Andrew WK For Playtex Fresh + Sexy Wipes

You ever read something on the internet and then casually say to yourself, "Welp! I give up! I don’t understand anything anymore!" Because, people, this is happening: Andrew WK is the face of Playtex Fresh + Sexy wipes. They’re kind of like Clorox Disinfecting Wipes, but for your ladyparts, so, yes, it makes total sense that ladies will think, "Whaaaat? Dirty old Andrew WK with the sweat stained white t-shirts thinks I should keep my business fresh? Sign me right up!" 

In a statement, Playtex extolled the virtues of both the product and the spokesman:

This exciting new product required the help of someone who could embody the brand’s playful yet bold campaign; someone who could party hard, but still be clean when it counted. Andrew W.K. is that someone and we are thrilled to have him on board with us for Fresh + Sexy Wipes.

Meanwhile, Mr. WK will be hosting a party at SXSW Interactive on March 9 that includes free wipes and drinks. I’m assuming they’ll serve white wine—because of WOMEN—which, luckily, does not stain. Do you think these Fresh + Sexy wipes work on spilled drinks? There will also be a "one-on-one confessional booth" in which partygoers can tell stories about those exciting and spontaneous moments where they could have used Fresh + Sexy Wipes." 

I don’t know much about female genitalia other than what was briefly covered during eighth grade health class, so I can’t speak of the many reasons why a woman would need to freshen up with disposable wipes. But, I dunno, isn’t it kind of weird that this product exists? Is this a problem? Do women really smell so badly that Andrew WK has to push for them to clean up their junk? 

[via Jezebel]

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David Blaine’s Next Stunt Made Slightly More Interesting With Andrew W.K.

David Blaine, the professional masochist who spends an awful lot of time hanging upside down in locked boxes or cryogenic chambers suspended on razor-thin wires in the middle of Times Square (as is our understanding), will be attempting yet another attention-seeking illusion. But before you roll your eyes and click the “Back” button, turns out the magic man actually has a pretty convincing selling point this time around. And no, it’s not that he will be suspended over the Williamsburg Bridge in a cage with two hungry lions.

Blaine’s next stunt, Electrified, which begins Sunday night at Pier 54, will involve him being strapped to a metal suit for three days as million-volt bursts of electricity course through his body. This sounds incredibly painful, and apparently, fans will be able to alter the Tesla coils via online stations around the world. But the most important aspect of all of this is that Andrew W.K. will be a part of the action Sunday night, playing a million-volt Tesla coil-powered keyboard for an, erm, truly electrifying solo.

"I’m absolutely electrified and terrified by the opportunity to play a keyboard solo with so much energy, and to use this incredibly powerful device to send a musical surge through David’s brain,” W.K. wrote in a statement. Truly, he is never one to shy away from taking a party to the most extreme of extremes. 

Andrew WK Announces ‘I Get Wet’ Tour (As If You Needed an Excuse to Party)

Get ready to feel old, Millennials: it’s been ten years since the bloody, sweaty, raging party rocker Andrew WK released his debut album, I Get Wet, and the single for which he is still best known, "Party Hard." In the decade that followed, Mr. Wilkes-Krier released several other albums, including an improvised piano effort, appeared as a panelist on a number of VH1 shows, become a motivational speaker, and spread the gospel of partying through Twitter (his "PARTY TIPs" make for great reading; e.g. "PARTY TIP: Treat your body like an amusement park"). But he will always be known for "Party Hard" and its stupid-happy genius. 

Andrew WK and his band announced yesterday that, in honor of the 10th anniversary of I Get Wet, they will be playing a string of shows across the U.S., Canada, and the U.K. where they will play the album in its entirety, start to finish. Those LMFAO dudes best be ready to relinquish their reign at the top of party rock.

Andrew WK will be performing the album for four nights at the South By Southwest festival in March, where he has been a featured panelist and speaker the past several years, giving a part-performance art, part-motivational speech focused on — what else? — partying.

Tour dates are as follows, and pre-sale for most dates begins tomorrow (Friday), January 10th:

March 3 – Vancouver, BC – The Venue
March 4 – Seattle, WA – Showbox Market
March 5 – Portand, OR – Wonder Ballroom 
March 6 – San Francisco, CA – The Regency Ballroom 
March 8 – Los Angeles, CA – Avalon 
March 9 – Las Vegas, NV – Body English Hard Rock
March 10 – Pomona, CA – The Glass House
March 11 – Tempe, AZ – The Marquee 
March 13 – San Antonio, TX – White Rabbit 
March 14 – Austin, TX – SXSW Festival (details to follow)
March 15 – Austin, TX – SXSW Festival (details to follow)
March 16 – Austin, TX – SXSW Festival (details to follow)
March 17 – Austin, TX – SXSW Festival (details to follow)
March 18 – Houston, TX – Fitzgeralds Upstairs 
March 20 – Denver, CO – Bluebird 
March 22 – Minneapolis, MN – First Avenue
March 23 – Milwaukee, WI – The Rave
March 24 – Detroit, MI – St. Andrews Hall
March 25 – Chicago, IL – The Metro
March 26 – Cleveland, OH – House Of Blues
March 27 – Toronto, ONT, CANADA
March 28 – Boston, MA – The Paradise
March 30 – Philadelphia, PA – Theater of The Living Arts
March 31 – Uncasville, CT – Mohegan Sun Casino
April 1 – Washington, DC – 930 Club 
April 2 – New York, NY – Webster Hall
April 3 – To Be Announced
April 5 – Atlanta, GA – The Masquerade
April 6 – Orlando, FL – The Beacham Theater 
April 7 – Ft. Lauderdale, FL – Revolution 
April 12 – London, UK – Electric Ballroom 
April 13 – Manchester, UK – Club Academy
April 14 – Glasgow, SCO – Garage 

Good Night Mr. Lewis: Ho Ho Ho!

“The Supreme Court has ruled that they can’t have a nativity scene in Washington D.C…that wasn’t for religious reasons…they couldn’t find three wise men and a virgin.” – Jay Leno.

This will be the last posting until next Monday as the good people at Blackbook break for the holidays. I will be spending mine with many of the people I love, but not all of them. For that I would need a sleigh, some reindeer, and in a few cases, I’d have to sneak in and out undetected. As I shopped for gestures these last few days, I could see the worry on peoples’ faces. The world looks pretty grim and hope is something that seems impotent against the myriad of problems we are facing. Yet, I believe we are blessed, for only in a downturn like this could our nation elect a president who inspires old school ideas like love, decency and fair play. I will say a prayer for him and for all of us on Christmas day. My gut feeling is that it’s going to be all right. So Happy Christmas to all, to all a goodnight and below check out part 2 of my interview with the Santos’ Party House Boys:

What were your careers before you decided to do this club? Andrew you were a musician right? Andrew W.K.: Yea, a performer and entertainer.

And how did you come to the decision that you wanted to have a joint? Andrew: Well, Spencer Sweeney, who’s not here right now, was actually the first guy who ever really invited me to play shows. He saw me play very early on when I first moved to New York. I became friends with him and he had a huge impact on me. Several years ago, watching him DJ and spending time with him in clubs were really the only times I went out. He was always a guide for me when it came to nightlife in New York. So when he told me he was interested in opening a club, I said of course I’ll be involved, just to pay tribute to the full circle of having met him in this nightlife world, and then having it circle all the way back to where we’re now working on a space where we get to make the decisions.

How about you Larry, you came from Pianos right? Larry Golden: I used to work for Liquid Sky; it was my first job. I was Carlos Slinger’s assistant way back when, from there I bartended, and bar-backed my way up and somehow at 23, I became the manager of Fun. So I was the manager there and for a while which was really crazy and I’ve always been in love with it…

You’re a club guy, so it’s an easy transition for you. Larry: Yea, I mean I’ve been doing it for along time, I did Pianos.

Do these guys lean on you for your club experience? Are you the back of the house guy? Larry: I’ve done a lot. I’ve worn a lot of hats.

How do you do that, who’s handling the back of the house, or do you have managers? Larry: We have managers that have taken over that side of the business. So we all just kind of give suggestions at this point.

So let’s talk about the music, because that’s really what you guys are about. A lot of it is social, but your backbone is music. You’ve got a Jim Toth sound system over here. Jim and I go way back, and it’s unbelievable sound. I guess the most famous night you have is Q-Tip on Fridays. Tell me about the rest of the week. When does the club lead the music, and when does music lead the club? Larry: Well I think it comes back to your original question about whether we wanted to sell out to the money side of it, but I don’t think we technically would even know how to do that. It’s just not something that we’re from; we’re not really a part of that money, bottle-model scene so much. The music scene, if anything, we’ve actually had to tone it down. We would like to leave a lot of the stuff that we would be most into, but it’s really about trying to find that line where it does have some mass appeal but at the same time is good. Derek Ferguson: You tap into what’s happening musically within your particular culture and you’re going to have a popular party, so we want the place to represent what’s being played now, and also the things that set precedence for that music. Rich Medina is really good at that and that’s one of the reasons why that party is so successful. He’s playing this tapestry of music that goes back 40 years and linking it to the present. He’s linking it all together, so people will say, okay he’s playing hot music which came out in 1990 and then he’s going to play the hip hop version of that that came out in 2000; he’s bringing these records together. You’ve got to have a house, electronic, dance night, you’ve got to have the hipster rock side, the avant garde stuff and you’ve got to play hip hop in some capacity, because you just don’t have an urban club in my opinion if you don’t represent urban music through hip hop.

How is this recession thing affecting your crowd? Are you seeing the kids having a little bit of trouble paying their way in? Are you adjusting in anyway? Andrew: We haven’t really noticed anything like that…I mean the admission is $5 dollars, its cheap. I think we’ve been really fortunate because since we haven’t been catering or directing ourselves to one particular lifestyle, one particular crowd, one particular income bracket, or one type of person, we benefit from the cross-over.

Derek: If we were doing bottle-service only we’d be feeling it, but we’re not at all.

Larry: I think on the corporate party side, there is a lot of money December would have brought in. It would have been a lot more lucrative in the past years. I remember Fun when the dot COM thing was booming, everybody was making money, and it was insane. People were just throwing tons of money at things.

With this location at 96 Lafayette, you’re pretty close to the Wall Street area where the money used to be at least, and I would’ve thought you would do 25 or 30 days leading up until Christmas. Derek: That would have been sort of the art commerce thing, we would’ve had them come in earlier and get out before. Because it’s going to be a corporate crowd that’s not really going to mesh with our true crowd.

How are you doing with the community? Andrew: We’ve been so fortunate. We found a great location.

But it took you a lot of time to get legal over here? Andrew: We had one faction of opposition from the Tribeca Community Board, which was a little frustrating for us because we’re technically located in China Town, but they were assigned to us.

Larry: There were just worried about it being a typical cub and we were coming at it like we’re actually not a typical club and we care about the community. We care about what we’re doing, we’re offering something to the community and they probably had bad experiences, which a lot of clubs have in the community, but we’ve been fine. I don’t think we’ve had one complaint yet.

Andrew: This specific location is also very dead. It’s not a bustling street, at least not at night. After 5pm this whole area gets quiet, so we’re bringing business into the area. I just saw yesterday — and I was so excited about this — that a hot dog guy set up outside at night.

Derek: That to me, going back to my 20 years going to clubs whether its in London or outside the Tunnel, when you’ve got a guy set up and he’s got his pushcart and you’re smelling that dirty water dog, that’s the smell of success. Larry: And you know what, China Town itself embraced us. We got letters from a lot of business developers. They see what it does for the neighborhood because they’re a lot more realistic about the economics.

Derek: We got 5,000 signatures.

So where does this brand go from here? You have a brand now. A lot of guys brand and they go out to Vegas, this might not be a Vegas kind of thing. Derek: We’re skipping right over Vegas and going to Dubai, Dubai and Shanghai! But seriously…I’d say that the most natural way to use the brand is to expand into a record label and possibly into TV. Because lets just say that there’s a project we’re working on that I think would be exciting and would reflect the musical community of New York in way that hasn’t been done yet.

I look at this New Years’ Eve poster and you’ve got Lissy Trullie, Andrew W.K., the Misshapes, Gang Gang Dance etc. You’re giving way more to your fan base than is really necessary. Derek: That’s the idea here. When you go to a club you’re getting a DJ experience, when you go to a concert place you’re getting that experience — Webster Hall is maybe one of the few other places where you can have a band play and then you can have a party afterward. And that’s our business model, that’s what we want, so our New Year’s party reflects that. You’re going to have banging DJs downstairs the whole night, and you’re going to have great shows upstairs.

Larry: I think it’s the general philosophy and that’s what we’ve done with our great parties, we take chaos and just push it just to the brink where it’s just a little bit too crazy.

How are you marketing it? Do your regulars get first shot at it? Derek: There are people, for example, who follow Gang Gang religiously, so they’re already buying tickets for that.

But that’s a venue kind of attitude. Do you have people who come every night who will get taken care of? Derek: Yea, we’re recognizing our regulars… Larry: But what I really like about it is, people say how do we get in? And I say buy a ticket. That’s the great thing about so many of these events. Maybe there’s going to be some nights when its too packed, or the doors are being handled in a certain way, but a lot of the time you can have that nightlife experience just by buying a ticket. When I was growing up here I never got to get into any place, and just being able to buy a ticket, that was always what I liked.

How much is New Years’ Eve? Derek: Its $50 in advance, $65 at the door and we’re open until 8am. We are an egalitarian-minded place, so unless you’re extremely intoxicated or we’re at capacity, you’re pretty much getting in if you’re happy to pay. So when we talk about this place being “cool” — and I’m a little uncomfortable with that term – it’s just real, it’s just good music. Larry: That was the idea, if you stick with music as the focal point, music will change, crowds will change, but it’s not like you’re selling a scene. It’s not the hot spot for a certain crowd for a little while — as long as there are great bands and music here it’s good.

Good Night Mr. Lewis: Santos’ Party House

With Christmas just moments away, I wanted to sit down with the Santos’ Party House boys; I think this is the best joint in town of its type. Rosebar, Cielo and1Oak are all different but in many ways the same. Next week, for New Years, I’ll try to get into what I think are the years’ most important places and stuff like that. Bogie had it right, or at least Sam did when he sang, “the fundamental things apply as time goes by.” This is my mantra. I believe that 2,000 years ago there was some guy just like me who had a little joint in a good location in Rome. He was close enough to the forum to grab some of that business, but near enough to the Temple of Venus to excite the natives. He served some swill and had somebody offering the modern tunes of the day on a lute or a lyre. He had a hot chick behind the bar and an ex-gladiator or two to keep the patrons in line. On slow nights, maybe he had a promotion: a toga party or an orgy.

The people came out for the same reasons that they come out today: to escape or celebrate their realities, to meet some folks they don’t know, or to gather with their friends. People like to gather in joints and let their hair down. If operators can keep it simple or at least stay focused on the fundamentals, they are one step up on a great deal of the competition. Most operators get caught up in the hubbub and egos, and other distractions confuse the issues. The boys over at Santos zeroed in on the truth real early on and from what I’ve seen, they have stayed the course. Their New Years’ Eve line-up is overkill. They are giving back to those who support them. This year I lost my best friend, Arthur Weinstein; he was rarely wrong about people and places and he declared Santos’ “a hit” — and so it is.

I’m sitting with Derek Ferguson and Larry Golden, Ron Castellano and Andrew W.K. at Santos’ Party House. Tell me where the name came from? I get it all confused, the name, the address, before you had 100 Lafayette and now… Andrew W.K.: We’re actually 96 Lafayette now, we moved. We moved two doors down from 100 to 96. We wanted a little more space and Ron, one of our partners, is a very skilled architect, designer and builder and was able to allow us to get 8 more feet in space by moving everything 8-ft down the block. On the sidewalk you can see the difference a little bit, but essentially it looks almost exactly the same. Has there been a profound effect on the clientele because of this move? Andrew: It’s interesting. It’s just a little more relaxed, just 8 more feet of room.100 was a great number but we wanted the 69, and then we wanted to turn that mother out, so it’s turned out.

69 is a Vietnamese restaurant across the street, right? Andrew:Right, and 96 is two people pleasuring themselves back to back.

Now I went out on a limb when you guys opened and said that you were going to be the shit–the greatest thing in the world, and you were supposed to send me a t-shirt and you never did. Andrew: Yea, I know. We ran out actually, but we just ordered some last week.

You owe me a t-shirt. Larry: Yea we do.

So I went out on a limb because I felt that if people tried in this world to do something cool, that it could actually be done. I think most club owners compromise from day one, and you guys sort of made a decision not to compromise. You chose to have great music and to do it for the kids, that was the decision. How has that affected you financially? Derek: One of the things you said in that original statement was that it was true to our school and that’s why you felt confident in our success. We’ve tried to do egalitarian parties that everybody can more or less get into and enjoy. And also parties that represent the flavor of the city and the various scenes that we’re all a part of that affect the city’s nightlife. But there’s pressure from commercial interests for branding and marketing bullshit that goes on. The whole corporate suits thing is something that we really haven’t done, and I think as a result of that, you’re seeing some affects to the bottom line in terms of…we could be doing more corporate parties, we could be doing more sponsorship things and yet we’re not.

Now there’s five of you, who draws the line, how do decisions get made? Ron: I think for the most part we’re all in the same way of thinking. Derek: We share the same vision. But when you’re talking about money and you’re talking about the purity of your message, there are times when there must be cross purposes. You’ve got to pay rent, you’ve got to party and you might not be as cool as you want. Andrew: My personal feeling is just a case-by-case- instinct. And that’s been the way I think we’ve really done most things. I don’t think we’ve had to draw any very hard lines over what we do. I think the whole place is a result of our individual tastes and trying to apply that to as broad a scope of the city as possible and working from there. So we really work on the fly, that’s why it’s a constantly evolving creative space because we don’t just have a rule book that says “this is what it is, this is what it is” and that’s why the name keeps changing, that’s why the place looks different.

Let’s go through the name for a second. Tell me about the name, how does the name evolve and why is it evolving? Is it done or purpose or is just happening? What is Santa/Santos? Derek: Well, first we were worried about a lawsuit from the North Pole… Ron: And we wanted to create a place that had an inviting sort of confusion. The traditional approach, which could be with any business, but especially with a nightclub in New York, is to pick a name that is somehow perceived as impressive and catchy that people would instantly understand and be able to go to. You really want to get it out there and shove it down their throats because there’s so much competition. So part of it, I think, was just trying to do the opposite of what we thought was normally done, or what we thought you were supposed to do and instead being more subversive. Changing the name and not having people even know what the name was or where it’s located and not being able to find pictures of it, just to draw people in. Because when there’s so much being offered to you all the time, especially culturally, it takes a little more for someone to have to step up and say, “okay, I’m interested in this,” but if you pull back a bit, especially in New York, if people want to find out then they have to take that first step. We wanted to make it an interactive experience, especially at the beginning, so that people would be able to make up their own mind and not really be told what it is by us. Andrew: Yea, we were like this is what we are and this is the coolest but no wait, actually maybe we’re not and who knows what we are?

So you don’t want to be defined too easily, you want to keep evolving and changing. Derek: I think the name is more irreverent than anything else. It’s like Santa’s Party House, okay, what does Santa do? He chills most of the year, and parties and then does a day and a night of work. But if you look at it from a sort of literary critical level, there’s the shift to Santos, who is the trickster figure of Santa Claus in many cultures. Like Black Peter, that’s the guy who is punishing certain kids, he’s leaving them a lump of coal, which is kind of harsh and he’s rewarding the good kids. If you think about the way club scene is, they’ve got the line and a similar concept: I well remember being outside of Spa, and it’s either — you’re not coming in, or you’re coming in — there’s a little bit of punishment and reward. And we wanted to be a place that’s about reward, where Santa goes to party but also like Andrew said, there’s this subversive trickster element to it. The shift to Santos is the ghost of Santa, I think, as Andrew described it. Andrew: Yea, a non-physical presence. We wanted to work as a collective, we even went beyond us and tried to think in this collective unconscious nightlife headspace and that would be signified by this character Santa Santos.

That’s a very important thing, to think outside of your own persona. Derek: Yea, it’s the concept of Ken Kesey and the Merry Pranksters. It’s the idea that you’ve tapped into this collective unconsciousness of what people are doing and it sort of coalesces into action, it’s an art and that’s how it’s defining itself. Andrew: But here it’s manifested as a location.

New York: Top 10 Celebrity-Owned Hotspots

Scott Weiland’s Snitch is now Citrine, Tim Robbins is no longer behind the Back Room, De Niro’s Ago was critically panned, cholesterol problems await at Justin Timberlake’s Southern Hospitality, and Arnold Schwarzenegger & co.’s Planet Hollywood is a tourist trap, all’s not lost — here’s a list of celeb-owned spots worth looking into.

10. Bowery Wine Company (Bruce Willis) – “All for wine, wine for all” — it’s their philosophy, and we agree. 9. Angels & Kings (Pete Wentz, Travis McCoy) – Not short on cheap thrills; sex in the bathroom is encouraged. 8. Michael Jordan’s The Steak House NYC (Michael Jordan) – Though business may temporally be cooling, it remains the quintessential rich man’s cafeteria. 7. Nobu (Robert De Niro) – We hear it’s a bargain compared to the Nobu’s London outpost. 6. Santos’ Party House (Andrew WK) – Music aficionados looking to pick up oddball scenesters, look no further. 5. Haven (Bershan Shaw) – Like an old rich man’s study cum cigar bar (minus the cigars, but with the scotch), the dimly lit spot is a welcome relief amidst the midtown beer-guzzler bars. 4. The Box (Jude Law, Rachel Weisz, Josh Lucas on the board) – Love it, hate it, or simply grossed out by it — there’s no experience quite like it. 3. Waverly Inn (Graydon Carter) – Given that you basically have to know the Vanity Fair editor to get a table, may we suggest brushing-up on your networking skills to avoid missing-out on a fireside truffle macaroni and cheese dinner? 2. 40/40 Club (Jay-Z) – Cigars, cognac, swinging leather chairs, 50-plus flatscreens, and VIP rooms aplenty — in other words, the swank hip-hop sports bar has Jay-Z written all over it. 1. Cutting Room (Chris Noth) – Sure, the crowd’s not the hottest, and the space could use a facelift, but catching at least one Joan Rivers performance should be considered a Manhattan must.

Industry Insiders: Spencer Sweeney, Your New Santa

Spencer Sweeney, artist and one of the forces behind Santos’ Party House, talks community boards, sketchy after-hour clubs, and why he’s changing his name to Santa.

Point of Origin: I came to New York about ten years ago from Philadelphia where I was an art student. I started DJing when I moved here at a sketchy after-hours spot on Ridge Street. Looking back, it was a pretty significant place culturally. My first party there was with Eugene Hutz of Gogol Bordello. The club was basically some guy’s apartment, and he got arrested every weekend. I think he had an incarceration fetish. There was this party at Standard Notions on Ludlow, which was a big hangout. Every week you’d have the guys from A.R.E. Weapons, Chloe Sevigny, Ben Cho. That’s where we all came together. At the time, DJing was very genre-driven. If you went into a record store, everyone would ask what you spun, and you’d have to be like “Organic Deep House,” you know?

Occupation: I co-own Santos’ Party House with Andrew WK, Larry Golden, and Ron Castellano. I had been DJing at the Hole, and the owner was basically raping me, paying me in pennies. And I thought how cool would it be if we could have our own space. It took us three years to build out Santos. Part of the impetus behind the club has to do with the Dadaists and the Futurists, which were artistic movements that had very strong social legs to them. We started with the stage and sound system, getting the best we could. And the idea of calling it Santa’s Party House was to try to make the most radical departure from nightclub naming as it currently exists. It was originally Santa’s, and then we were advised by our lawyer not to go with Santa, because if someone really wanted to fuck us, they could say it’s like Joe Camel trying to appeal to young children. So Andrew came up with the shift of Santa’s to Santos. But I found a way around it. I’m actually legally changing my name from Spencer to Santa. Really. I will be Santa Sweeney. It’s gotta be called Santa’s. It’s perfectly absurd.

imageSide Hustle: I’m an artist. I have solo show coming up at the Jack Hanley Gallery in San Francisco. I was in a performance art troupe called The Actress with Lizzi Bougastsos of Gang Gang Dance and some others. I wanted to move into visual art. I had just quit my job as an artist assistant — I was a terrible assistant — and I was walking down the street, I had heard about Gavin Brown and the bar Passerby and I thought that would be a good place to do parties and performance. We had a lot of good stuff — Fischerspooner and Andrew WK — it worked out great. Then I did a solo show for Gavin.

We’re going to be working with a lot of artists at Santa’s, have more live music and a theater group too, that Kembra Pfahler of The Voluptuous Horror of Karen Black is going to direct. Our liquor license took a year. Our neighborhood didn’t have a community board, so we were thrown to Tribeca by default. We were like “we won’t even be in your neighborhood,” and they’re like “we don’t care!” It was a bunch of angry old ladies. We had all our friends at museums write letters on our behalf, saying it would be a place for artists and culture. The board was like “what kind of artist is gonna be up at two in the morning have a drink?”

Favorite Hangs: I liked Lit on Mondays and Wednesdays. And I like … uh … I guess that’s the only place I go. Erik Foss, the owner, is a nice guy. Of course there’s also Max Fish which has been a great place for 20 years now.

Industry Icons: I don’t want to emulate anyone else’s career. But there’s definitely inspiration. Mickey Ruskin at Max’s Kansas City. I mean everyone went there. And Steve Paul who owned a place called the Scene. And the biggest inspiration was Arthur Weinstein, who I was very good friends with, who just passed away a few months ago. He owned one of the first discos called Hurrah. They were really hot for a season, then Studio 54 opened up. I learned a lot of lessons from him.

Known Associates: I’m collaborating at Santos’ Party House with a great choreographer named Maria Hassbi. Who else do I want to give shout-outs to? Andrew WK. Gavin Brown. Elizabeth Peyton. Agathe Snow, Carol Lee at Paper magazine, Ben Cho, Chloe Sevigny, Meredith Monk — we hope to have her perform. Will Oldham — him too.

What are you doing tonight? Going to a reggae party. I’m excited.