Back in June, photographers working with NYS Music, with no live music to shoot, began looking at the venues we hold so dear. These independent music venues across New York State are in a battle for survival with the COVID-19 pandemic still not waning and relief held up in Congress.
Over the summer and fall we saw venues closed for the foreseeable future, including The Jazz Standard in Manhattan. Venues are rallying their supporters to help as best they can at this time, including The Palace Theatre in Albany offering up a stream of moe. on Friday, December 11.
Venues in New York and beyond are stuck in limbo, but they aren’t gone – not for good – so long as we can find resolution and relief at the state and national levels. The Heroes Act has passed in the House of Representatives, and there is still a chance for a relief bill to be passed before the end of December.
With the winter setting in, venues will continue to go virtual for live performances, waiting for the time that we can bid this great pause farewell and welcome crowds back.
We start this month’s photo gallery series in Central New York at The Stanley Theatre. Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music for when this is over.
In June, NYS Music began to take a look at the state of New York’s independent music venues. In July, August and September, we saw venues closed for the foreseeable future, support for Black Lives Matter, some venues beginning to offer performances with social distancing in place, and many others stuck in limbo.
Like September, October kicked off with Red Alert RESTART, and venues across the country (and world) going red to encourage action to save independent music venues. With renewed hope of the Heroes Act passing through the House of Representatives, there is the possibility of relief before the election on November 3. With only ‘incidental music’ currently allowed, venues across New York remain mostly closed for live music, in growing anticipation of the day crowds can return.
photo by Mickey Deneher
Working with a dozen photographers to document more than 50 venues in 14 cities across New York State, NYS Music presents the fifth edition of our monthly series that looks at the current state of our beloved venues.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start October off on Long Island, with Rob Tellerman’s look at the music venues small and large that dot the isle that is long. Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music for when this is over.
Over the summer, NYS Music began to take a look at the state of New York music venues. In June, July, and August we saw venues closed for the foreseeable future, support for Black Lives Matter, and some venues beginning to offer performances with social distancing in place.
September kicked off with Red Alert RESTART, and venues across the country (and world) going red to encourage action to save independent music venues. With hope for passage of relief bills in Congress limited, and only ‘incidental music’ currently allowed, venues remain mostly closed for live music, in quiet anticipation of the day crowds can return.
Tarrytown Music Hall – photo by Steve Malinski
Working with a dozen photographers to document more than 40 venues in 12 cities across New York State, NYS Music presents the fourth edition of our monthly series that looks at the current state of our beloved venues.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start the fall off in the Hudson Valley with Mickey Deneher’s look at the historic venues that pepper the towns along the Hudson River. Visit NIVA to find out how you can help venues across New York, and the country. We need to #saveourstages and preserve live music for when this is over.
In June and July, we looked at the state of music venues across New York State. Now in August, with hope for passage of relief bills in Congress to help small independent music venues across the country, venues remain closed for live music, in quiet anticipation of the day crowds can return.
Working with a dozen photographers to document more than 50 venues in 12 cities across New York State, NYS Music presents the third edition of our monthly series that looks at the current state of our beloved venues. When the venues reopen, we will share photo documentation recording the changes over time in all corners of the state.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start this month in Manhattan and Brooklyn with Joseph Buscarello, covering a wide swath of the Big Apple. Here’s to getting back to live music sooner, rather than later, and safely.
It is now July 2020, the fifth month with minimal, if any, live music performances throughout New York State, let alone the country. Our venues are not yet open, but as the threat of COVID-19 decreases, parts of New York will enter Phase 4 and beyond, with the hope that live music will return, even if gradually.
While we may be stream weary, the prospect of live music is a motivator for many, and staying safe is the key given that New York and much of the Northeast are faring better than other areas of the country.
From viewing these photos taken during mid-late June, we can see the presence of the Black Lives Matter protests that spanned all 50 states. In all corners of New York there were protests, particularly in New York, protests that continue to push for defunding of the NYPD.
Working with 13 photographers to document more than 60 venues in 20 cities across New York State, NYS Music presents the second edition of our monthly series that looks at the current state of our beloved venues. When the venues reopen, we will share photo documentation recording the changes over time in all corners of the state.
Immense thanks goes out to all photographers and venues who are taking part in this monthly series. We’ll start this month in the Capital District, with a drone montage from Zach Culver, covering the venues we long to return to, sooner, rather than later.
As we enter June, the fourth month where live music performances are postponed until it is deemed safe to have mass gatherings due to COVID-19, we take a look at the music venues across the state that are closed for now, but in the coming months will hopefully reopen.
Working with 13 photographers to document more than 60 venues in 20 cities across New York State, we present this monthly series that will look at the current conditions of these beloved venues. As they reopen, we will provide photo documentation recording the changes over time in all corners of the state.
Great thanks to all photographers and venues who take part in this series.
Hit records celebrating a city are supposed to bring people together. Take Ja Rule’s 2004 smash single “New York,” for instance. Featuring hip-hop heavyweights Fat Joe and Jadakiss, the song was released as the second single from his 2004 studio album R.U.L.E. and peaked at number 27 on the Billboard Hot 100. Having caught on with the masses as a major hit, it should have also served as reminder amongst New York emcees of the bond they share as the proprietors of hip hop. Here you have a global record with an infectious chorus – What native New Yorker doesn’t enjoy chanting “I’m from New York?” – Yet, it served as the fulcrum for the ensuing turmoil between the city’s rap juggernauts.
The year is 2004, 50 Cent – on the heels of his incredibly successful debut studio album Get Rich or Die Tryin’— is the biggest rapper in the world, oh and he happens to hate Ja Rule’s guts and subsequently, anyone who associates themselves with him. Their beef stems from 50 feeling slighted because their big homie Kenneth “Supreme” McGriff, chose to back Ja Rule’s music over him. That along with many other incidents – that have been covered in magazines and documentaries – have led to the two Queens rappers loathing each other for the better part of 20 years. They’ve gone back and forth with numerous diss records and even had an altercation at the world-famous Hit Factory studios in New York City, which resulted in a brawl between each other’s entourages and 50 Cent being stabbed.
While 50 Cent’s contempt for Ja Rule drove his actions, it’s also important to note that although the latter reached fame and notoriety a few years before his adversary, in 2004, 50 Cent had a ton of pull as the most in-demand and popular rap act of the time. Which means, he acted without any regards for what his contemporaries thought, and since he was backed by Dr. Dre and Eminem (the highest selling rapper of all-time), he didn’t need to maintain relationships with his New York counterparts. So, what began as a dispute between 50 Cent and Ja Rule quickly transformed and saw the “Many Men” rapper taking shots at Fat Joe and Jadakiss on his sophomore album The Massacre. On the diss-record “Piggy Bank” – which he also attacked Nas, Nas’ then-wife Kelis, The Game and Lil’ Kim on – he slams Fat Joe, “that fat n**** thought Lean Back was in the club/ my sh*t sold 11 mil, his sh*t was a dud. He then proceeds to go after Jadakiss on the very next line, “Jada’ don’t f**k with me, if you wanna eat/Cause I’ll do yo’ little ass like Jay did Mobb Deep/Yeah, homey, in New York n**** like your vocals, But that’s only New York dawg, yo’ ass is local.”
With that began a division between 50 Cent and two more prominent New York rappers (add them to the list), and since 50 Cent had beef with Ja Rule, Fat Joe and Jadakiss, so did everyone associated with him; including his entire G-Unit crew (because that’s how 50 rolls and who wants to piss off the biggest rapper in the world?).
While New York consistently delivered rappers with hard-hitting lyrics along with plenty of big hits, the division amongst them wasn’t easy to overcome (It wasn’t all on 50 Cent as other rappers like Cam’ron also had the propensity to verbally assault their contemporaries). Nonetheless, as the South grew stronger, major acts like Outkast, Ludacris, Lil Wayne, UGK, T.I. and Young Jeezy were all delivering a stellar product and it was much easier to find cohesion among their power players, eventually paving the way for the south to become the “it” region in hip hop.
50 Cent and Fat Joe have since settled their differences in 2012 when their mutual friend and business associate Chris Lighty passed away, while Jadakiss and 50 have also found common ground. As for Ja Rule and 50 Cent? Well they still can’t stand each other. Yet, the two hip hop legends have given us plenty of hit songs and iconic moments to discuss for years to come and “New York” serves as just a small part of their long and complicated history.
The city of New York is used to being serenaded. Entertainers famous and obscure alike have sung the city’s praises – delivering some of their biggest records in doing so. From Frank Sinatra’s “New York, New York,” to Jay – Z and Alecia Keys’ 2009 fall hit “Empire State of Mind,” New York City is used to being romanticized and looked at as a potential nesting ground for out-of-towners. While clearly magnetic in its appeal, the rougher parts of the city are less likely to be spotlighted during anthem songs.
That’s the thing about hip-hop, it has always been about speaking the truth. It has a reputation for delivering an authentic inner-city experience. Harlem native Cam’ron – known for his alliteration and uniquely playful delivery – tried his hand at an ode to hip-hop’s birthplace, on the 7th track from his 2002 album, Come Home with Me.
Featuring Jay – Z, the record signified the unification of two of hip hop’s most dominant rappers: Jay – Z, the accomplished veteran and label head of Roc-A-Fella Records, and Cam’ron, the captain of influential hip hop faction Dipset. The album marked Cam’ron’s first commercial release under the label and a verse from Jay – Z was the ultimate stamp of approval for his latest signee.
Jay – Z begins the record by shouting out a couple of legendary figures (Michael Jordan and Notorious B.I.G.) that have hailed from Brooklyn – his hometown. He then proceeds to paint a picture of his past endeavors in the streets of Brooklyn. While the verse might come off as braggadocios, it’s merely an explanation of why he would put himself in harm’s way by entering such a dangerous occupation. For every couple of bars about his cocaine exploits, it is followed up by the resulting glory that comes from it. Going from delivering the drugs to Baltimore, to being front and center at a Knicks game.
Based on the former’s subject matter, it was pretty safe to predict what Cam’ron’s lyrics would revolve around. He wastes no time attacking the Just Blaze produced record. “Yo, there’s a war going on outside no man is safe from.” Unlike Jay – Z, he doesn’t spend any time discussing monumental figures, nor does he glorify drug dealing. Instead, he chooses to relay the realities that come with the streets, in entertaining Cam’ron fashion of course. He even manages to take a shot at fellow Harlem native Mase, attributing his departure from hip-hop due to his uneasiness with being surrounded by so much violence. Eventually Jay – Z and Cam’ron go back and forth, describing the violent crimes that they come across in their respective neighborhoods.
Overall, the record feels like a moment in time. Just Blaze’s distinctive production (loud drums, guitars and horns) captures the aggressiveness of both emcees, and the two complement each other well. The record also served as the theme song for a popular video game, True Crime: New York City.
Welcome to New York City Lyrics:
Jay – Z
Turn the motherfucking music up [Cam’Ron] Just Blaze, man. You owe me n***a
Yeah, yeah, yeah, yeah. Welcome to the Empire State. Home of the World Trade. Birthplace of Michael Jordan. Home of Biggie Smalls. Roc-A-Fella headquarters. Ladies and gentlemen, Killa Cam, Young Hov is definitely in the building Brooklyn, Harlem World (Welcome to New York City, welcome to New York City) Stand the f**k up!
I’m a B.K. brawler Marcy projects hallway loiterer Pure coke copper, get your order up I bring ‘em to Baltimore in the Ford Explorer It’s going to cost you more if I gotta get em to Florida Rucka game attender With the bent pole on the sidewalk with the tin plates on the fender I ain’t hard to find you catch me front and center At the Knick game, big chain and all my splendor Next to spike and the pen left to write I own Madison Square, catch me at the fight But damn once again if you pan left at the ice If you the man that write cheques with the hand that don’t write I go off the head when I’m rambling on the mic And I go off the feds when I’m scrambling at night And if its off the set I brought hammers to the fight But we from New York City, right Cam? [Cam: Ya damn right]
It’s the home of 9-11, the place of the lost towers We still banging, we never lost power, tell em Welcome to New York City, welcome to New York City Why Y’all f***n with BK’s banger and Harlem’s own gangster Now that’s danger there’s nothing left to shape up Welcome to New York City, welcome to New York City
Cam’ron
Yo, there’s a war going on outside no man is safe from It don’t matter if you three feet or eight-one You’ll get ate from me, nine and straight blown Wig split, melon cracked, all that on day one Carry eight guns, two in the trunk Two in the waist, two in the ankle, two to just spank you You can jam with them jammers, blam with them blammers It’s hot here, ask Mase he ran to Atlanta You think we know what life do, make want to mold the cycle Drinkers they so delightful, blinging with so much ice In front of sparks, body cops Dilano Block away watch by Gotti and Girvano It’s la costra nostra, someone close approach ya They’ll toast ya gopher, bread loaf with shofer Old coke they raise up and snort, blayze up ya fort Jay puff shine, cases was caught Midnight pick fights, they love a victim Watch him fore he watch you, Killa
I’m from 101, west to Hunt 40th, this shit is live Fifth-floor, 56, you know the zip, district five You’re on 22nd, you from two-one That’s on Lennox, 7th ave was news one [Jay-Z] Coverage I synethestry Got rise from defending me Cause New York’ll miss me if I’m locked in the penitentiary The judge said “Is this that thug, from the kit kat club?” But I got enough chips stacked up to make a bitch to back up [Cam’Ron] Killa, I pinch that bud, I grip that snub to hit that thug Lay up in a pitch black tug, You lookin’ at rich black thugs to get that love And we won’t stop ‘til I get back blood Holla at em Hov [Jay-Z] I’m from Flushing, Marcy, Notia, Myrtle and Park N***as’ll drive by in the day, murder you in the dark That’s why the Johnny gun I’m holding Wet n***as up like the johnny-pump is open Homie, I play hard
I’m from 101, west to Hunt 40th, this shit is live Fifth-floor, 56, you know the zip, district five You’re on 22nd, you from two-one That’s on Lennox, 7th ave was news one [Jay-Z] Coverage I synethestry Got rise from defending me Cause New York’ll miss me if I’m locked in the penitentiary The judge said “Is this that thug, from the kit kat club?” But I got enough chips stacked up to make a bitch to back up [Cam’Ron] Killa, I pinch that bud, I grip that snub to hit that thug Lay up in a pitch black tug, You lookin at rich black thugs to get that love And we won’t stop ‘til I get back blood Holla at em Hov [Jay-Z] I’m from Flushing, Marcy, Notia, Myrtle and Park N***gas’ll drive by in the day, murder you in the dark That’s why the Johnny gun I’m holding Wet n***as up like the johnny-pump is open Homie, I play hard
Y’all n***s man, why Y’all can’t f**k around man It’s the ROC b***h, Killa, my n***a Jigga, Sigel, Beans Diplomats man, holla, Dash Get the f*** off our dicks I own this s**t right now man, I ain’t going nowhere
