I used to tell all my potential first-time nightlife industry employees a little ditty before they actually agreed to come aboard. If you are a regular reader (well, you must be quite irregular for that) you have heard this before… and now you’ll here it again: I told the people working for me to have an exit strategy. The money is good. The people, the celebrities, the action can be an addiction – but the life, except for a few, has an expiration date. When it’s over, you have to have a way to support yourself. It ends when you need a change but no one will hire you because they want younger, or you just can’t put in the hours anymore, or the "distractions" of the night become a real problem. I would tell them nightlife is like a rollercoaster…you pay a little money to get on and the first thing you do is go up a great hill and from there at the top it seems like you can see forever, when in reality you are seeing just a bit more. Then its a fast ride down and around, thrills spill treacherous curves, some screams, some fear, some exhilaration, and when it’s over you end up basically where you started, spent a little time, had some fun. Many creatures of the night are putting themselves through school or are actors or artists or dancers. They are pursuing dreams in a place built on them. They often service stars, people who were just like them a decade ago. Failure and shattered hopes often are a heavy burden as time goes on. Breaking out is hard to do. The odds are stacked against them. Emily Lazar left NY behind to chase her dreams on the left coast. She used to work with me. She’s a rock star trying to let the world realize that.
The city continues to wage war on clubs. The fining, suspending and eventual closing of many clubs speaks volumes about an administration, which in its quest to end smoking or coddle to real estate interests, has once again lost sight of the man or woman on the street. Clubs suffer from a zero tolerance policy from City Hall. If a couple of patron–out of thousands–light up a cigarette, city agencies swoop down and declare it a public menace. God forbid a couple of drunks punch each other. The city’s response is, “OMG! See what I mean?” And an order to close the place is obtained. If a drug dealer sells a joint, that becomes living proof of the reincarnation of Pedro Escobar and a declaration of war on the club is issued.
This might sound like an exaggeration, but when I spoke to M2 owner Joey Morrissey last week, he cited these very reasons for the shuttering of his joint that put over 400 New Yorkers out of work. However, go to a Dead concert at Madison Square Garden (Don’t go, take my word on it) and you’ll pick up on that sweet smell of familiar herbs. A fight might break out, cigarettes will be smoked here and there (despite the best efforts of MSG, their security forces and the hundreds of cops the city will supply for the affair), but nobody suggests closing that joint. If someone gets caught dealing a few pills, that person is arrested and nobody talks of closing the Garden or declares it a public nuisance. I guess if it happens during a Knicks game you’d have some takers.
We’ve talked about this before. The city is using the nuisance abatement law, designed to close whore houses and gambling parlors, to harass an industry that employs hundreds of thousands, generates billions in tax revenues and is frequented by more people in a year than the Yankees, Mets, Knicks, Rangers, Broadway shows and museums put together. The cops get a judge to close a club under the flimsiest of pretexts: a few people smoking cigarettes or someone sells a handful of joints or a couple of pills. A judge signs an order one day and the cops wait ’til Friday afternoon or evening when there is no judicial recourse and that’s that. The club is closed until Monday when invariably the order is overturned. However, the resulting loss of revenue puts hundreds on the street and hurts the club so badly financially that it can’t survive, let alone mount a vigorous defense in court.
Today I talk to Emily Lazar who has made her living in clubs while she chases her dream of being a rock star. Her appearance the other night with her band September Mourning at Irving Plaza, opening for Ratt marks a step towards her dream. There are thousands of people supporting themselves in a jobless economy by working in clubs. Many are actors, writers, musicians, dancers, students, poets, Broadway performers, mothers, fathers and such.
A billionaire mayor sits in the clouds and never really gets it, never understands the struggle. How could he? The loss of “night” jobs severely affects the ability of many creative folks to make it here. Dustin Hoffman, Bruce Willis, Debbie Harry and so many others worked in joints on their way to stardom. Emily Lazar sees a light at the end of the tunnel. Her ambitions have been supported while she worked with me and many others. It was work, a little sleep and band practice daily for so many years. Her big stage NYC breakout the other night is one story of many that tell a tale of careers that get paid for through night work. Irving Plaza was a big break. Now she’s hoping to break out.
You grew up in and around NYC working in clubs and in the scene. How would you explain this molding your artistic vision to what it’s become today? I started coming into the city when I was about 15. NYC is its own living, breathing creature. The city attracts so many artistic people in so many different industries and houses them on a relatively small island. It’s truly a melting pot of culture. The nightlife scene here has left its mark on me as a performer. The scene gave me the freedom to express myself in so many different ways. There were no limits. The more larger-than-life, the better. There are so many amazing personalities that have their roots in this scene. I think my artistic sense was developed through my exploration and creation of my own “characters” and personalities that I’d become when I’d dress up and go out. I can definitely see a correlation between my stage persona and some of the people I’ve met in nightlife. There’s definitely a little Kenny Kenny fierceness when I growl into a mic, and some Amanda Lepore sexiness when I prance around onstage.
You front the band September Mourning, but you see yourself as a performance artist. What distinguishes you as such? September Mourning started a few years ago as an art project. When we launch it in the fall you’ll see why I still reference it as such. The band started a little over a year ago. The music is the sonic impressionism, the costuming which I made and designed myself and the makeup and overall look is the visual presentation. There are a few other facets that’ll be revealed in due time. I consider myself a creator and connector, in all different mediums.
What’s your motivation behind your artistic pursuits? What drives you? Chuck Palahniuk said it best. “We all die. The goal isn’t to live forever; the goal is to create something that will.” We’re all given gifts and the resources to make our mark on this world and to accomplish the things we dream. We just have to have the courage to pursue them.
You’ve worked in clubs for many years while you pursue your career. What jobs did you have? I worked the door at some clubs and reception and helped in the offices and waitressed.
You’ve been trying to make it for awhile now. Are you getting closer to your goals? I’m definitely getting closer to where I wanna be. It used to be that I wanted to be on tour for the rest of my life, but now it’s a greater goal. I have an artistic vision and movement that I’d like to start/share with the world. I have an abundance of emotion and creativity inside of me. I’ve been waiting my whole life for the proper way to channel it and this project is it. We opened for Marilyn Manson on tour which was amazing. Kerry King from Slayer was there, DJ AM, so many people saw us. The Ratt show was also amazing because Irving Plaza is a special place for me. I’ve watched so many bands play there and I’ve always wanted to take the stage.
What drives you? For people like me, art is our sanity. It’s our husband. It’s our therapist. It’s our lover. It’s our most prized possession and the gun at the back of our head as well. It’s not something I do because it’s my job, more of an instinctual thing like breathing.
You’ve been linked romantically to a few famous players. Can you speak to that? I’ve dated a few guys who are in well-known bands. Dating other artists is one of the hardest things to do. First of all, finding time for one another in your schedules is nearly impossible unless you’re at the point where you are flying in private jets and have a house on both coasts. It’s pretty brutal. Right now I’m very focused on my career and where I need to get to. I feel like the rest of my life will fall in line when it’s suppose to. I like putting all of me into my art because it’s the one thing I can give my heart to knowing it won’t ever say it doesn’t love me anymore.
Who are your musical influences? I’ve always been a fan of heavy music. A lot of my influences stem from heavier bands. Nine Inch Nails, Marilyn Manson, Dillinger Escape Plan, Slayer, Metallica, Sabbath. Recently, I was fortunate to be welcomed into the home of Ronnie Dio and his family for Easter. Dio’s voice has always been one of my personal favorites, and his career is inspiring. He was a staple in the metal world and of rock as a whole. Meeting and speaking with him was amazing. My heart goes out to Wendy and his family and friends. He’ll truly be missed.