Club Home & Guesthouse in NYC (& Henry Mancini)

Friday night was a time to CELEBRATE!!!!

I had singed my lease with Christine for my new place on 86th Street and my boss began the process of putting me in for a $10,000 raise. Kelli and I had gone to the mall for a few things and we stopped by our friend Ron's house for a quick hello that ended up turning into a night out in NYC until 6:30am.

I was completely exhausted but after a few beers at Ron’s, Patrick talked me into going to a 2-part club with his cousin Renee that night.

The club(s) is called HOME & GUESTHOUSE --> http://www.homeguesthouse.com/

Home is located at 532 West 27th Street and GUESTHOSUE is located at 542 West 27th Street in NYC.

I actually worked at the Chelsea Recreation Center during the first week of my internship and that was located directly around the corner hahah. Below is a website description.

We sat in this cornor (picture above)

As per the wesbite:

HOME:

"New York nightlife has soured to new heights with the opening of home on West 27th Street. The space will offer the luxuries of a premiere nightclub including 30 private tables, music by top DJs, and VIP memberships, combined with sophisticated bordello-esque, red, white, and black atmosphere with plush couches, crystal chandeliers, and tufted leather lined ceilings.
Homes design incorporates all the elements of a world-class venue. The spaces various alcoves will each offer a different at home experiences. Whether kicking back in the living room, relaxing in the bedroom, or lounging in the study, HOME will offer the amenities and comforts of your very own house. From hallways, to the 35-foot bar, to the smoking lawn, every detail was carefully designed to service in complete luxury.

Home will be warm, sexy, and decadent, making the discriminating partygoers feel at ease in this open space of rich materials and beautiful designs. To enter the club guests will ascend a dark, red, wooden, candle-lined staircase. Upon reaching the top, a small window peering over the DJ booth gives a glimpse of what’s inside. The entrance will feature a custom made, six0foot, red Swarovski crystal chandelier, and handmade damask paint on the walls, all in a rich red palette.

The main room will offer an open and sensual environment with banquette seating on the eastern and western walls and L-shaped benches in the center. Three existing brink walls were left exposed to convey a warm familiarity, and the hardwood floors are dyed red, emphasizing the striking texture of the aged material. All furniture is upholstered in a fine black tufted fabric, trimmed in white. The tufted leather ceiling houses six black crystal chandeliers descending from recessed cases veneered with black mirrors.

GUESTHOUSE:

"GUESTHOUSE is located next door to HOME. It boasts a sexy décor by Steve Lewis Design (Marquee, Butter, Spa), and Antonio Di Oronzo, and a super exclusive door policy as well as some of the hottest house music DJs in the world.

GUESTHOUSE, connected to HOME, is an L-shaped room dimly lit by the amber shimmer of recessed candles set in dark wooden shelving that line the length of the main wall. Complimented by velvety black and cream-colored Damask wallpaper, exposed brick walls highlighted by red spotlights and tall wooden beams throughout the club, the space has a super sexy feel. A large wooden bar lines one edge of the dance floor, while sleek brown leather couches and black tables line the other. The DJ booth is neatly tucked away next to the bar perfectly placed in front of the dance floor.

With GUESHOUSE DJs, including Vasn Gee, Behrooz, and Vivianne spinning high-energy house music, and HOME playing pop, rock and hip-hop, partygoers have remarked that walking down the hallway from GUESTHOUSE to HOME is like a trip from lively Ibiza to chic New York City."


The NIGHT OUT:

Renee drove us into the city around 11:30pm through the Lincoln Tunnel and we picked up her friend (forgot her name already) who knew one of the doormen. Due to this fact, we did not wait in any lines, but instead cut in front of everyone and were let in the velvet ropes into this exclusive place in about 9 minutes. Got shot a bunch of nasty looks because lord knows I was not dressed in half the expensive shit the people in line were dress in. I was in a jean mini skirt and an old pair of brown heels (Which were broken by the end of the night) with a blue frilly top from like 50 years ago hahaha. But apparently my boobs did the talking and my legs did as well so things worked out in my favor!!!

We entered through GUESTHOUSE, which was packed, and the tables were already full. We bought a few drinks while waiting for some of our other friends to arrive. It cost $10.00 for a rum and coke in a small glass. Patrick and I danced around while waiting for Renee and her girl to find our friends. The music was House and there was actually a saxophone player who played on top of the house music. It was very good and I just watched the sax man play. Music lover till the end haha. Totally didn’t want to leave but our friends arrived so we mad our way to HOME.

So, we made our way to the tunnel to HOME, which connects both clubs. We were allowed through but only after the man guarding the ropes checked out Renee’s feet and admired her toes – it was creepy but we didn’t care – we just wanted in the other club. Eventually, we got into HOME where we bought a bottle ($300.00 for Captain Morgans), a carafe of Coke, and retained a couple seats. :)

I swear this place was packed with all 20-30 something models of all colors and races. There was a girl who was 7 feet tall. It was insane.

When I went to the bathroom, no matter what stall I was in, you could see the cocaine all over the bathroom floors. But then when you saw the people we were around you could have totally fingered them as that type anyway so I was not shocked in the least bit. The bathrooms were nice and the attendants even let me smoke a cig without getting in trouble. Had to tip her of course but that was fine with me!!!

Unfortunately, I didn’t bring my camera because I was already trashed by the time we got there since we didn’t leave NJ till 11:30pm. However, I have attached a few pictures from the website.

We partied, danced and drank until closing time at 5:30am at which time we drove back to my apartment and hung out until 7:00am until I couldn’t handle another drop of alcohol. Kicked everyone out, pissed Kelli off because we were too loud and went to bed until 7:20pm the next day - GOOD TIMES!

Totally missed Tom Petty and the Heart Breakers but I can see them anytime – this club was awesome and I hope to go again – but only with the chick who go us in cause I hate waiting 2 hours to get into a club. Luckily, I have never had to do that shit haha!!!

--------------------------------------------------------------------------------------------------

Henry Mancini, born Enrico Nicola Mancini, (April 16, 1924 – June 14, 1994), was a noted composer and arranger. He was probably the most successful film composer of his time. He is remembered particularly for being one of the most acclaimed composers of music for TV and films, winning a record number of Grammy awards (including a 'Lifetime Achievement' award in 1995).

Between 1958 and 1964, Mancini so dominated the television and film music scene that everything else seemed to be either an attempt to clone his sound or a reaction against it. As a child, Mancini learned how to play a variety of musical instruments and as a teenager, he became enamored with jazz and big bands. He began to write arrangements and sent a few to Benny Goodman, who wrote the teenager back, encouraging him to pursue a career in music. Mancini enrolled in the Julliard School of Music in 1942, but his studies were cut short when he served in the military during World War II. Although he was drafted into the Army during World War Two, Mancini was able get switched from the infantry to the band. In 1952, Mancini was hired to do fill-in work for an Abbott and Costello movie, and ended up becoming a house arranger for Universal-International films.

The compositions that I am sure most people, at least females know, include 'Moon River' (the theme song from the 1961 film Breakfast at Tiffany’s), and the theme music for the 1963 films The Pink Panther and Charade. Much of Mancini's work can be classified under the easy listening genre. Two his earliest scores were for the TV shows, Peter Gunn (1958) and Mr. Lucky (1959). With his big band background, Mancini was tapped to be the lead arranger for the two best-known swing biopics, "The Glenn Miller Story" in 1954 and "The Benny Goodman Story" in 1956.

Of course, the reason I started listening to him on a regular basis was because Breakfast at Tiffany’s is one of my favorite movies and Moon River is one of the prettiest songs I have ever heard.Mancini’s Quoted as saying:

“I once referred to the music department at Universal as a salt mine. But it was a good salt mine, and younger composers in film today do not have access to that kind of on-the-job training. Being on staff there I was called upon to do everything. I mean, everything. Whenever they needed a piece of source music, music that comes from a source in the picture, such as a band, a jukebox, or a radio, they would call me in. I would do an arrangement on something that was in the Universal library, or I would write a new piece for a jazz band or a Latin band or whatever. I guess in every business you have to learn the routine--in film scoring, the clichés--before you can begin to find your own way.”

What kept Mancini's work fresh was his ability to write in almost any style imaginable and his successful experimentations with unusual sounds and instruments. In his 1989 memoir Did They Mention the Music?, Mancini's co-author Gene Lees wrote that "More than any other person, he Americanized film scoring, and in time even European film composers followed in his path," and that Mancini wrote scores that "contained almost as many fully developed song melodies as a Broadway musical." Had he not remained true to his first love, film scoring, Mancini would have more than likely made as large an impact on the Broadway stage as he made on the silver screen.