:35:12,080
Speaker 1: whether it's my where I am in life, my age.

661
00:35:12,560 --> 00:35:15,520
Speaker 1: I don't love him more than my daughters, but it's

662
00:35:15,560 --> 00:35:23,640
Speaker 1: just into what's he like to do wrestle, soccer, you know, soldiers,

663
00:35:23,880 --> 00:35:28,560
Speaker 1: thanks superheroes. You know, I can kind of relate swords.

664
00:35:29,400 --> 00:35:31,920
Speaker 1: It's it's amazing. My son comes into my bedroom sometimes

665
00:35:32,120 --> 00:35:34,880
Speaker 1: the sword to me and a sword dam in the morning.

666
00:35:34,880 --> 00:35:38,319
Speaker 1: The first thing, here is your sword, I present you.

667
00:35:38,520 --> 00:35:41,799
Speaker 1: Here's your weapon. And and what's it like for you

668
00:35:41,880 --> 00:35:44,400
Speaker 1: in your work and the and the balance? Is it

669
00:35:44,440 --> 00:35:47,120
Speaker 1: different for you? Now? I got the balance now finally.

670
00:35:47,200 --> 00:35:50,000
Speaker 1: Unfortunately it took me this long to figure it out.

671
00:35:50,680 --> 00:35:52,440
Speaker 1: You know, I gave up a lot for the work.

672
00:35:53,360 --> 00:35:55,560
Speaker 1: You know, it was very very important to me, and

673
00:35:56,239 --> 00:35:58,720
Speaker 1: I kind of didn't have the capacity all the time.

674
00:35:59,480 --> 00:36:02,160
Speaker 1: And so to me, you know, I worked very odd.

675
00:36:02,200 --> 00:36:05,120
Speaker 1: But you know I I don't work pass four five o'clock.

676
00:36:05,520 --> 00:36:08,520
Speaker 1: I don't work on the weekends. I take vacations. I

677
00:36:08,560 --> 00:36:10,920
Speaker 1: just when I come home, I play with my family.

678
00:36:10,920 --> 00:36:13,799
Speaker 1: And I think the secret isn't balanced. I think if

679
00:36:13,840 --> 00:36:16,000
Speaker 1: you're going to really be happy, you need everything. You

680
00:36:16,080 --> 00:36:17,880
Speaker 1: need a good wife, you need a good work, you

681
00:36:17,920 --> 00:36:19,759
Speaker 1: need a good family, need to go to abby, you

682
00:36:19,760 --> 00:36:26,799
Speaker 1: need a good grange. You need it all. Ian Schrager's

683
00:36:26,840 --> 00:36:30,640
Speaker 1: attempt to have it all appears to be working. This month,

684
00:36:30,680 --> 00:36:34,440
Speaker 1: he'll open his fourth boutique hotel, this time in partnership

685
00:36:34,480 --> 00:36:38,240
Speaker 1: with Marriott. You can visit the New York Edition Hotel

686
00:36:38,320 --> 00:36:43,239
Speaker 1: on Madison Avenue, a short walk from Schrager's very first hotel, Morgan's.

687
00:36:47,080 --> 00:37:02,720
Speaker 1: This is Alec Baldwin you're listening to. Here's the Thing

688
00:37:03,480 --> 00:37:03,719
Speaker 1: four