Innovation of Sound
Exhibit reveals 1980s as hotbed of musical metamorphasis
BY DAVID KENNERLEY
It’s no secret that New York
City has long been a breeding
ground for musical innovation.
But the Museum
of the City of New York (MCNY) has
wisely decided to focus on a particularly
fertile time with its exhibition,
“New York New Music: 1980-1986.”
Actually, fertile doesn’t begin to
describe this period — explosive is
more like it. New York was fi nding
its footing after teetering on the
edge of bankruptcy, and the embattled
city faced unprecedented
crime, racial tensions, homelessness,
and decay. Rents were cheap
so artists could afford to live and
work here. Regulations went by the
wayside, giving rise to a Wild West
ethos. From out of this cauldron,
vital artistic achievements were
forged, especially in music.
“The musical innovations of this
time period are a great example of
the resilience of the city and the
importance of art and creativity as
forces of transformation,” MCNY
president Whitney Donhauser said.
The exhibit highlights the diverse,
dynamic musical genres
that emerged in this time of experimentation,
mixing elements
of pop, hip-hop, salsa, no wave,
reggae, Afrobeat, and jazz. You’ll
fi nd landmark moments like the
Talking Heads sold-out concert at
Central Park (August 27, 1980)
and the Funky 4 +1 appearance
on “Saturday Night Live” (February
14, 1981), the very fi rst live hip-hop
turn on national TV.
Other notable events include the
Next Wave festival at the esteemed
Brooklyn Academy of Music (1982-
83), which presented artists like
Laurie Anderson, Max Roach, and
the dream team of Bill T. Jones and
Arnie Zane, and Run-DMC and the
Treacherous Three at Graffi ti Rock
(June 29, 1984), where the fi rst
hip-hop TV show was recorded.
What’s particularly striking is
how many LGBTQ (or queer-adjacent)
artists fi gure into this musical
revolution. There’s a section
that spotlights Keith Haring’s fi rst
annual Party of Life at the pioneering
DJ Larry Levan from Paradise Garage.
multicultural queer dance club
known as Paradise Garage (May
16, 1984, the year he landed on the
cover of Newsweek) with legendary
DJ whiz Larry Levan.
The event was a heady mix of
music, art, fashion, and performance,
boasting a starry guest
list including Ann Magnuson, Joey
Arias, and Diana Ross, with performances
by John Sex and Madonna
(wearing an outfi t designed
by Stephen Sprouse and painted
by Haring). The out gay wunderkind
outdid himself for this birthday
celebration, where he created
huge graffi ti-style murals on every
wall, along with video installations.
Sadly, many of the revelers,
including Haring, were lost to AIDS
within a few years.
Another section recalls Madonna’s
fi rst-ever public show, belting out “Everybody”
at Danceteria (December
16, 1982). Madonna would become a
staunch ally of the LGBTQ community,
headlining AIDS fundraisers
and catering to the queer market.
Not that all of these musical moments
hit the mainstream. One
section commemorates Arthur
Russell’s dissonant genre-defying
performances at the Experimental
Intermedia Foundation in SoHo
(September 22, 1985), which led to
his trailblazing album, “World of
Echo.” The classically trained cellist
was a regular at queer clubs
but succumbed to AIDS in 1992.
You’ll even fi nd the “Merman” costume
worn by Joey Arias in “Mermaids
on Parade” at Danceteria.
Curated by a team led by Sean
Corcoran, the MCNY curator of
prints and photography, the exhibition
is a multimedia spectacle
featuring more than 350 objects,
incorporating music videos, TV
clips, audio recordings, photography,
artifacts, and ephemera.
There’s even a vintage video lounge
resembling a suburban rec room.
BILL BERNSTEIN
MUSIC
This burst of aural energy was
short-lived, however. New York’s economy
rebounded, rents skyrocketed,
and gentrifi cation began driving out
the clubs and artists. The AIDS and
crack crises decimated the city.
A bonus dimension of New York
Music: 1980-1986 is the museumgoers
themselves. The day I went,
several visitors sported vintage
garb from the era. One woman wore
a Prince T-shirt. Another dressed
like Madonna from her “Desperately
Seeking Susan” phase. I saw
a man with a messenger-style bag
studded with pins featuring his favorite
80s musical artists. I overheard
strangers swapping stories
from their 80s clubbing days.
It was proof positive that this is more
than your typical museum offering.
NEW YORK NEW MUSIC 1980-
1986 | Museum of the City of New
York | 1220 Fifth Avenue (103 St.) |
Fri. – Sun. 10 a.m. to 6 p.m. | Purchase
timed entry tickets; MCNY.org
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