While I hate to generalize, it seems that my fellow subway commuters and I are, for the most part, purposefully unaware and summarily unaffected by our surroundings. Focusing inward, we somehow manage to move on and off trains and rush through crowded platforms and stations and rarely even brush up against one another. I agree with my friend Nicole who commented, “it’s almost as if everyone, prior to becoming a straphanger, attended a mandatory commuter ballet class”. Perhaps it’s because we live, work and even relax in such crowded spaces and because our default defense mechanisms are headphones and eyes glued to cell phones, that we have not only been forced to master the requisite moves, but also to develop an inner and usually graceful sense of collision avoidance (sometimes by less than a millimeter). I consider myself an agile member of the troupe.
In addition to being the most efficient mode of transportation in NYC (although desperately in need of maintenance and a facelift), the subway has the added benefit of providing amazing cultural surprises, such as the time I happened upon a performance by some members of the London Symphony Orchestra, conductor, tuxes and all in the middle of the Times Square 42nd Street subway station during rush hour. I joined the growing crowd, all of us pausing in our choregraphed rush to enjoy this wonderful surprise. Even the most harried dancers need live music occasionally! The signage and watery 3-D backdrop indicated the performance was to call attention to a National Geographic “Save The Oceans” documentary. There I was in, arguably, one of the busiest subway stations in the world, at the busiest time of day, surrounded by a crowd of commuters transfixed and transported by a beautiful and totally unexpected sensory experience.
I had often admired the talent of subway musicians but this surprising encounter with the LSO aroused my curiosity and led me to Music Under New York (MUNY), a division of the Arts & Design program of the Metropolitan Transportation Authority (MTA) simply referred to as “MUSIC”. Their website http://web.mta.info/mta/aft/muny/ explains that MUSIC’s role is to schedule musical performances in transportation hubs across its rapid transit, ferry, and commuter rail systems”. Initiated as a pilot program in 1985 to bring “joyous and engaging music to the commuting public” it became official in January 1987. The sole purpose of MUSIC is to “enhance NYC’s transit experience”. And perhaps unofficially help soothe the nerves of more than a few frazzled commuters. One more reason to love this magical, wonderous city!
Every May MUSIC auditions are held in Grand Central Station’s Vanderbilt Hall. Hundreds of musicians try out for the privilege of displaying their name alongside the MTA logo on a hot pink banner indicating official sanction to perform in any one of the New York City’s transportation systems. At these auditions, musicians have five minutes to perform in front of approximately 30 highly credentialed judges made up of music industry professionals, current MTA MUSIC members, and MTA staff who then choose the best subway-appropriate performances. MTA MUSIC’s Senior Manager Lydia Bradshaw says the judges look for “quality, musical variety, cultural diversity, representation of the culture and people of New York, and appropriateness for the transit environment”. Sean Grisson, is a Cajun cellist who has been in the program since 1987 and a judge since 2013. The challenge of playing in the subway, Grisson says, is that “you have no stage, no backline and no stagehands, you must just create the space right there”. For Grisson, whether or not performers are chosen comes down to “if the performance is something that you would want to pause and reflect on as you go about your busy New York existence.”
Those lucky enough to be selected join the approximately 350 other musicians and groups who have the right to book a place at one of 30 of the most popular spots in New York City subways or on its ferry’s. There are over 7500 annual performances taking place 365 days a year. As further described on their website, “auditioning performers sing or play a variety of instruments such as classical strings, jazz ensembles, blues bands, doo wop and steppers some of which are performed on unusual and interesting instruments including the Senegalese kora, Andean pipes, Korean drums, Aboriginal didgeridoo, steel drums, Cajun cello, Flamenco guitar, Gypsy violin, and Chinese dulcimer and pipa”.
Once admitted to the program musicians never have to audition again. They can call to book slots and request locations and the hours they prefer. The requests are granted for a two-week period on a first-call, first-served basis. Because of the high traffic volume some of the most popular subway spots are Grand Central Station at 42nd Street, Times Square at 42nd Street, 14th St-Union Square, the Fulton St. Station and the Atlantic Avenue-Barclay Center Station. In addition to the MUNY personalized banner, musicians’ names and contact information are added to MTA MUSIC’s website which can help groups land other events.
Trumpeter Marty Cohen and saxophonist Ann Garvey perform as the “Goin Local Duo” and are one of the newly approved groups listed on the MTA website. Ann and Marty are both professional musicians and have been married for 35 years. When I contacted them, they told me their subway career began about 5 years ago when they “retired from their day gigs”. They decided to audition so they could perform on the Staten Island Ferry where MUNY sanctioning is a requirement. It took a year for them to be granted an audition and now the “Goin Local Duo” proudly performs under their newly acquired hot pink banner.
When asked about their most unusual experience Marty, after a seconds’ reflection, said it was the time he saved a woman’s life. I thought this must be an exaggeration-how could a musician, other than the Pied Piper, manage to do this?
But then he told me this amazing story;
The Duo’s usual spot (other than the Staten Island Ferry) is on the Q and 72nd street subway platform. Many of the conductors know them and will occasionally hold the subway doors open while they finish a piece.
One afternoon a couple descended the 72nd street subway steps engaged in a loud argument. Upon reaching the platform the woman, arguing at an even louder decibel, jumped onto the train tracks directly in front of Marty and Ann. Marty immediately sprang into action, running in what he thought was the direction of the emergency box to cut off the electricity to the third rail. Fortunately for the woman, he was headed the wrong way and instead was running towards the ominously close oncoming Q train. Instinctively Marty began wildly waving his trumpet, which amazingly, he hadn’t dropped in the chaos. Miraculously the conductor recognized him and was able to stop the train in time. Had the conductor not known Marty, would he have thought this was just a prank? I shudder to think.
Fortunately life as an underground performer is not often that chaotic! The couple loves audience participation including spontaneous dancing -sometimes between total strangers- or when a passing musician stops to join them, as well as the financial contributions. They also enjoy getting notes of appreciation dropped in their box by people who like their playing but may not have any money to spare (and FYI, they also like requests, feedback and applause!).
Musicians don’t need a MUNY banner to perform in the subway as long as they follow the Transit Rules of Conduct, e.g. you can't impede traffic, you can't amplify your music on subway platforms and you must be respectful of the surroundings anytime you perform in a public space. Infractions can result in a ticket and a fine. In addition, if the chosen performance space is reserved by a MUNY performer the non-sanctioned group must move to an unreserved spot.
Playing music in the street or another public place for voluntary donations is known as busking. Musicians often say this is the best musical education you can get because convincing a tough New York crowd to donate forces you to elevate your skill. A good busker may be able to earn more than they could in more traditional jobs. According to money.com they can earn anywhere from nothing to more than $30 per hour depending on many things, not least of which are talent and traffic.
Susie Tanenbaum with The Street Performers Advocacy Project and City Lore in her online pamphlet “Know Your Rights! A Guide for Subway Musicians and Other Performers” explains the history of busking…..
“As long as there have been streets, there have been street performers. In ancient Egypt and Greece, people entertained and passed the hat for donations and in colonial America, twelve-year-old Benjamin Franklin sang on the streets of Philadelphia! At the turn of the 20th century, immigrants helped to make street performing popular in New York. There were German marching bands and Italian organ grinders—”hurdy gurdies”—who serenaded women below their tenement windows. During the Great Depression, banjo players set up on subway and elevated platforms”.
Government authorities seemed to think street performances were somehow a threat to law and order and in the 1930s, New York Mayor Fiorello LaGuardia made it illegal to perform on New York City’s streets. In the 1940s in defiance of this law Woody Guthrie, Pete Seeger, and others involved in the growing Urban Folk Revival Movement pulled out guitars while waiting for their trains in the belief that they were reclaiming public space and that songs could change social conditions. It wasn’t until the 1980’s however that subway performances were deemed legal”.
Manhattan born cellist Jacob G. Cohen has been busking full-time for over two years without MUNY sanction. He indicated that after being turned down for an audition a few times it is not important to him anymore since the exposure he’s gained from busking has resulted in some “very surprising and lucrative gigs”. A few years ago, he was hired right off the platform to fly to L.A and play in the soundtrack of the movie FoxFire. More recently, after being heard by a friend/collaborator of well-known Polish artist Pawel Althamer, Jacob was hired to play for the artist’s drawing sessions in Williamsburg which turned out to be the beginning of an ongoing relationship. Mr. Althemer then flew Jacob to Beijing to play at his first Chinese exhibition, and this August Jacob will be heading to Warsaw and Helsinki with Pawel to perform in his mobile art project “Golden Bus”.
Next time you are performing your commuter ballet and encounter a busker, consider pausing for a few seconds, contributing a dollar or two, smile or just give them a thumbs up. Your acknowledgment of their talent and efforts are sure to be greatly appreciated and, as I’ve discovered from personal experience, the music plus the smile or nod you get in return is good for your soul.
Four years ago, after retiring from her role as director of a non-profit, Florence Kranitz moved from Akron Ohio to NYC where all things Gotham became an instant source of wonder and amazement. If this doesn’t provide material for a passionate new writer what possibly could?!