By Noel Pangilinan

very year, some 250 singers, musicians and dancers call the Metropolitan Transit Authority to apply for a spot somewhere in the city's elaborate subway system. Eventually, only about 60 of them make it to the annual grand audition in May, and just half of those
get the chance to sing, play or dance in 25 designated lucrative
spots underground.

Take a look at rules subway performers must follow.

The finalists will join the more than 100 individual performers and ensembles - classical, Cajun, Caribbean, bluegrass, African, South American, Native Indian, R&B and jazz - who are already part of the MTA's Music Under New York program.

PHOTO: Noel Pangilinan

Musicians do an impromptu jam session on the Union Square subway platform.

The goal of Music Under New York, initiated in 1985 by the MTA, was to encourage the use of public transit for the performing arts. Originally, the idea was to make subway rides more appealing to New Yorkers.

"Why do you think corporations sponsor art programs?" said Gina Higginbotham, a consultant for Performing in Public Places, the firm which administers the program for the MTA. "To attract more customers," she said, answering her own question.

But subway musicians don't buy that explanation. In fact, most of them believe the MUNY was set up to regulate the subway music industry. As soon as the MTA began implementing the MUNY, musicians challenged its constitutionality and soon won their right to play their music anywhere down under.

As a result, there are now two types of musicians underground -- the MUNY-accredited artists and the freelance musicians.

"Anybody can play their music in the subway," said Higginbotham, "as long as they don't block the flow of human traffic and as long as they don't play their music too loud."

Under MTA rules, musicians and performers are not permitted to use amplifiers on platforms. And if they block commuters on their dash to the train, police can ask them to move and strut their stuff elsewhere.

The major difference, though, between a MUNY-accredited performer and a freelancer is that MUNY musicians are offered several three-hour shifts a week at the prime locations.

MUNY musicians also get invited to play at 150 weekly performances in select subway stations throughout the transit system and to perform in concerts scheduled by the MTA, sometimes in venues above ground.
It's easy to spot MUNY musicians -- they perform under or beside a MUNY banner with their name and contact number printed on it. And they often wear MUNY buttons and shirts.

PHOTO: Noel Pangilinan

J.W. Lance belts out a ballad under the banner. Listen to his music here.

But freelancer William Ruiz, 35, a second-generation Puerto Rican, who plays the Taino Indian log drum on the 1 and 9 platform at the 42nd Street station, is not impressed.

"No big deal. You can still play anywhere you want, even in those spots supposedly reserved for members. So why take the trouble of applying and auditioning?"

Another freelancer, Larry Wilson, 41, was swinging his dreadlocks while playing an R&B tune on his bass guitar on the mezzanine of 42nd Street.

"A MUNY musician? He should be right here, right here where I'm playing. This is supposed to be a MUNY spot."

But for New Orleans native J.W. Lance, 45, who prides himself as the only black country music singer aside from Charlie Pride, MUNY accreditation is the permit that guarantees him a hassle-free work environment.

"It's the license. That's what's important. I would rather do it legal. You got the license, then the cops can't hassle you," said Lance, as he set up his equipment on the mezzanine of the Union Square station. "For me, the MUNY is the best thing that ever happened to struggling musicians like me. I'd give it a top rating."

Next article: The Performers

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