The iconic nightclub CBGB opened its doors on December 10, 1973, in the East Village of Manhattan. Originally conceived by Hilly Kristal as a bluegrass-and-blues establishment, it quickly became a haven for the emerging New York City punk and new wave scenes. Some of the biggest names in early punk came through CBGB, establishing the venue as a notable underground meeting place and making its mark in music history.
Early acts that often played CBGB include The Ramones, Television, Talking Heads, Blondie, and Patti Smith. The club also attracted more hardcore punk bands in the 80s, like Cro-Mags, Warzone, Agnostic Front, and Gorilla Biscuits.
The CBGB logo was designed by Kristal’s wife, Karen, with the letters standing for “Country, Bluegrass, Blues.” Actually, the full name of the club is CBGB & OMFUG, with the addition of “and Other Music For Uplifting Gourmandizers.”
In 1998, Hilly Kristal wrote a history of the club, which first shed some light on the name. He said, “I can’t begin to tell you how many times I’ve been asked those questions” about the meaning of CBGB & OMFUG. While he said many people assumed OMFUG stood for something dirty, he admitted that “CBGB sounded so pat that I wanted something to go with it that sounded a little uncouth, or crude.”
True, CBGB is kind of a cute name for a seedy punk nightclub. But beyond the name’s origins, Kristal went on to say that the club didn’t actually make much money until around 1976. Before that, they would pay the relatively unknown bands with the door money, but keep anything made at the bar. The perks for artists included opportunities to hang out with their peers and grow a fan base.
CBGB Started as a Country Venue, But Quickly Became a Haven for Punk Rockers
By 1975, said Hilly Kristal, things started to look up for CBGB. “No one was getting rich, but who cared,” he wrote. “We were all having a ball. It was certainly exciting, discovering new artists, finding new bands, spreading the word, trying to get them recording contracts.”
Geographically, CBGB was located in the Bowery, underneath a “flophouse,” as Kristal explained. “The Bowery was, to repeat, a drab ugly and unsavory place,” he wrote. “But it was good enough for rock and rollers. The people who frequented CBGB didn’t seem to mind staggering drunks and stepping over a few bodies.”
The neighborhood was bleak, and the residents often unsavory. But the music coming out of CBGB fit right into that underdog, ostracized, discarded sort of atmosphere. What better place for punk to emerge than in the dregs of Manhattan?
By 1976, Kristal was booking out-of-state bands to play at CBGB. He had rock bands from the fertile Boston and Philadelphia scenes coming through that year. “D.M.Z., The Inflictors, Hot Rain, The Yarbles, Mickey Clean and the Mez, Real Kids, The Boiz, Bon Jour Aviator,” Kristal wrote, just to name a few. He also highlighted The Dead Boys, a punk band from Cleveland, recommended by Joey Ramone.
“They were loud, raw, crass, with super high energy,” he wrote. “They were outrageous and obscene, with excellent lyrics and music. Somehow, they were disciplined musicians.”
The Legendary Punk Bar Went To Its Eternal Resting Place in October 2006
CBGB was a NYC punk staple for 33 years, until the dreaded landlord came calling. By 2000, there were disputes about allegedly unpaid rent on the building, and in 2005 Bowery Residents’ Committee (BRC) sued CBGB for $90,000 in back rent. Kristal claimed he was never notified of rent increases over the years and that the debt was false. Negotiations ensued, rent was raised, and CBGB was given until October 31, 2006, to vacate the building. At this point, Kristal was planning to open another nightclub in Las Vegas anyway.
The final show at CBGB was played on October 15, 2006. Many of the now-established bands that had come up at CBGB returned to their old stomping grounds. Bad Brains, Blondie, The Dictators, and, of course, Patti Smith, who performed into the small hours.
CBGB closed with fanfare and an outpouring of tributes from artists, fans, and regulars. In 2008, the alley behind the venue, called “Extra Place,” was turned into a pedestrian mall.
“All of Manhattan has lost its soul to money lords,” said Cheetah Chrome, guitarist of The Dead Boys, at the time. “If that alley could talk, it’s seen it all.”
Photo by Charlie Steiner – Highway 67/Getty Images
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