started stocking Epiphone, more affordable
Martins, the truly astonishing Guild GAD series
guitars made in China, Gold Tone mandolins,
banjos and resonator guitars, and the new
Fender American Special series electrics with
their street price of $799. We shifted our prod-
uct mix to reflect the acquisition patterns of
a cautious customer base that’s less prone to
impulse purchasing. The economy has caused
us to rethink not only our product mix, but our
advertising and our use of the internet.”
greets visitors when they walk in is, ‘You can play
every instrument in the place and ask us up to
one million questions.’ The interaction with each
customer is harmonious and haimish—a Yiddish
term that translates as ‘a homelike atmosphere,
unpretentious, warm, cozy, and relaxed.’”
Debbie Harry of Blondie looks on as bassist Jimmy Destri (left) and guitarist Chris Stein (right) check out guitars at Stuyvesant
Music in May of 1977. Credit: Bob Gruen
Like most music retailers, Jay has had to
adjust his business model to adapt to
economic realities.
“Throw in the towel? Fuggedaboutit!”
If there’s one thing that all of the Big Apple
entrepreneurs mentioned here have in common, it’s that particularly infectious brand of
savvy New Yawk determination, mixed with
a bit of an attitude that makes one believe
they’re in the retail game for keeps. Here’s
hoping they succeed in their efforts to preserve
independent music stores in New York City.
“During this great economic meltdown we
realized there was a strong product passage
in the direction of lower-priced pieces, so we
Click here to see video tours of 48th
Street’s Rudy’s, Sam Ash, and the
now-closed Manny’s.
Also—visit the Manny’s virtual wall
at mannysmusic.ning.com
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