Disco club

Zombies also need to party. Hidden in the Mauer Der Toten map, players can teleport to a crazy ’80s nightclub with dancing zombies and a sadistic DJ plush bunny. You just need to find the six parts of the rabbit’s body to teleport there – and there are some big rewards to claim. It’s not an easy Easter egg like the one in Firebase Z – you’ll have to fight a horde of zombies in a very enclosed space and defeat a Mangler mini-boss before you can claim a random reward. There are three mystery doors, and depending on what you choose, you’ll get a different price for each. Check out the full guide below for screenshots and text tutorials on exactly how to reach this weird hidden area.

More Cold War Zombies Black Ops: Mauer Der Toten Guides:

How To Complete The Complete Easter Egg Quest | How To Power Up And Pack-A-Punch | How to Build and Upgrade Klaus | How to unlock the magic weapon for FREE

Easter Egg Disco Nightclub | Secret location guide

To enter the Disco nightclub – a secret underground dance club with groovy zombies and a funny evil bunny DJ – you have to find six plush bunny pieces. If you reach the club you will have a chance to earn three rewards like Free juggernug. There are three mystery doors, and depending on which one you open, you will get a special reward.

To collect bunny parts you just need to hold [Interact] while looking at the article. The items are all different parts of the Bunny plush toy. They are blue, white and a bit bloody!

• Rabbit plush pitches:
  • Part 1: Bar – On the corner seat, just to the left of the benefit machine, there is a rabbit section.
  • Part 2: Grocery store – At the end of the white shelf, under the “50%” sign.
  • Part # 3: Hotel room 304 – On the desk with the green table top and the light, near the destroyed wall.
  • Part # 4: Driveway – In the driveway at the bottom of the Garment Factory building, look around the corner with the tires stacked.
  • Part # 5: Department Store – Accessible from West Berlin Street, use the zipline to reach this upper level store. The rabbit part is in the display case directly forward after zipping.
  • Part # 6: Sewer Access – Down the stairs from the Ghost Station door, on the floor near a cardboard box.

Find all six parts in any order and you’ll instantly teleport straight to the Zombie Nightclub! Be prepared, as you’ll have to fight a wave of zombies and a Mangler before you can claim your prizes. I highly recommend picking up a Pack-a-Punch pistol before teleporting. If you are ready then this is a great place to get free upgrades.

More Black Ops Cold War Die Maschine guides:

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Saturday evening, Alex peterson of Alexalonethunderous guitar work turned out Captain Quackenbush’s Cafe will not be limited to Java store strummers. The new signed Polyvinyl discs act, including Sam jordan, Husband Rubio, and new Austin resident Hannah Read of Lomelda on stage, offered a 45-minute improvised post-rock immersion in the new listening room. The space opened earlier this month in the former home of the famous South Austin venue Strange drink, which closed in 2017 due to bankruptcy.

“It’s got a complete makeover, and we’ve been working on it for a few years now,” says Hiking‘singer / guitarist No Wilkins, events coordinator for the new venue after years behind the counter at Quack 43rd Street Bakery. “Right before the pandemic hit we had a show, then shut down. We’re trying to get everything set up, so if you want to have a show in Austin where people aren’t actively trying to speak louder than you are. play, here’s a good space for that. “

After Alexalone, Keeled scales folk player Of them showed the ability of the turquoise space to listen up close to a silent sold-out crowd. Soloist Matt Davidson contrasted a recent outing in the city center: “It was really intense. It’s much more manageable.

Race sound, Estuary registration engineer Evan kaspar helped build the acoustics in the 100-seat room. Wilkins says the bar and venue, separated from the bakery by glass doors, will eventually be renamed Sound space with reservations every evening. Saturday ended with the screening of a new short film from the YouTube series in co-presentation A little bit of that, please, Little Mazarn efficient Daniel johnston‘s “The Story of an Artist” in a field of tall grass.

Upcoming shows include Staccato Club with special guests Barbara nesbitt and Wendy colonna this evening, Thursday, at 7 p.m., and Petit Mazarn and Calliope musicals front person Carrie Fussell Friday, 9 p.m. The two reservations prove to be emblematic of Wilkins’ scene fusion efforts. Using the contacts of Texan tornadoes drummer Ernie Durawa, they “boosted the confidence” by having coffee with dozens of Strange Brew veterans before opening up.

“The play is legendary, so it was nerve-racking to walk in,” Wilkins admits. “Being a young, queer, non-binary person, I don’t like to feel like I’m intrusive. I just want everyone to be comfortable in the space.”

Invite chaos to the Outer Heaven Disco Club

In January 2020, Dozen street owner Maydee Distefano has closed its 12th Eastern Hall, hoping to find a like-minded heir for the legacy space, which once housed Club 1808. She paired up with a local artist Sean Daigle, who took over the lease with the intention “of a bar as if Willy wonka smoked crack at Studio 54. “At the beginning of May thus made its debut Outer Heaven nightclub.

“When COVID happened, everyone [my plans] went out the window, ”says the owner, also a photographer with credits like Rolling stone. “I was paying rent to work myself to renovate the whole place ourselves. Then I had a negative balance of $ 350 in the bank and I was like, ‘I have to open. There is no other way to pay rent. “”

Daigle and bar manager Chauncy james, formerly of East side showroom and Cocktail bar garage, spent the year transforming the weirdness of Eastside, which now houses a dance floor, large back patio and a dildo vending machine. After a slow start, the owner posted an impassioned article on the Austin Reddit page, attracting thousands of likes. Some readers have recognized Daigle from his old Travis Heights front yard with The Simpsons and king of the hill cutouts – handwork now seen in the Outer Heaven murals.

Last Saturday at midnight, the full capacity bar drew a line of glittering twenties in neon cowboy hats. In the DJ booth, Daigle focused on the hits of ABBA, Justice, and Talking heads. The dance club currently operates on Fridays and Saturdays with karaoke on Wednesdays and Thursdays.

“I don’t want pretension,” he says. “I don’t want people to come in and feel cool enough to be there, which a lot of dance bars try to do. It should feel like a house party – inviting, chaotic and kind of apocalyptic.”

News from other sites

• Waterloo Park finally gets a reopening date after a decade of shutters and construction. Waterloo Green Lane announced that the park will debut on August 14 with a “Taste of Austin” showcase at the new Moody Amphitheater that evening, programming to be confirmed. The park’s first concert in partnership with C3 presents follows August 20, with hometown hero Gary Clark Jr. break-in into the 5,000-seat concert hall. Learn more on our Daily Chron Events blog.

• Levitation returns to local theaters Stubb, Mohawk, Empire, Las Vegas Hotel, Cheer Up Charlies, and Central Presbyterian Church October 28-31. The return of the festival after a pandemic year Thunder cat, Japanese breakfast, Yves Tumor, Black Midi, the Urticaria, Connan mockasin, and Crumb alongside locals like the founders of the festival, the Black angels, Gentle spirit, and Representation of guilt. A launch show leads on October 27 with red fang, Nothing, and Starcrawler at Empire. Tickets for four days and for one show on sale now. Find the full daily schedule on our Daily Music blog.

• Frequency system, a traveling electronic event concept, began a three-month stint in a downtown warehouse in early June. The weekly parties center on a massive sound system bought in upstate New York. Contributing producer Plʉm posted: “They say low frequencies can bend water and since our body is 60% H20, it feels good to be in front of a system like this. I guess that’s why they call it ‘body music’. “On July 10, the speakers will take charge of the Birmingham DJ Exchange the meeting!, Houston Mr. Sticktalk and Clyde, alongside the locals Nick mcdonnough. Stay on Instagram @freqsystem.

RIP Brandon Hamilton

Brandon hamilton, a local musician known for a number of punk projects, passed away on Thursday, June 24. He was 42 years old. After participating in Austin groups like Stroke and jam guy, the poignant and quirky songwriter began recording solo in his garage studio as Prisoner. The playful merger of scuzzy garage last landed a 7-inch split in April with Witch cake, still available via Records beaten dead.

ADD records‘cheeky bio for the 2013 release of Dude Jams How to become famous Recording artist It reads: “Sonic man of the ages and supplier of free beers, Brandon Hamilton shares his secrets on how to be successful in the industry. Baller status. Gods of punk rock.” Following the news, Iowa Swollen Kat discs released on Bandcamp a collection of 19 songs from the artist’s former pop-punk store Prince, all profits being allocated to end-of-life expenses. The label called Hamilton a “genius of music and comedy”, adding that “naming his band Prince takes a deep reservoir of humor and bullets.”

Local concert promoters Sound, who worked with the artist, shared on social media: “Brandon Hamilton was a backstage magician who helped make so many of our dreams come true. A fiercely loyal friend who had far more impact than ‘he’ll never know. “

It was the must-see place of the late 1970s: the disco capital of the world. The world’s biggest stars from Jackie Kennedy Onassis to Mick Jagger were his guests. Former Studio 54 co-owner and longtime real estate developer Ian Schrager has listed his New York City West Village apartment for $ 9.95 million. With great views of the Hudson River and the city skyline, the Richard Meyer-designed building has long been a hotspot for famous residents such as Nicole Kidman and Calvin Klein.

In the late 1970s, New York revelers were the envy of their friends if they could walk into Studio 54. A former CBS opera house and television studio, Studio 54 was the most famous of all. Saturday night fever– era of disco dance clubs and where the rotating sparkling disco ball made its debut. Known for his temperamental admission standards, Schrager’s business partner Steve Rubell stationed himself at the club’s entrance to turn down anyone who did not meet his standards. The magic password to enter was not an actual password, but depended on whether or not you were a celebrity or a stylish one that would turn heads and increase the club’s stock in media photos. It was the place everyone wanted to see and be seen. But with the IRS, State Liquor Authority, DEA, and jail terms hanging over their heads, Schrager and Rubell closed the business in 1980, then sold it in 1981. Reopened by new owners , Studio 54 closed permanently in 1986. At its peak, in addition to Jackie and Mick, the club attracted celebrities such as Elizabeth Taylor, John Belushi, David Bowie, Richard Gere, Truman Capote and aspiring celebrities who came en masse.

Studio 54 was designed by good friends Schrager and Rubell whose timing and location, as well as their vision, were the recipe for success. Everything was fine until Rubell bragged about making more money than the Mafia – a red flag for the IRS. The party ended when IRS investigators discovered that $ 2 million appeared to be missing from the club’s receipts. They each received three and a half years in prison and a fine of $ 20,000. In 2017, Schrager received a presidential pardon from President Obama.

After being released from prison, Schrager became a very successful New York developer and hotelier. He is now selling his West Village condo with a view of the Hudson River and the city skyline through its glass walls. The 3,700 square foot apartment is spread over an entire floor with three bedrooms and five bathrooms. Its highlight is the great room with glass walls that curve towards the den of the house; all with spectacular views that flood the rooms with light. The kitchen is open to the great room with its balcony, and a generous master suite has a large walk-in / dressing room and a master bathroom. West Village is well known for its 19th century townhouses and curving streets that attract artists and writers. Schrager’s building is just a dancing stroll away from a popular river walk.

Located in one of New York’s most charming places, the listing agents are Madeline Hult Elghanayan and Dennis Mangone of Douglas Elliman.

Photo credit: Douglas elliman

YouTube Credit: Sean Evans, @ evvo1991 backtothemovies.com/

Source: TopTenRealEstateDeals.com

By the 1970s, disco music had become so popular that a Chicago DJ blew up records of the same in a football stadium, backed up by crazy chants of “disco sucks”. The 1979 event was also recorded in a book called “Disco Demolition: The Night Disco Died”. In the history of modern club music, this “death of disco” moment also heralded the birth of house, a more groovy version built on electronics, drum machine and synths, a break with the singing and dancing live.

But Stalvart John knows the two are still chipping away at each other. The 31-year-old DJ and producer couldn’t give up the original genre of dance music in a new collective he created in 2017 to rediscover people at a time when “Saturday Night Fever” was serious business. “It all started with disco. I’ve always loved dancing. Since my college days in Cochin, clubbing was all about dancing. With Dynamite Disco Club, I want people to really let go,” says John, who , together with DDC, launched a series of disco and house music events, culminating in more than 25 gatherings on scenic night dives in Bangalore, Mumbai, Delhi, Kolkata, Kochi and Chennai, including five since January this year after a lockdown-induced disruption in 2020. DDC closely follows the heels of similar concept dance collectives like BLOT! and Wild City’s ‘Disco and Daiquiris’ and ‘Grime Riot Disco’, both of which have closed, although the famous Mumbai-based collective Bhavishyavani Future Soundz, which hosted its first night in 1999, is still going strong. .

“Dynamite Disco Club is a world of disco and house music that takes a closer look at the roots of soul, funk, disco and house, while touching the basics of Chicago house, Chicago funk. Detroit and the Philly soul scene. The A to Z of disco and house culture including music, fashion, merchandising, events and media, ”says John who has found his place in electronic music as podcaster and online radio show host about a decade ago in Cochin when he discovered artists like Fatboy Slim, Prodigy and Robert Miles. But he left his hometown in 2015. “Nobody wanted to book me up. out of state. There was no clubbing culture in Cochin. And Kerala had imposed a strict alcohol policy in 2014, “says John who started a monthly radio show in 2017 at India’s first electronic music community radio boxout.fm called” Dynamite Disco Club. Soon he started his own ‘Dynamite Disco Club’ parties which are held regularly in major Indian cities.

Drawing inspiration from the bold, choppy aesthetic of old-fashioned Communist propaganda posters alongside vintage Japanese matchbox labels, John enjoys designing his own party posters. “Disco and house are about equality. It’s about being young and free. It’s about freedom. It’s music that gives pleasure. My dance events are not parties. rave screened in movies and media, ”says John who has also taken on training and mentoring musicians passionate about soul, funk, disco and house. “Two of my students played at Magnetic Fields Nomad which just ended in Ranthambore. With my teaching and my events, I want to usher in a disco revolution again,” says John.

Glasgow’s legendary club night, Melting Pot, will transform the Sky Bar at the Radisson Red Hotel into a boogie wonderland later this month for their first Penthouse Party.

The groovy New York disco-influenced club night, which has been taking place in the city since 2001, takes over the hotel’s rooftop bar on Saturday, January 25.

Combining the bar’s breathtaking view of Glasgow with the glamor and decadence of the disco era, this is sure to be a funky night out.

Mark Mackechnie, Co-Founder of Melting Pot, said: “2020 is another year where we strive to find unique spaces to host big parties and January sees us take the Melting Pot party to the most spectacular location on the Glasgow roof. ”

Disco enthusiasts can look forward to the usual high level production for which Melting Pot is renowned. It is an exclusive and intimate party with limited tickets, so it is advisable not to hang around.

Put on your rags – and don’t forget to take a disco nap before, this party is open until 1am!

Tickets are available here.

What’s new in Glasgow? From concerts to festivals, pop-ups to the best club nights, stay up to date on the latest events by joining our Facebook What’s On group.

Somewhere inside the Coachella Valley Music and Arts Festival, behind a tall but sympathetic man in a black suit, a 1970s New Years disco party awaits you, but shh, shh, don’t tell anyone.

Well go ahead and tell everyone.

Hush Hush by Attaboy is a secret nightclub located inside the Central Indio Market that pays homage to New York’s disco era by taking you to New Year’s Eve in 1979.

“It’s supposed to take you back to Studio 54,” said Victoria Sellers, the club’s hostess who opens the black door for you and leads you into the club.

You don’t need a secret password or even slip money into him, just smile and he’ll let you in.

After walking a winding path made of black wooden walls adorned with posters from the 70s depicting musicians, movies and the fashion of the time, the vendors will open the door and you will see a wall covered in glitter wallpaper and the words Hush Hush.

You will hear and feel the thud of 1970s dance music like Gloria Gaynor’s “I Will Survive,” which exploded as people danced under dozens of colorful balloons that floated from the ceiling on Friday, April 19th.

The dance floor was lit, like literally lit because it displayed all kinds of bright colors as people danced – think of the dance floor from “Saturday Night Fever”.

And yes, of course, there is a pair of disco balls, plus a cocktail bar and a long sofa along the wall where people could take a break after dancing.

“It’s really glowing and it’s not hot,” said Mike Jones, a Palmdale resident, sitting next to his girlfriend Vanessa Rodriguez inside Hush Hush.

The couple heard about it on Reddit, where someone posted a map with arrows showing the way to the club.

Torrance residents Jill Anderson and her boyfriend Christopher Telfair heard about it last night from someone at their campsite and had no trouble finding him.

They just looked for the line that seemed to lead nowhere and the guy in the suit at the market.

“I think the exclusivity of this place is pretty cool,” he said.

But it might not be that exclusive for a long time since there is a sign near the exit that says “Tell everyone”.

Matt Tyrnauer’s “Studio 54” is a hot, baby, disco hell blazing with fun and longing. But it’s also a warning about the corrupting influence of greed on two Brooklyn blue-collar workers who grabbed a shooting star and clung to it for 33 thrilling months in the 1970s before plunging back to earth in a self-inflicted collapse that left them charred and trapped.

Oh, but what a race it was; producing heaps of money from the pockets of top celebrities who wanted to see and be seen at the hottest nightclub the world has ever known, Studio 54. Quite a product of its time, it became the zero point for a revolution in music and fashion. No matter how old-fashioned the clothes and songs were and best forgotten, in the late 1970s you had a choice of being there or being square.

What endures is the ingenuity of the concept conceived by Ian Schrager and Steve Rubell, two opposing poles who became friends at Syracuse University, united their brilliant minds and had the radical idea of ​​transforming a studio CBS television station abandoned into not just a nightclub, but “an adult amusement park” which spawned a cultural movement in which everyone was allowed to be who they wanted to be, whether black-white, gay- straight, young-old, man-woman, rich-poor. Oops, forget the latter. Schrager and Rubell’s mecca of pomp actually excluded everything but the rich and the well-connected. They were the lucky few allowed to bypass the masses gathered outside the velvet ropes of the haughty West 54th Street establishment located, ironically, in the heart of Manhattan’s version of the Combat Zone.

As with his equally compelling documentaries, “Scotty and the Secret History of Hollywood”, “Citizen Jane: Battle for the City” and “Valentino: The Last Emperor”, Tyrnauer’s latest is an extrasensory compilation of photos, excerpts screaming movies, recordings and titles that instantly transport you to another place in time. And what a place was Studio 54 with its mix of innovative architecture, thrilling sounds and kitschy modes. It was the only place you could find Mick and Keith alongside Cher, Truman Capote, Liza Minnelli and Ratpacker Sammy Davis Jr. Even members of the Carter administration could be spotted, the most famous being the president’s chief of staff, Hamilton Jordan, long accused of snorting cocaine on the spot.

Tyrnauer understands all of this, encouraged by Schrager, looking back 40 years through the prism of age and experience. He still speaks fondly of Rubell, who died of an AIDS-related illness in 1989. It was nearly a decade after the couple were sent to jail for tax evasion and drug possession. This is where greed kicks in, as Schrager, Rubell, and their silent partner, Jack Dushey, couldn’t resist skimming off the huge profits that pour in every night of the week. Foolishly, they kept much of the greenery tucked away in rafters and other obvious places, making them sitting ducks when the Feds attacked them in 1978.

The trio’s journey through the court system fills the last 30 minutes of Tyrnauer’s tight, well-narrated documentary, and it’s just as much a buzz for us as it is for them. The result is a shocking change in tone from high-flying hedonism, everything from the club’s heyday to the severity of long prison terms and bankruptcy. Still, it’s no less intriguing, especially when the infamous Roy Cohn – a frontrunner and advocate for the current president as well as Red Scare maven, Senator Joseph McCarthy – appears on the scene as an accomplice and opposing legal adviser. to ethics.

This is where today’s Schrager naturally begins to retreat, both out of embarrassment and out of fear of blame. Before that, he turns out to be a source of information about the club, its design, and its rightful place in the pop culture idiom. It is especially touching whenever we talk about Rubell, his dear friend, with whom he also shared a beach house in the Hamptons that Schrager, now a renowned hotelier, still occupies.

His friend was a gay extrovert, while he was a straight introvert, but neither questioned the other’s sexual motivations or preferences. They were just old Brooklyn buddies who attended the same college, shared a craving for creativity, and combined their unique talents to create not only a nightclub, but a social and cultural landmark. And the one that continues to resonate as loudly today as it did then; a disco hell whose flame will probably never go out.

Film critic

Studio 54

(Uncategorized.) A documentary by Matt Tyrnauer starring Ian Schrager, Steve Rubell, Nile Rodgers and Roy Cohn. Rating: B +

Matt Tyrnauer’s “Studio 54” is a hot, baby, disco hell blazing with fun and longing. But it’s also a warning about the corrupting influence of greed on two Brooklyn blue-collar workers who grabbed a shooting star and clung to it for 33 thrilling months in the 1970s before plunging back to earth in a self-inflicted collapse that left them charred and trapped.

Oh, but what a race it was; producing heaps of cash from the pockets of top celebrities who wanted to see and be seen at the hottest nightclub the world has ever known, Studio 54. Quite a product of its time, it became the zero point for a revolution in music and fashion. It doesn’t matter how old-fashioned the clothes and songs are and it’s best to forget, in the late 1970s you had a choice of being there or being square.

What endures is the ingenuity of the concept devised by Ian Schrager and Steve Rubell, two opposing poles who became friends at Syracuse University, united their brilliant minds and had the radical idea of ​​transforming a studio CBS television station abandoned into not just a nightclub, but an “adult amusement park” that spawned a cultural movement in which everyone was allowed to be who they wanted to be, whether black-white, gay- straight, young-old, man-woman, rich-poor. Oops, forget the latter. Schrager and Rubell’s mecca of pomp actually excluded everything but the rich and the well-connected. They were the lucky few allowed to bypass the masses gathered outside the velvet ropes of the haughty West 54th Street establishment located, ironically, in the heart of Manhattan’s version of the Combat Zone.

As with his equally compelling documentaries, “Scotty and the Secret History of Hollywood”, “Citizen Jane: Battle for the City” and “Valentino: The Last Emperor”, Tyrnauer’s latest is an extrasensory compilation of photos, excerpts screaming movies, recordings and titles that instantly transport you to another place in time. And what a place was Studio 54 with its mix of innovative architecture, thrilling sounds and kitschy modes. It was the only place you could find Mick and Keith alongside Cher, Truman Capote, Liza Minnelli and Ratpacker Sammy Davis Jr. Even members of the Carter administration could be spotted, the most famous being the president’s chief of staff, Hamilton Jordan, long accused of snorting cocaine on the spot.

Tyrnauer understands all of this, encouraged by Schrager, looking back 40 years through the prism of age and experience. He still speaks fondly of Rubell, who died of an AIDS-related illness in 1989. It was nearly a decade after the couple were sent to jail for tax evasion and drug possession. This is where greed kicks in, as Schrager, Rubell, and their silent partner, Jack Dushey, couldn’t resist skimming off the huge profits that pour in every night of the week. Foolishly, they kept much of the greenery tucked away in rafters and other obvious places, making them sitting ducks when the Feds attacked them in 1978.

The trio’s journey through the court system fills the last 30 minutes of Tyrnauer’s tight, well-narrated documentary, and it’s just as much a buzz for us as it is for them. The result is a shocking change in tone from high-flying hedonism, everything from the club’s heyday to the severity of long prison terms and bankruptcy. Still, it’s no less intriguing, especially when the infamous Roy Cohn – a frontrunner and advocate for the current president as well as Red Scare maven Senator Joseph McCarthy – appears on the scene as an accomplice and opposing legal adviser. to ethics.

This is where today’s Schrager naturally begins to retreat, both out of embarrassment and out of fear of blame. Before that, he turns out to be a source of information about the club, its design, and its rightful place in the pop culture idiom. It is especially touching whenever we talk about Rubell, his dear friend, with whom he also shared a beach house in the Hamptons that Schrager, now a renowned hotelier, still occupies.

His friend was a gay extrovert, while he was a straight introvert, but neither questioned the other’s sexual motivations or preferences. They were just old Brooklyn buddies who attended the same college, shared a craving for creativity, and combined their unique talents to create not only a nightclub, but a social and cultural landmark. And the one that continues to resonate as loud as it did then; a disco hell whose flame will probably never go out.

Film critic

Studio 54

(Uncategorized.) A documentary by Matt Tyrnauer starring Ian Schrager, Steve Rubell, Nile Rodgers and Roy Cohn. Rating: B +

Matt Tyrnauer’s “Studio 54” is a hot, baby, disco hell blazing with fun and longing. But it’s also a warning about the corrupting influence of greed on two Brooklyn blue-collar workers who grabbed a shooting star and clung to it for 33 thrilling months in the 1970s before plunging back to earth in a self-inflicted collapse that left them charred and trapped.

Oh, but what a race it was; producing heaps of money from the pockets of top celebrities who wanted to see and be seen at the hottest nightclub the world has ever known, Studio 54. Quite a product of its time, it became the zero point for a revolution in music and fashion. No matter how old-fashioned the clothes and songs were and best forgotten, in the late 1970s you had a choice of being there or being square.

What endures is the ingenuity of the concept conceived by Ian Schrager and Steve Rubell, two opposing poles who became friends at Syracuse University, united their brilliant minds and had the radical idea of ​​transforming a studio CBS television station abandoned into not just a nightclub, but “an adult amusement park” which spawned a cultural movement in which everyone was allowed to be who they wanted to be, whether black-white, gay- straight, young-old, man-woman, rich-poor. Oops, forget the latter. Schrager and Rubell’s mecca of pomp actually excluded everything but the rich and the well-connected. They were the lucky few allowed to bypass the masses gathered outside the velvet ropes of the haughty West 54th Street establishment located, ironically, in the heart of Manhattan’s version of the Combat Zone.

As with his equally compelling documentaries, “Scotty and the Secret History of Hollywood”, “Citizen Jane: Battle for the City” and “Valentino: The Last Emperor”, Tyrnauer’s latest is an extrasensory compilation of photos, excerpts screaming movies, recordings and titles that instantly transport you to another place in time. And what a place was Studio 54 with its mix of innovative architecture, thrilling sounds and kitschy modes. It was the only place you could find Mick and Keith alongside Cher, Truman Capote, Liza Minnelli and Ratpacker Sammy Davis Jr. Even members of the Carter administration could be spotted, the most famous being the president’s chief of staff, Hamilton Jordan, long accused of snorting cocaine on the spot.

Tyrnauer understands all of this, encouraged by Schrager, looking back 40 years through the prism of age and experience. He still speaks fondly of Rubell, who died of an AIDS-related illness in 1989. It was nearly a decade after the couple were sent to jail for tax evasion and drug possession. This is where greed kicks in, as Schrager, Rubell, and their silent partner, Jack Dushey, couldn’t resist skimming off the huge profits that pour in every night of the week. Foolishly, they kept much of the greenery tucked away in rafters and other obvious places, making them sitting ducks when the Feds attacked them in 1978.

The trio’s journey through the court system fills the last 30 minutes of Tyrnauer’s tight, well-narrated documentary, and it’s just as much a buzz for us as it is for them. The result is a shocking change in tone from high-flying hedonism, everything from the club’s heyday to the severity of long prison terms and bankruptcy. Still, it’s no less intriguing, especially when the infamous Roy Cohen – a frontrunner and advocate for the current president as well as Red Scare maven, Senator Joseph McCarthy – appears on the scene as an accomplice and opposing legal adviser. to ethics.

This is where today’s Schrager naturally begins to retreat, both out of embarrassment and out of fear of blame. Before that, he turns out to be a source of information about the club, its design, and its rightful place in the pop culture idiom. It is especially touching whenever we talk about Rubell, his dear friend, with whom he also shared a beach house in the Hamptons that Schrager, now a renowned hotelier, still occupies.

His friend was a gay extrovert, while he was a straight introvert, but neither questioned the other’s sexual motivations or preferences. They were just old Brooklyn buddies who attended the same college, shared a need for creativity, and came together to create not just a nightclub, but a social and cultural landmark. And the one that continues to resonate as loudly today as it did then; a disco hell whose flame will probably never go out.

– Al Alexander can be contacted at alexandercritica@aol.com.

“Workshop 54”
A documentary by Matt Tyrnauer starring Ian Schrager, Steve Rubell, Nile Rodgers and Roy Cohen.
(Unclassified.)
Rating: B +

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New York expats Brian Wolk and Claude Morais have settled down quite well in LA. For their third Wolk Morais collection, the designer duo took over Giorgio’s at Standard, Hollywood for a disco show in the presence of a host of emerging Hollywood talent.

Freshly dressed Julia Roberts in Cannes, the designers showcased a range of Saturday night-ready looks that are all “on the youthful,” Morais tells us as frizzy-haired models buzz backstage on the second floor of the makeshift hall. ‘hotel. (Hotel guests had the quintessential LA experience.) “Even Julia has that past of being a young ingenuous to this woman she is now and her approach to fashion; the way she wears it. her hair [and] clothes.”

The FROW list reads like a tween’s dream team, with familiar TV faces like Teen wolf‘s Arden Cho, actress Katherine McNamara, Disney graduates Madison Pettis and Debby Ryan, Dixie Hart star Claudia Lee, model / actress Cody Horn, actress Emily Robertson and singer Alli Simpson, to name a few.

Continuing the modern Edwardian theme of their second collection, the designers took a “decidedly ’80s neo-romantic approach” to their latest range, says Wolk. Morais adds that they also had starlets – like last night’s guests – in mind when they envisioned the liquid gold lamé dresses and brocade jumpsuits, which were made to go “from the carpet to the Chateau. or Standard for dinner. We’re exploring that. idea of ​​when you’re done and going to eat a burger […] and then there are the paparazzi shooting you, but your hair is a little messy or your makeup isn’t super perfect. “