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Foo Fighters Convey Rock Again to Madison Sq. Backyard

The house lights inside Madison Square Garden went down Sunday night, and the thousands of fans, packed like sardines in their seats, stood as if on cue. As they roared their approval, bouncing in place on the balls of their feet, the ground began to tremble. Cellphone flash lights illuminated the darkness.

The sound of a keyboard echoed through the rafters. Dave Grohl, the Foo Fighters’ frontman, appeared on the stage.

“It’s times like these, you learn to live again,” Grohl sang.

The lyrics had seldom felt so on point.

After many difficult months of illness, death, hardship and pain, and shifting limits on how many people could gather, especially indoors, arena rock returned to New York City just over a year after the city was the center of the outbreak. It was the Garden’s first concert in more than 460 days, and it drew a full-capacity crowd that was asked to show proof of vaccination to enter. Inside, people grooved, tightly packed, with few masks visible.

On Sunday, a concert attendee would have had to squint to see signs of the pandemic persisting. In many ways, the evening felt like prepandemic times.

In a sea of thousands, only a few patrons here or there wore face coverings. Thousands of vaccinated people, their faces bare, belted out the lyrics to well-known songs, sending aerosols flying through the air. No one seemed concerned.

Fans were packed together. A sudden arm gesture could send a beer flying. Strangers hugged and high-fived. They bumped into each other in the busy concourse. They punched the air, swung their hair and danced, twisting and swaying at their seats in a state of high-decibel music-induced bliss.

It was “just epic,” said Rachael Cain, 51, who was among the first people to arrive at the Garden on Sunday afternoon.

But there were subtle reminders of the pandemic everywhere. Hand sanitizer pumps were clamped to the walls, and wipes could be found near any napkin dispenser. Ticketing was digital and concession buying appeared mostly cashless.

At the entrances, staff members checked people’s vaccine cards with varying levels of scrutiny. Some asked for identification to match with proof of inoculation, in a slow-moving process. Other checkers simply waved people through as they flashed their passes while walking by. A small anti-vaccine protest on the sidewalk outside drew little attention.

Several patrons said that the vaccine requirement helped them feel safe about returning to such a big indoor gathering.

“I was expecting it to be a little longer before I came to a concert again,” said Nick Snow, 29, who was among the few fans who wore a mask while inside the arena. “The precautions with the vaccinated only, they help.”

Grohl himself took care to acknowledge from the stage the unique milestone he and his band were participating in. At various points during the roughly three-hour show, he asked the crowd rhetorically if they had missed music, and mused about how good it felt to be around thousands of people while playing rock songs. The band sang “My Hero” as a tribute to those who had made the concert possible. And in a surprise cameo to celebrate the occasion, the band brought out the comedian Dave Chappelle to sing a cover of Radiohead’s “Creep.”

“Welcome back, New York City!” Chappelle yelled as he exited the stage.

The show represented the return of some old, familiar comforts that music lovers may not soon take for granted again. There was call and response; people gesturing wildly to no one in particular; fans screaming the lyrics to songs only to realize their voices were drowned out by the music; and an entire floor section jumping up and down as one wave.

“I would get vaccinated 10 times over just to see a live show like this with people,” said Rich Casey, 53, of Massachusetts.

Having reached the ground floor of the venue and the echoey plaza that leads to the street, Foo Fighters fans seeking one last communal experience for the night sent up a chant, reveling again in one of the band’s most well-known songs, “Best of You.”

Ohhhhhh
Ohhhhhh.
Ohhhhhh.
Ohhhhhh.

Then they erupted in one final cheer and walked out into the New York night.

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Entertainment

Jay-Z and Foo Fighters Are Nominated for the Rock Corridor of Fame

Foo Fighters, Jay-Z, Mary J. Blige, Iron Maiden and Afrobeat pioneer Fela Kuti are first-time nominees for the Rock & Roll Hall of Fame’s 36th Annual Induction Ceremony, announced on Wednesday.

They lead a group of 16 nominees, including several who have received nods at least twice before: Devo, LL Cool J, New York Dolls, Rage Against the Machine, and Todd Rundgren.

After many complaints that the hundreds of candidates in the hall over the years have been predominantly white and male, this year’s ballot is the most diverse to date. Seven of the 16 nominees are female acts and nine are performing artists of color.

The women on the ballot include the Go-Go’s and Dionne Warwick – both of whom receive their first nods – as well as Kate Bush, Carole King, Chaka Khan and Tina Turner.

This year’s induction ceremony is slated for fall in Cleveland, home to the Rock & Roll Hall of Fame and museum.

To some extent, the latest nominee number expands a pattern that has prevailed for the past half a decade or so, with a handful of alt-rock heroes and rap gods as near-guaranteed safe-things; Foo Fighters and Jay-Z have just passed the hall’s approval threshold of 25 years since their first commercial recordings were released. Dave Grohl, the leader of Foo Fighters, is already in the Pantheon as a member of the 2014 Nirvana class.

A few recycled names from previous years’ ballot papers give an idea of ​​the advocacy projects on the Hall of Fame’s secret nomination committee. Rundgren, the versatile singer-songwriter and producer, whose solo career dates back to the early 1970s, has been nominated for each of the last three years. Rage Against the Machine, the agitprop rap metal band whose planned reunion tour was interrupted by the pandemic last year, has been nominated three times in the last four cycles. LL Cool J has now received a total of six nods.

Iron Maiden, whose lightning-fast guitar riffs and demonic images helped shape heavy metal in the 1980s, has been approved since 2005.

This year’s nominations also contain some surprises. Kuti, the Nigerian band leader and activist who fused James Brown’s funk with African sounds to create the Afrobeat genre – and was introduced to many Americans through the 2009 Broadway musical “Fela!” – would be the first West African award winner. (Trevor Rabin, a member of Yes, who joined in 2017, is from South Africa.)

And the hall’s nomination committee – a group of journalists, broadcasters, and industry insiders – clearly made an effort to highlight some of pop music’s many deserving women. The pressure to do this has been increasing for years. In 2019, critic and academic Evelyn McDonnell counted the 888 people enrolled to date and found that only 7.7 percent were women.

When Janet Jackson and Stevie Nicks gave acceptance speeches earlier this year, they urged the institution to diversify its ranks. “What I do is open the door to other women like, ‘Hey man, I can do it,'” said Nicks.

If elected, King and Turner Nicks would join as the only artists to be included twice. King was recorded with her songwriting partner Gerry Goffin in 1990, and Ike and Tina Turner joined in 1991.

More than 1,000 artists, historians and music industry professionals will vote on the nominations. The venue will once again conduct a single “fan vote” based on votes collected from members of the public on the venue’s website, rockhall.com. The candidates will be announced in May.

In December, the Hall of Fame and Museum announced plans for a $ 100 million expansion that would add a third to their museum’s footprint.