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Ross: So is that why permanent venues seem to prioritize draw and the bottom line without building authentic relationships with the artists bringing business in the door? That's why you de facto exist on the outskirts of legality - because there was no way to afford legality. But now it's a lot more tightly enforced.
But at the same time, law enforcement wasn't quite as strict because nobody was really bothering you and you weren't bothering others. We had about half the permits we needed and were always trying to get more. Legally you need all these things.Īnd sure enough, none of the DIY venues in the past had these things in place.
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Power needs to be in place, fire alarms need to be installed, proper electrical code compliance, sprinklers. And they're extraordinarily expensive - we're talking hundreds upon hundreds of thousands of dollars. And not only do you need these licenses, but they take years to get.
#Elsewhere brooklyn alcohol license
Rosenthal: Yes, dancing you need a license for. Properly licensing that space to have a large number of people indoors, amplified music, dancing, alcohol - every one of those comes with a license. So you find some cheap warehouse space, which was much more plentiful ten years ago. You also need to find a space that's relatively abandoned because you don't want a residential loft nearby shutting you down. Right off the bat, you need to find a space with very low rent. Rosenthal: Let's say you're choosing to open a music venue but you don't have buckets of money to do it - no one who just loves music really does. Ross: What do you mean it exists "within the outskirts of the law?"
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It was a crack that you could fill in the city where you wouldn't be bothered, even though it exists within the outskirts of the law. And because it was far from residential housing and other businesses, you could get away with making noise. It wasn't usable for any commercial purpose so the owners could make a quick buck from one-off events. It was far from the trains, the waterfront there was a rubble mess at the time and there was no foot traffic. There was a warehouse on Kent Avenue that companies didn't think was viable to develop in any real way. Rosenthal: For Death By Audio, Glasslands, 285 Kent, Shea Stadium - the reality of those venues goes back to 2006. Ross: How did the scene build up in Brooklyn? Rosenthal: People use that phrase a lot, “nontraditional spaces.” But when people set up DIY spots, I don't think their first thought is, "Let's find a nontraditional space!" I just think they’re forced to fill the nooks and crannies of the city that others have not claimed for commercial purposes Ross: But how much does it have to do with nontraditional spaces? The venue is a direct reflection of a group of people who came together to do something creative for the community. They're part of the same community they're trying to serve. What I think people mean when they say "DIY" is that it's a space where the people who run it are very actively involved on a day-to-day basis. Jake Rosenthal: There's not really a definition. Danny Ross: How would you define a DIY venue?
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