New York musical icon Billy Joel once observed that music “is an explosive expression of humanity. It’s something we are all touched by.” That is precisely how one chant enraptured New Yorkers this spring. And how millions of New Yorkers came together at the Knicks’ celebratory parade last week, reveling in the chant “Go New York Go” and uniting a city of strangers with rhythm and belief.
During the Knicks’ amazing championship playoff run, that chant became a civic heartbeat that captured the spirit of New York City – loudly, collectively, and without apology. It may not have defined our city but it did harness the unrivaled energy of the world’s greatest city.
Other songs have tried to define New York. Most notably, Frank Sinatra’s theme from “New York New York” promises that “if you can make it here, you can make it anywhere”. His song is a civic motto for unbending aspiration where the city itself dares you to become larger than life. It’s no wonder that it has become the unofficial New York Yankees team anthem.
Jay-Z and Alicia Keys echo that same ambition – but with a sharper edge – in “Empire State of Mind”. Their New York represents survival, hustle and identity in a city that is both playground and proving ground where struggle and success are inseparable – and where every city block has a story.
Billy Joel’s “New York State of Mind” reflects his love for the city’s soul. He muses about a sense of belonging and externalizes that special feeling that embeds in people who have lived in the city. It stays with you no matter where you go. Once a New Yorker, always a New Yorker, so to speak.
Nas’s “N.Y. State of Mind,” is tense and unfiltered. It, too, embodies a survivalist mindset. Yet even in its grit, there is a strange kind of admiration. The city’s intensity is what makes it real.
Other songs suggest that New York’s energy is not singular but shaped, at different intervals, by the person experiencing it. Sting’s “Englishman in New York” explores the idea of being different in a city that prides itself on individuality. Taylor Swift’s “Welcome to New York” captures her excitement for a fresh start and newfound personal freedom in a city known for the power of reinvention – where you can arrive in New York City as one person and soon become another. Bob Dylan’s early reflections in “Talkin New York” depict a harsher city that demands persistence and resilience to gain acceptance.
Other songs simply capture the pure sensation of New York. Ace Frehley’s “New York Groove” transforms the city’s vibe into a rhythm that you feel trembling in your body. The Beastie Boys’ “An Open Letter to NYC” provides a tribute to a city full of noise, movement and affection. Ed Sheeran’s “New York” and Harry Styles’ “Ever Since New York” reflect nostalgically on New York as a place tied to moments in time that linger long after the city fades into the background.
Collectively, these songs reflect an understanding that New York cannot be defined simply. New York is too big, has too much energy and too alive to be reduced to one song or an expression. Where one artist sees ambition, another fears rejection and separation and still others feel pressure or seek reinvention – and yet all of them are right. The energy of New York is not a single note but a chord that is constantly shifting.
For the joyful Knicks playoff run, the Knicks’ “Go New York Go” worked beautifully. It did not seek to explain or define the city for all time. It instead uplifted New Yorkers in a simple and powerful way, with a shared voice and rhythm. In that way, the Knicks and their chant embody a communal sensibility that New York City, however you find it, is worth cheering for.
The parade brought all of that collective energy to the streets. Perhaps that is the real point: New York cannot be restricted to a single song or chant. It is meant to be experienced and lived. Long live New York!
Gertler is Chairman and CEO of U.S. News & World Report.
