Historic Films Stock Footage Archive: LB-8

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00:26:42 9.16	Slate
00:26:53 19.83	Lynn Barkley interviews Mark, Studio 54 Doorman.
00:26:59 26.05	Speaker 1. Interviewer You know, being one of the most important people in the world of disco as far as who belongs and who doesn't belong? How do you go about choosing who you want to be involved in that? Speaker 2 Studio 54 Bouncer, Mark involved inside the club, it's, it's, it's quite a very faceted process. A lot of different types of people we have crazies who either dress crazy or act crazy, they add a lot of energy to the room, and you have very conservative, even Wall Street type people who sort of fill the room up and they're not offensive either way. .
00:27:37 64	Slate Take 2 Speaker 1 Interviewer Mark being one of New York's most creative people, in a sense that you have enormous power over the people who party in New York and the people that don't. What do you look for when you're trying to create an attitude or ambience in a nightclub? Such as Studio 54? Speaker 2 Studio 54 Bouncer Mark Well, what, how do I judge? Well, you basically have an open Speaker 1 Interviewer Does dress have anything to do with it? Speaker 2 Studio 54 Bouncer Mark Sure If somebody somebody dresses, you know, in high fashion, or in a crazy wild sort of way, you know, they'll be much more than likely to get in as to somebody who wouldn't. Then again, you know, we do have lots of regular normal people that comes to the Studio, but they add in their own way. Speaker 1 Interviewer What about celebrities do celebrities come in? Do they get any special treatment or consideration when they come into a nightclub? Speaker 2 Studio 54 Bouncer Mark Uh, Celebrities in most instances, hold on - (he walks away). I'm just trying to do an interview. It's ridiculous. Celebrities, uh some celebrities get special treatment, others don't. Speaker 1 Interviewer Do they get in for nothing. Speaker 2 Studio 54 Bouncer Mark Most of them do not all. Some celebrities, believe it or not, would actually rather pay at the door and don't make a big fuss about not paying although that's not really the case in most instances. Speaker 1 Interviewer Do people get offended by being rejected by you? Speaker 2 Studio 54 Bouncer Mark Oh sure all the time. Speaker 1 Interviewer In what manner? Speaker 2 Studio 54 Bouncer Mark Well, they get, you know, they get very upset emotionally. Most people really don't get physical, though at all. Very, very few. Speaker 1 Interviewer Do you ever get threatened? Speaker 2 Studio 54 Bouncer Mark Oh sure all the time Speaker 1 Interviewer In what manner? Speaker 2 Studio 54 Bouncer Mark You know, people will verbally threaten you, much more verbal abuse. Physical abuse, I really haven't run into. I guess I've been more lucky than anything else. Although people will tend to sleep it off, you know, after they've gone home and had a few drinks somewhere else. the next day, they'll get up and pretty much it won't bother them. Speaker 1 Interviewer being in front of the door of Studio 54, how has that affected your personal life? Outside of Studio? Speaker 2 Studio 54 Bouncer Mark it's, it's really been something I mean, it's it's practically created, you know, a whole, if not in a whole other person a whole a whole other lifestyle, way of being. You know, you get treated in certain way when you go out to other clubs or to restaurants and people stop you all the time on the street or when I go shopping, you know, it's just a constant. You know, it's almost like, you know, it's being like a mini celebrity.
00:30:09 215.91	Speaker 1 How do you handle the ? And do you feel offended when people constantly approach you on the street or in restaurants or things like that? Speaker 2 Bouncer Mark At first, I did only because it was something new to me. It's, you know, I think I really grew with the job after a while. I realized that I had many shortcomings at the beginning. But I you know, I think I was able to handle myself after the first year or so. Speaker 1 Interviewer How many people you think out of the 1000s and 1000s of people that you must come in contact with, how many of those people do you recognize by name? Speaker 2 04:05 By Name? Not as many as by face. I probably say I would know about 5000 faces or so. Speaker 1 04:11 Do you put that association of a face to their occupation in any way? Speaker 2 04:17 Not really? No. It's just basic face. Speaker 1 Let me ask you something, do you have any, is there any sex code? Or is there any special attention that you play towards the people coming in? Speaker 2 Bouncer What do you mean, a sex code? Speaker 1 04:35 Well in a sense, do you look for more gay people than you do straight people? Do you look for more
00:31:13 280.37	Speaker 2 Bouncer - Mark Gay people in general, add a lot of energy to the club. You know, they'll go on the dance floor and they pretty much won't bother anyone you know, and keep to themselves they're very, they're really important to have inside the club. They add you know, just an incredible amount of energy. As far as we also look for very, very pretty women and good looking men, whether they be straight or gay. It really doesn't matter. You don't have to be gay to get in the Studio
00:31:39 306.77	Slate: Take 2
00:31:46 313.13	Speaker 1 Interviewer Some people who on many occasions, I've heard seen people standing out from the streets hollering, Mark, Mark, raising their hands, waving, how does that affect you getting that all night long? Speaker 2 Studio 54 Bouncer Mark I just, I just sort of block it out, I really don't let it get to me, I just just really concentrate, you know, straight on and just, you know, go out there and do the job. You just you know you can't, it doesn't overwhelm me, you know, it really never did. Speaker 1 Interviewer Do you feel do you ever get a sense of power or feel a sense of power? Speaker 2 Studio 54 Bouncer Mark In the manner of of determining whether or not somebody and if I don't let them in, I probably really put them in a bad mood in terms of not for them not being able to enjoy themselves that evening. But uh you know that that is part of the job. Interviewer Do you ever feel a sense of guilt or sorrow for any of those people? Speaker 2 Studio 54 Bouncer Mark No, I just I rather not think about it. Speaker 1 So personally it doesn't affect you at all. Speaker 2 No, I just look at it as a job. Speaker 1 When somebody comes to the club dressed very flamboyantly and more expressively in their clothes, does that benefit them getting in or guarantee it? Speaker 2 Sometimes. Not always. You have to be trained to look for when people are just faking it or whether they are, you know, real about the way they dress. I mean, I'd much rather have somebody who dresses that way almost all the time, you know, who dresses crazier or has, you know, pink hair or, you know, or wears fishnet stockings even in the daytime than somebody who comes you know, from God knows where on Long Island and just wears that, you know, just to get into Studio 54? Because it's fake, and it's ridiculous.
00:33:21 407.83	Speaker 1 Interviewer What effect do you think disco has had, Studio 54 and the disco nightlife has had on the fashion industry? Speaker 3 06:56 I think that studio 54 More than disco itself had an effect. I know that Steve Rubella always used to say, and I think this is true, that we've changed the way people dress in New Yor., I think more so than disco in itself, you know, Studio 54, because so much of the criteria of getting in is how you dress therefore people would, I once had a guy, I was wearing a sports jacket one night, and we had a guy who came up to the door and I said if you go out and buy this sport jacket tomorrow night, I'll come back and let you in. And sure enough, the next night the guy came back with my sports jacket on. And, uh you know, Speaker 1 I guess it's had an enormous effect. Speaker 2 it has, yeah, Speaker 1 Do i I Steve Rubel will stand at the door on occasional. And he will say things to the point of you can't come in because your shirt is open. Do you ever dictate to people? Speaker 2 No, I, I always try to be a little more subtle than that. I might have been sterner than Steve. But I was always trying to be more subtle, you know, of course, if you're coming to the door, wearing a three piece suit with a huge gold chain hanging down the middle, and the collar is about four inches, you know, in width on each side, it's not going to make it inside the Club. It's just not going to happen. Speaker 1 Interviewer What do you think people really came to come to Studio 54? Beyond the social aspect of it, what effect do you think it has on them psychologically? Is there any certain inner emotional thing that has something to do when they come to Studio? Speaker 2 Oh, sure. They if they get in, they feel accepted. And that's my theory on why people stand outside all night long. You know, and don't get in because they'd rather stand outside and hope that they will get in whether they sit out there for four hours or for 40 minutes, because at the end of the night, they can just say, Well, I got in and they'll forget about the fact that they stood out there all year. Speaker 1 If a guy stands out there four or five hours on a cold winter night, are you gonna let him in? Speaker 2 No. Speaker 1 It has no criteria? Speaker 2 No, it doesn't. Speaker 1 You like your job? Speaker 2 Do I like my job? I like the benefits that my job has given to me.
00:35:27 533.83	Speaker 1 What kind of benefits has your job given you? Speaker 2 08:56 Well, moreover, more social than anything else. Financially, it's helped me out quite a lot. Speaker 1 09:02 Is there any business opportunities that are offered to you? Speaker 2 09:06 Hmhm I've done a lot of modeling because of the Studio. Done a few print ads. I've done four television commercials. Speaker 1 Has anybody ever offered you sex? Speaker 2 Oh, yeah. Speaker 1 09:15 Do you take it? Speaker 2 It depends on the offer. But they have to be hot enough to get inside first. Because if they weren't, then that wouldn't be a problem anyway, so it doesn't matter. Speaker 1 I see, the ones, the sex offers you're getting aren't hot enough? Speaker 2 They're not hot enough to get inside, they're not hot enough for me. Speaker 1 09:34 What would ever be another 54 or anything like it? Speaker 2 I think that anybody who tries to duplicate Studio 54, no matter how much money they spend, is just going off on on a venture that's not going to get them anywhere. Some something like 54 might and probably will happen again. But it's gonna take a little while. It's something that doesn't happen, you know, you just don't open the place and that whole phenomenon doesn't happen just like that. Speaker 1 What makes the club successful? Speaker 2 The most important thing is the people inside the club. And I think that's most important as opposed to the ambiance and everything which is very important but Studio was able to mix the people and the ambiance and the atmosphere of the club and that's what made it great.
00:36:47 614.17	Break.
00:37:00 627.57	slate
00:37:11 638.39	Speaker 1 Mark What effect to the bizarre characters, the transvestites the crazies who wear all the wild costumes what effect have they had on the fashion world of disco? Speaker 2 They've had an enormous effect. They've really revolutionized almost the whole the whole industry, the whole sportswear industry, the whole nighttime evening wear industry everything. Speaker 1 Do you think the people that that design fashion that make up the costumes? And I heard that myself? Could you just hold that door quietly for a minute, please. Thank you. Speaker 1 Okay. Do you think the designers get their ideas from the, from the bizarre characters they see in the nightclub? Speaker 2 I'm sure they're inspired by them, absolutely. And they go, they all go to Studio 54. Speaker 1 Let's say 1977. Oh, there she is! Speaker 2 Hi Carmen! Speaker 1 In 1977 bizarre characters. You weren't coming to New York cut it for a second
00:38:20 707.02	Blank
00:38:23 710.47	Slate
00:38:27 714.3	Carmen and Lynn Barkley lean against the Bar. Another two people stand beside them.
00:38:28 714.87	Speaker 1 Carmen, what do people come to Studio 54 for? Speaker 3 Carmen Sanchez having a good time obviously. Speaker 2 In what manner? Speaker 3 In What manner? The manner that a disco takes, you know, can can be
00:38:40 727.35	Blank
00:38:41 728.35	Slate
00:38:43 729.83	BARKLEY INTERVIEWS CARMEN SANCHEZ. TALKS ABOUT GETTING IN STUDIO 54. DOOR POLICY. * FROM 00 41 34 TO 00 42 10 VIDEO GLITCH. TALKS ABOUT SEXY CLOTHING, IS IT A PUT ON? OR IS IT GENUINE? FREEDOM OF SELF EXPRESSION. LIGHTS ADD TO ATMOSPHERE. SUCCESSFUL CLUB = PEOPLE, D J DEEJAY & BEAUTIFUL ATMOSPHERE, LIGHTS. * 00 46 56 TO 00 47 34 GLITCH
00:38:45 731.98	Speaker 1 Interviewer Carmen, basically, what do people go to studio 54 for? Speaker 3 Carmen Sanchez I would say to have a good time. Speaker 1 Interviewer I mean, in what manner do they have a good time? Speaker 3 They see beautiful people, they meet beautiful people, they go , they feel free. And they can express themselves and you know, relax. They forget about everything else. And they just have a good time. Speaker 1 Interviewer Well getting in the Studio 54 there's been an enormous amount of difficulty doing that. Why is that? Speaker 3 I see You know that better than anybody else. Because when you were at the door, it was marvelous being that you know, everybody, and even if you don't, you can take a good look at their eyes. And you know if those are suitable for Studio or not. So that was what I had in mind for Mark and his door. Unfortunately afterwards, we're not there anymore. And as far as I'm concerned, that door policy of the Studio, everybody seemed to some people like, a lot dislike I, you know, I don't particularly go for. I think that the person that substituted you didn't do a good job. And because of that I got a lot of my beautiful people turned off. They don't want to be turned down when they go to the place you know. I think we did a lot of the publicity for ? actually, by doing that.
00:40:12 819.01	Speaker 1 Do you think it offended people all over the world by their whole attitude of saying they can't get into something? Speaker 3 I would say so. Speaker 2 Do you think in any manner, it really helps to embellish Studio by the whole idea you can't get in? Let's try anyway? Speaker 3 To a certain extent, yes. Because people do like to get the feeling that something is going to be hard to get to. But on the other hand, you have to know where to stop, you know, there has to be a limit. And there are a type of crowd that you and me know very well, which just refused to be turned down. You know, they won't try again. Speaker 1 Interviewer In the world of fashion, you think the bizarre characters had any influence on fashion, per se? Speaker 3 Oh, yes, definitely. I think that was really beautiful about the Studio. The combination of people. If you put just the beautiful people so called together, then they they are used to seeing each other they might even get bored of that. But if you mix them properly, which was the case of the Studio with all the bizarre characters and the transvestites and all that, that was the reason that most of the people who like to go for. They liked the combination. I think it was a wonderful content. Speaker 1 Interviewer So what impact do you think fashion business had on the nightlife? You're talking about a sociological impact, was that on the way people express themselves in nightclubs? Speaker 3 in the freedom that people got, you know? Because now that I just came back from Paris, even the French people are not uptight anymore, you know, which used to be the case before. I
00:41:35 901.82	GLITCH IN THE FOOTAGE. AUDIO OK BUT INCORRECT VIDEO. Speaker 3 I think that after the Studio, the Palace opened in Paris, and people in a way got carried away by that phenomenon than Western, you know, arriving in New York and they follow up. And now that I was there, I saw all these people completely opening the way they act in the way they dress, not uptight, is like being in projection of New York to a certain extent, which is beautiful.
00:42:05 932.64	Slate
00:42:10 936.99	CU Carmen's chest. Speaker 1 Carmen in the disco nightlife in Manhattan, psychologically, what impact does sex play? Do you think the dress is more provocative in the sense that it's trying to stimulate and to come on of both people to enjoy one another in the disco? Speaker 3 You want to feel comfortable when you are going dancing, and you want to be able to move freely. So the most bare you are, the better it is. Consequently, I think that it also is very sexually provocative. You know, you have big slits, you have bathing suits, you have low deck halters, you have see throughs. And I think it always sort of stimulated, you know, visually Speaker 1 You think provocative dancers on another dance floor, do you think it's a put on all that stimulation, or you think it's really directed to the excitement of one another? Speaker 3 I think that they really get carried away because they are feeling it. I think it's very genuine, very spontaneous, Speaker 1 You think it's stimulating for the people on the dance floor as well as the people watching, Speaker 3 I would say, so certainly, it's a hot act to watch, you know, and to participate. Speaker 1 You think it's a real freedom of self expression on the dance floor? Speaker 3 Absolutely. At least that's the way I feel. When I'm there on the dance floor I don't think about anything else, you know Speaker 1 Do lights have an effect on this? Speaker 3 I think it's a conjunction of things that make a good atmosphere. I think lights are extremely important. And we did of course, sound, the type of bit, the music, the DJ, and the general atmosphere, you know, which is created by the people.
00:43:52 1039.06	Speaker 1 You just mentioned something, briefly at this point, what basically, what really makes a successful nightclub? What are the ingredients? Speaker 3 I would say those ingredients that I just mentioned to you, basically, people, I mean, if you don't have people, you can have the most beautiful place in the world. And I've always said you're stuck with an elephant. Now, if you have that to start with, and you put them in a beautiful atmosphere, then you are sure you are going to have high energy and everybody is going to be having a good time. By a beautiful atmosphere. I mean, good music, good sound, good lights, you know, nice decor, so that people are going to feel that you know that they haven't been let down. They are going to a beautiful place. So it works down in that way. It's mutual. People come because they know that they're coming into a beautiful place. And at the same time, if you keep the atmosphere, you can be sure they're going to come back keep coming back again. Speaker 1 Just to jump to fashion for a second. I noticed an enormous amount of fashion people patronizing Studio 54. And it was once said that a lot of the ideas come from the characters and their clothing and their outfits. Do a lot of these people make up their own costumes? Do they create? Speaker 3 you know that I am a fashion freak myself? That's my hobby. So when I got involved with the Studio, I made it a point that there was going to be a fashion ingredient. I think it's easier when you are a woman you know, and you are into it. You can have a discotheque with a couple of businessmen but they don't necessarily have to know about fashion. I made it a point of that. I wanted the Busboys and the bartenders to be like movie actors. You know, I did the casting for them, like if it was for a movie, and they were very attractive. And I insisted that a fashion designer would do their costumes, because I wanted it to be all very fashion oriented. And with it, I introduced I think for the first time into discotheque, the fact that it could work 24 hours over 24. And we could have a lot of fashion shows during the day. And all the fashion designers got attracted to this sort of showing, you know, showing their fashions at this context, which I don't think had been done before since then. And sometimes I think they improvise their looks, and they do them themselves. Then another case is you can go out and get your clothes because they are disco clothes, especially made for going out and having a good time.
00:46:18 1185.18	Speaker 1 From a woman's viewpoint coming into a discotheque such a studio 54, you think it was stimulating to see those men undressed basically behind the bars? What effect did that have on you as a woman? Speaker 3 I mean, it's something that I don't really like or dislike, you know, sometimes I think it can get a little bit too much I think the ingredient should be to keep it fashionable, which is elegant chic, you know, when it gets a little bit too carried away. It could become a little vulgar connotation. Sometimes I don't particularly go for expressions like that.
00:46:52 1219.24	video goes dark, Carmen can still be heard but audio speeds up a bit.
00:46:58 1225.25	AUDIO ONLY , film distorts upside down, a different video. Speaker 1 What were all the vulgar connotations about the basement about? Speaker3 There was nothing vulgar about the basement. It was quite private, actually, you know. Speaker 1 I know it was there. I was just curious to know what went on down there. Speaker 3 Well, that was the place where people went and relaxed, you know, if they wanted to have a more private conversation or get into a more intimate situation that was Speaker 1 sounds like your saying that Steve Rubell procured young boys with a ? to go downstairs is that it also? Speaker 3 I can't really tell you because I wasn't there with Steve Rubell when that happened. I went there a couple of times myself and i tell you it was a wonderfully relaxing place. I think by the way that every discotheque should have a certain place where ???? you know a place where you can relax, sit back and talk as opposed to the live beat of the music.
00:47:35 1261.83	Montage of disco lights
00:48:04 1291.48	Slate
00:48:06 1293.74	Speaker 3 There are so many good looking chics available all over the place and there are alot of good looking guys too of course and so you just go out hunting in the evening and you find alot of intereting people. Speaker 1 Do you think everybody is out basically for the same thing. I mean New York is kind of a singles scene. What do you do with all your spare time? Speaker 2 I use it properly. i take a lot of care of myself. Speaker 1 Let me ask you something. Are women today are more provocatively inclined than they were in the past? Speaker 3 much more aggressive, I would say. Definitely even more aggressive than men. Speaker 1 Do you think women are intimidated at all to go into the nightclubs in New York alone? Speaker 3 not at all. I think they might even prefer going by themselves. Because if they go in company, you never know when they are going to drop their company, probably the moment they find somebody better. Speaker 1 So watching is just as important as participating? Speaker 3 Well, it all depends. You know, there are people that like to watch. Another that wants to participate. Both of them are suitable to your needs. Speaker 1 Why did you choose to living the New York nightlife and New York? Speaker 3 because it is the
00:49:28 1374.94	Slate Speaker 1 Carmen whey did you chose to live in New York City? Speaker 3 continued most hot place in the world to live. Believe me, I come from Peru. And that's not the place right now. Rio is very nice. Very, very nice. It's almost there. But it's so international. It has so much floating population, you don't even need to move from New York in order to see everybody from the rest of the world coming here. You get to see more Brazilians, more Italians, more French than in Paris, in Italy or in Rio. You know, Speaker 1 where do all the stars and all the trendy people go now that Studio 54 is closed? Speaker 3 I would say that they distribute themselves, you know, all around, Magique, Xenon, Regina, Roxy they want to go rollerskating and so forth. But I don't believe though, but I don't believe that there is right now a place that is like Studio, you know. In other words, they are distributed around as I said before but I don't see a place in which everybody meets like it was the Studio meeting place for the world. Speaker 1 Where do you think the industry is headed as far as the disco world. What do you think the next up and coming craze might be? Speaker 3 I openly think that everybody stimulates each other. in one moment during the 70s I think Studio became a trendsetter as a discotheque. And then Paris copied with the Palace, the same concept. Right now I think that probably the French have the answer. I just came from Paris and it is as far as I'm concerned not only discot but also cabaret, live entertainment people are gullible they want more and more and more. Disco at this point is not enough. I think that if you can add another attraction like live entertainment, cabaret, music hall. That is the new combination which would be a winner. Speaker 1 The future of the 80's Speaker 3 Zippers! Speaker 1 Wonderful I couldn't pay for that. Pause Speaker 3 into a carnival, you must create an atmosphere like a carnival. In Rio they know very well the answer. Every year they have the School of Samba, which is part of the Carnival in Rio. And it creates an energy that you just can't control. You just have to have a good time. And I just came from Paris, and I saw the phenomenon. Speaker 1 Do you think people want to participate as much as they did before or do you think they want to sit back and be a
00:52:09 1536.58	Speaker 3 Participant Speaker 1 Do you think they want to be entertained at the same point? Speaker 3 Yes. And I do go for very good service. People like to be entertained nicely, as opposed to having to hassle for a drink or things like that. I think the better service you give them the better will be. Film end, some audio continues 00:52:25 Speaker 3 People are going more for elegance Speaker 2 leaning towards more total involvement. Speaker 3 exactly.
00:52:55 1582	End Reel