In a two-part exclusive, founding club kid, artist and promoter Michael Tronn tells us what South Beach was like before the Versace era, before letting us into the elite world of some of New York’s and Miami’s hottest clubs
Where did you grow up? In New York, across the street from The Metropolitan Museum of Art. How long have you lived in South Florida? I moved here in 1997, but I was visiting here since about 90’ or 91’. What was South Beach like then? My first trip was fairly spontaneous, and I knew nothing about South Beach except that it was a cool, secret spot for New Yorkers and fashion people. This was before Versace, before Lincoln Road—the place was virtually a ghost town. Back then, the Versace mansion was a run-down apartment building for seniors. Ocean Drive was lined with elderly people in plastic chairs sunning themselves with reflectors under their chins. The only things that were going on then were photo shoots and some very hedonistic nightclubs, such as Warsaw and Paragon. Why did you move here? I decided that if I could get a good job at one of five companies that I was interested in, then I would move permanently—and I did. Liquid hired me to be the new creative and marketing director, and I stayed in Miami from then on. What part of South Florida do you live in? When I’m in Miami, I live in South Beach.
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What do you like most about living here? The ocean, the air, and the amazing memories that I have of South Beach’s heyday, such as the beginning of Wynwood. Where do you hang out in South Florida, and why? I don’t hang out at any one spot like I did in the past, but I find that Wynwood is the most interesting neighborhood. In some ways, Churchill’s is my favorite. What’s your claim-to-fame? I was one of the co-creators of the “Club Kid” scene in New York. That was in 1987. I also promoted and/or launched many notable clubs in New York such as Tunnel, The World, the Red Zone, Mars, The Saint, Studio 54, Roxy and MK. In Miami, I’m known as the director of Liquid, building and launching the Ice Palace Film Studios, launching Crobar and promoting ANTHEM Sundays there, opening the restaurants Rumi and Studio, and for having my own art space in Wynwood. How did you come up with your name? People think I made my last name up, but Tronn is an old Russian family name. Whose fashion look do you admire, and why? I much prefer style over designer clothes, and I always have. My favorite style idol is Iris Apfel. She’s 100 percent unique and real, and she dresses only for herself.
What’s your favorite place that you’ve lived? It’s a tie between Miami from 1991 to 2006—there was never anything as amazing as that, and I don’t think there ever will be again—and New York in the 70s and 80s. That period was New York’s golden age in so many ways. What New York venues do you miss that are gone? Palladium, The World, Area, Danceteria, Mother and Studio 54. What are your favorite events that you’ve produced in New York, and why? Well, I’ve produced over 1,000 events, but three New York events stand out: one, a hair-sculpture completion at Tunnel (we had salon tables in the basement… the creations were amazing). Two, the opening night of the “It” party at The World (I had the entire first floor done in tin foil as a tribute to The Factory, the entire stairwell—including the floor—was painted with the sky and clouds as a tribute to Magritte, the top floor was designed and decorated red as a tribute to Diana Vreeland, and I had mountain climbers rappel down the face of the building while the crowd waited for the doors to open). And, three, the opening Night of Crobar New York (the production was over-the-top, and we had 15,000 people).
What South Florida venues do you miss that are gone? Warsaw and Paragon. Warsaw is a heartbreaking loss. At least the site of the original Paragon became Level, and then Mansion [it closed in 2016]. But Paragon really is the best venue in Miami. What are your favorite events that you’ve produced in Miami, and why? Once again, there are three major standouts: the Grand Opening of Crobar, which was insane. I had a $70,000 budget, and I staged a car wreck out in front with live models—people still talk about it today. The “White Starz” party at The Coconut Grove Convention Center, where I not only transformed the entire space, but I had Yoko Ono perform in between the sets of Junior Vasquez and Tony Moran. And “GUIDO” on Fridays at Liquid, which was in the VIP lounge. We had immersive themes there each week, such as a “Bollywood” wedding, and it became the place for major fashion launches.
Stay tuned for PART 2 next week…
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