The question most often asked of me is, "What does CBGB stand for?"
I reply, "It stands for the kind of music I intended to have, but not the
kind that we became famous for: COUNTRY BLUEGRASS BLUES."
The next question is always, "but what does OMFUG stand for?" and I say
"That's more of what we do, It means OTHER MUSIC FOR UPLIFTING
GORMANDIZERS." And what is a gormandizer? It's a voracious eater of,
in this case, MUSIC.
I reply, "It stands for the kind of music I intended to have, but not the
kind that we became famous for: COUNTRY BLUEGRASS BLUES."
The next question is always, "but what does OMFUG stand for?" and I say
"That's more of what we do, It means OTHER MUSIC FOR UPLIFTING
GORMANDIZERS." And what is a gormandizer? It's a voracious eater of,
in this case, MUSIC.
I can't begin to tell you how many times I've been asked those questions.
Alot of people believe that OMFUG stands for something dirty, but the truth is, I felt CBGB sounded so pat that I wanted something to go with it that sounded a little uncouth, or crude.
Alot of people believe that OMFUG stands for something dirty, but the truth is, I felt CBGB sounded so pat that I wanted something to go with it that sounded a little uncouth, or crude.
The obvious follow up question is often "is this your favorite kind of music?"
No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, alot of my artist/writer friends were always going off to some fiddlers convention (blue grass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately- or perhaps FORTUNATELY- things didn't work out quite the way I 'd expected.
No!!! I've always liked all kinds but half the radio stations all over the U.S. were playing country music, cool juke boxes were playing blues and bluegrass as well as folk and country. Also, alot of my artist/writer friends were always going off to some fiddlers convention (blue grass concert) or blues and folk festivals. So I thought it would be a whole lot of fun to have my own club with all this kind of music playing there. Unfortunately- or perhaps FORTUNATELY- things didn't work out quite the way I 'd expected.
December 1973 is when CBGB opened, and among the first bands to play were, "The Con Fullum Band " from Maine, "Elly Greenberg," a country folk artist, and a street group called "The Wretched Refuse String Band." I booked many other such musicians but was finding it difficult to come up with enough new, fresh talent of that genre. Subsequently, we played a smattering of jazz such as "Oregon" and "Jeremy Stieg"
The beginning of what we now think of as CBGB came early on. I was on a ladder in front of the club fixing the awning in place, when I looked down to notice three scruffy dudes in torn jeans and T shirts looking up at me inquisitively.
"WHAT'S GOIN' ON?" or something of that nature, was the question they asked.
They were Tom Verlaine, Richard Hell, and Richard Lloyd, three of the four members of the rock group "Television." A few days later, Terry Ork, Television's manager came around to try and get the band a gig at CBGB.
He was a pudgy little dynamo with a penchant for non-stop talking; energy and enthusiasm up to here. He believed Television was going to be the hottest new sound since John Cage first played his "clothes line."
Since at that time we weren't open on Sunday, I decided to give Television a try out, about three and a half weeks hence, on a Sunday.
The admission was one dollar. ----It was not an impressive debut (at least not in my opinion). There were only a few paid customers and not too many more friends. They not only didn't pay admission but didn't have any money for drinks.
The beginning of what we now think of as CBGB came early on. I was on a ladder in front of the club fixing the awning in place, when I looked down to notice three scruffy dudes in torn jeans and T shirts looking up at me inquisitively.
"WHAT'S GOIN' ON?" or something of that nature, was the question they asked.
They were Tom Verlaine, Richard Hell, and Richard Lloyd, three of the four members of the rock group "Television." A few days later, Terry Ork, Television's manager came around to try and get the band a gig at CBGB.
He was a pudgy little dynamo with a penchant for non-stop talking; energy and enthusiasm up to here. He believed Television was going to be the hottest new sound since John Cage first played his "clothes line."
Since at that time we weren't open on Sunday, I decided to give Television a try out, about three and a half weeks hence, on a Sunday.
The admission was one dollar. ----It was not an impressive debut (at least not in my opinion). There were only a few paid customers and not too many more friends. They not only didn't pay admission but didn't have any money for drinks.
I thought the band was terrible; screechy, ear-splitting guitars and a jumble of sounds that "I just didn't get." I said, " NEVER AGAIN!!!" After much cajoling and haranguing, however, Terry Ork persuaded me to let them play again with another "hot' new rock group from Forest Hills, Queens. They were called "The Ramones." Terry said that the Ramones had a big following and the combination of the two bands will make a great show. I thought, "What the hell, what do we have to lose!!?....Ha!"
Well the anticipated night came, and there were not many more people than before.
As for the Ramones, they were even worse than Television. At that first gig at CBGB, they were the most untogether group I'd ever heard.
They kept starting and stopping-equipment breaking down- and yelling at each other. They were a mess.
Well the anticipated night came, and there were not many more people than before.
As for the Ramones, they were even worse than Television. At that first gig at CBGB, they were the most untogether group I'd ever heard.
They kept starting and stopping-equipment breaking down- and yelling at each other. They were a mess.
Little did I suspect that both Television and the Ramones would eventually get it together and become two of the most important punk bands of the 70's.
It taught me to be more forgiving in judging new bands, and to listen a little more closely. I think both the Ramones and Television teach a valuable lesson for aspiring artists. They were wonderfully talented, they believed in themselves, they had integrity, they were persistent, and they worked hard. The Ramones to this day have millions of fans all over the world and to many kids they are still the quintessential punk band. Television was an inspiration and a great influence on bands that came after. Rock critics today, still rate Television's debut album as one of the ten best albums of the 70's.
Since their inauspicious beginnings, both groups have played over a hundred sets each at CBGB.
It taught me to be more forgiving in judging new bands, and to listen a little more closely. I think both the Ramones and Television teach a valuable lesson for aspiring artists. They were wonderfully talented, they believed in themselves, they had integrity, they were persistent, and they worked hard. The Ramones to this day have millions of fans all over the world and to many kids they are still the quintessential punk band. Television was an inspiration and a great influence on bands that came after. Rock critics today, still rate Television's debut album as one of the ten best albums of the 70's.
Since their inauspicious beginnings, both groups have played over a hundred sets each at CBGB.
Richard Hell, who left Television to play with Johnny Thunders in the "Heart Breakers," eventually formed his own Band called "Richard Hell and the Void Oids,"on Sire/Warners. His song "Blank Generation," became an
anthem of the punk 70's. Richard went on to act in movies, have books of poetry published, and he recently completed a novel.
The "Stilettos" came soon after. They were actually quite good right from the
start. With the three girls up front doing the singing, the musicians in back, they were campy and a lot of fun. They consisted of Elda Gentile, Debbie Harry, and Chris Stein among others, and eventually broke up and re-formed the band "Blondie" With Debbie Harry as the centerpiece (probably the most beautiful woman in rock ever) and the very talented songwriters (Debbie, Chris, and Jimmy Destry). Blondie kind of stagnated for a while. They were ultimately whipped into shape by Richard Gottherer who got hold of them and produced their first record on " Private Stock."
The rest is history!
anthem of the punk 70's. Richard went on to act in movies, have books of poetry published, and he recently completed a novel.
The "Stilettos" came soon after. They were actually quite good right from the
start. With the three girls up front doing the singing, the musicians in back, they were campy and a lot of fun. They consisted of Elda Gentile, Debbie Harry, and Chris Stein among others, and eventually broke up and re-formed the band "Blondie" With Debbie Harry as the centerpiece (probably the most beautiful woman in rock ever) and the very talented songwriters (Debbie, Chris, and Jimmy Destry). Blondie kind of stagnated for a while. They were ultimately whipped into shape by Richard Gottherer who got hold of them and produced their first record on " Private Stock."
The rest is history!
What else was happening in rock the year of 1974 in the great metropolis of New York City? Pretty much nothing!! There were hardly any places to play rock and roll; Max's Kansas City was closed for almost a year while changing owners. The Electric Circus had closed. The Filmore East closed, and The Mercer Arts Center collapsed (it literally fell down).
THE CITY WAS IN DECAY!
No club would let you play original rock and roll unless you had a recording contract. There were so many bands around that could only practice in their lofts and basements. They had not many places to play in public. So I decided not only to have rock bands and let them play their own music, I made it policy that the only way to play CBGB was to perform only your own music.
That seemed to turn things around and soon bands were flocking to CBGB so they could do their own thing. It was quite an experience. Musicians literally came out of the woodwork. We even started to develop fans and regular paying customers who hung out to see and hear what was going on.
No club would let you play original rock and roll unless you had a recording contract. There were so many bands around that could only practice in their lofts and basements. They had not many places to play in public. So I decided not only to have rock bands and let them play their own music, I made it policy that the only way to play CBGB was to perform only your own music.
That seemed to turn things around and soon bands were flocking to CBGB so they could do their own thing. It was quite an experience. Musicians literally came out of the woodwork. We even started to develop fans and regular paying customers who hung out to see and hear what was going on.
What is CBGB - and has been for over 26 years- was an old derelict bar from the turn of the last century. It was called "The Palace Bar" because it was right under "The Palace Hotel (some hotel, a real palace!). It was actually the largest flophouse on the Bowery. For over a century the Bowery has been a street of lost souls. The derelicts and alcoholic bums would line up only to stagger into the Palace Bar at 8am for their eye opener, their first drink of white port or muscatel.
The Bowery had over sixty flophouses and about forty or fifty bars of which
The Palace Bar (CBGB) was the largest. Over 165 feet long and 25 feet wide, just a big old bar with beer signs lighting the overhead. The "Palace" stank from dirty old men, vomit, and urine. When I took over the place I had to fumigate as we reinforced the old bar so you couldn't see the warp. The first stage we built we made out of scrap wood. We had no sound system of our own at that time, so the bands supplied the P.A. Eventually we bought our own, and supplemented it with rented equipment. Now we can boast the best rock and roll P.A. in New York City.
The Bowery had over sixty flophouses and about forty or fifty bars of which
The Palace Bar (CBGB) was the largest. Over 165 feet long and 25 feet wide, just a big old bar with beer signs lighting the overhead. The "Palace" stank from dirty old men, vomit, and urine. When I took over the place I had to fumigate as we reinforced the old bar so you couldn't see the warp. The first stage we built we made out of scrap wood. We had no sound system of our own at that time, so the bands supplied the P.A. Eventually we bought our own, and supplemented it with rented equipment. Now we can boast the best rock and roll P.A. in New York City.
THE YEAR WAS 1974, the middle of a recession.
It was a struggle just to keep going. People had no money but at least rents were cheap,and living was pretty easy. I lived in the back of the club and worked day and night trying to support the place by doing art and household moving jobs.
The drinking age was still 18 in N.Y. so a lot of young people got involved in rock.
The city was in decay. These were drab uninspiring years. Coming to an end was thegreat social upheaval of the sixties.
And here we were :
1973 Roe verses Wade(last socially significant achievement)
1974 Nixon impeached(scandal... big time)
1975 End of Vietnam War (clump)
1974 Nixon impeached(scandal... big time)
1975 End of Vietnam War (clump)
It was a period of dismay for young people. They were disoriented. They were trying to find something of their own to hold on to.
The world was in flux, a transition period. CBGB to many became a place where they could express frustrations, desires, anxieties and maybe even dreams.
By : Hilly Kristal
The world was in flux, a transition period. CBGB to many became a place where they could express frustrations, desires, anxieties and maybe even dreams.
By : Hilly Kristal
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