It is the most famous song about a city ever written. Period. You’ve heard it at weddings, at Yankee Stadium after a win, and probably at 2:00 AM in a dive bar somewhere in Midtown. But honestly, the New York New York song almost ended up in a trash can. Imagine a world where Frank Sinatra never sang those iconic opening brass notes. It nearly happened because Robert De Niro—yes, that Robert De Niro—didn’t think the original version was "strong enough."
Most people think this was always a Sinatra classic. It wasn't. It was actually written for a movie that flopped.
The Day John Kander and Fred Ebb Almost Quit
In 1977, Martin Scorsese was directing a gritty musical called New York, New York. He hired the legendary songwriting duo John Kander and Fred Ebb to write the title track. These are the guys who gave us Cabaret and Chicago. They knew what they were doing. Or so they thought.
They wrote a version of the song and brought it to a meeting with Scorsese and the film's star, Robert De Niro. Kander sat at the piano. Ebb sang. They finished, expecting a round of applause. Instead, De Niro leaned over to Scorsese and whispered something. Scorsese turned to the writers and basically said, "It’s okay, but Bobby thinks it needs to be better."
Kander and Ebb were furious. They were pros. De Niro was an actor, not a songwriter. They went back to their office in a huff, fueled by pure spite, and wrote a brand-new melody in about 45 minutes. That "spite song" ended up being the masterpiece we know today. It’s got that defiant, "top of the heap" energy because the writers were literally trying to prove a point to a Hollywood heavyweight.
The movie itself? It didn't do great. Critics found it too dark, a weird mix of old-school MGM glitz and 70s realism. But the song survived the wreckage.
Sinatra Didn't Record It Until Years Later
You probably picture Frank Sinatra in a tuxedo, finger-snapping his way through the lyrics. But Frank didn't touch the New York New York song until 1979.
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The original version was sung by Liza Minnelli in the movie. She kills it. Her version is theatrical, desperate, and incredibly powerful. But Sinatra saw the potential for a different kind of anthem. He started performing it at Radio City Music Hall before he even recorded it for his album Trilogy: Past Present Future.
Sinatra changed a few things. He made it swing harder. He added that bravado. When Liza sang it, it sounded like a dream; when Frank sang it, it sounded like a fact.
Why the Lyrics Actually Matter
Look at the words. "Start spreadin' the news." It’s an announcement. It’s not a plea for help or a soft ballad. It’s a declaration of war on mediocrity.
- "If I can make it there, I'll make it anywhere." This is the line everyone quotes. It’s the ultimate meritocracy statement.
- "These little town blues." It positions New York as the only place that actually matters. It’s arrogant. It’s bold. It’s New York.
Interestingly, there’s a common misconception about the "A-number-one" line. People think it’s just filler. But in the context of the late 70s, when New York City was literally on the verge of bankruptcy and crime was at record highs, those lyrics were a defiant middle finger to the rest of the world. The city was crumbling, yet the song was screaming about being the king of the hill.
The Yankee Stadium Tradition and the "Loser" Controversy
If you’ve ever been to a Yankees game, you know the routine. But for a long time, there was a weird rule.
The stadium used to play the Sinatra version after a win and the Liza Minnelli version after a loss. Liza eventually found out about this and, understandably, wasn't thrilled. She basically told the Yankees organization, "Either play me when they win, or don't play me at all." She didn't want to be the "loser" version of the New York New York song.
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The Yankees switched to Sinatra for everything. It became the sonic wallpaper of the Bronx.
Technical Brilliance: The "Vamp"
Musically, the song relies on a "vamp"—that repeating introductory phrase.
- It starts with a dissonant, building tension.
- The brass hits a series of triplets.
- It resolves into a walking bass line.
That intro is Pavlovian. You hear those first four bars and your brain immediately fills in the rest. It’s one of the few songs where the orchestration is just as famous as the lyrics.
Common Misconceptions About the Track
I’ve heard people swear this song was written in the 40s. Nope. It just sounds like it was. Kander and Ebb were masters of pastiche. They wrote it to sound like a classic Big Band era tune, even though they were living through the age of disco and punk.
Another weird fact: the song isn't actually titled "New York, New York." The official title is "Theme from New York, New York." But nobody calls it that. If you ask a DJ for the "Theme from New York, New York," they might think you’re talking about a movie score.
The Global Impact
It isn't just a local anthem. It’s played in Tokyo, London, and Berlin. It represents the "American Dream" distilled into three minutes and twenty-six seconds.
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But it’s also been parodied to death. From The Simpsons to Gremlins 2: The New Batch, the song is used whenever a creator wants to signal "big city lights" or "unearned confidence."
The Song in the 2020s
Does it still hold up? Honestly, yeah. In an era of trap beats and hyperpop, there’s something grounding about a massive horn section. It’s tactile. You can feel the vibration of the instruments.
During the 2020 lockdowns, people in New York started playing the song from their windows and balconies. It wasn't just a tourist tune anymore. It went back to its roots—a song about resilience. It proved that the New York New York song isn't just about the city’s geography; it’s about a specific type of stubbornness.
How to Experience the Song Properly Today
If you want to move beyond just hearing it on the radio, you have to look at the history.
- Watch the 1977 Film: It’s on most streaming platforms. Watch Liza Minnelli’s performance. It’s raw. It lacks the polish of the Sinatra version, but it has more heart.
- Visit the Paley Center for Media: They have archives of Sinatra’s various live performances of the track. You can see how his phrasing changed as he got older.
- Listen to the "Trilogy" Album: This is where the definitive studio version lives. The production is massive.
Actionable Insights for Music Lovers
If you're a musician or a student of pop culture, study the "shift." The song starts in one key and then modulates (shifts up) for the finale. This is a classic Broadway trick to increase excitement. It’s why you feel like you want to shout the last few lines.
To truly understand the legacy, look for the 1980 televised performance where Sinatra and Minnelli finally performed it together. It was a "passing of the torch" moment that solidified the song as the unofficial anthem of the United States' most iconic city.
The next time you're in a crowd and that brass starts kicking in, remember that Robert De Niro's "bad" review is the only reason we have this specific version. Sometimes, the best work comes from being told your first attempt wasn't good enough. That’s the most New York thing about the whole story.
Your New York Playlist Evolution
- Start with the 1977 Original Cast Recording: Hear the theatrical version.
- Move to Sinatra's 1980 Single: Notice the tempo increase.
- Check out the Tony Bennett and Lady Gaga cover: It shows the song's versatility across generations.
- End with the Cat Power cover: It’s a stripped-down, melancholic version that reveals just how good the actual songwriting is when you take away the "Vegas" glitz.