![]() “And the style of music did not have to dictate the community that would show up as much. “Coming out of Glasslands, we had a vision for a much more inclusive space,” Rosenthal says. The two venues were only separated by the East River and a few stops on the J line, but they were worlds apart. At the DIY space called Glasslands, in Williamsburg, they mostly booked indie-rock and punk acts like King Krule, Dum Dum Girls, and Cloud Nothings. At Santos Party House, in TriBeCa, they booked a wide selection of rap acts like Mobb Deep, Big K.R.I.T., and Freddie Gibbs. How New York rap and its fans came here is a fascinating story of evolutions in nightlife, technology, taste, and politics.Įlsewhere’s story starts in the late 2000s and early 2010s, when New York nightlife-industry veterans and PopGun Presents promoters Jake Rosenthal and Rami Haykal primarily booked shows for two different venues. It was at Elsewhere, a cavernous, multi-chamber venue off Johnson Avenue in a part of Brooklyn that’s better known for artsy scenesters, trust-fund kids, and indie rock. But the show wasn’t at S.O.B.’s, Webster Hall, Irving Plaza, or any of the other New York venues that have made their name in the last 20 years as places to see live rap. Roc was there to celebrate his album The Elephant Man’s Bones, a neo-boom-bap collaboration with producer the Alchemist that was rightfully hailed as one of last year’s best albums. It was a typical rap show in the city: overwhelmingly male, leathers and skullys and Timbs despite the late-summer weather, air laced with newly decriminalized smoke. 8, 2022, veteran MC Roc Marciano was onstage in New York, playing to a capacity crowd.
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