Francisco Daum Flowers outside of CBGB in 2001, after Joey Ramone died of lymphatic cancer.

The CBGB brand — and the merchandising empire that comes with it — changed hands three months ago, a representative of the new owners told The Local.

“We bought the entire estate, the physical assets of the former club. They dissembled it as a theatrical unit so in theory they could put it back together — say, 80 percent they salvaged,” said the spokesman for the new owners, who wished to remain anonymous in anticipation of an announcement in the coming weeks regarding the return of the legendary club. “There are all kinds of tapes, photos, and the global trademarks and licensing.”

The spokesman added that his group bought the CBGB estate from Lisa Kristal, the daughter of the founder of the club, Hilly Kristal. A man who answered the phone at Ms. Kristal’s number had no comment regarding the transaction.

“In negotiating the sale, Lisa Kristal was motivated much more by preserving the legacy of CBGB than she was by money,” said the spokesman in an e-mail. “We had to court her for seven months, proving to her that we would be the best guardians of the name. She wanted to know our plans. I would stay up until two in the morning, night after night listening to her wonderful stories and telling her about the ways in which we were going to keep CBGB alive through loud music and by supporting new bands.”
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Courtesy of Doubleday

Luckily for East Villagers, James Wolcott’s memoir of his days as a young culture critic in a now nearly vanished city, “Lucking Out: My Life Getting Down and Semi-Dirty in Seventies New York,” places much of its meat and potatoes (along with plenty of gravy) right here in our very own backyard. Steering a middle course between the sometimes overly concentrated, every-word-counts prose of his Vanity Fair columns, and the more loosey-goosey style he deploys in his blog at the same publication, Mr. Wolcott reconfirms his position as New York’s wittiest critic.

Despite its pleasing portability (the book, out later this month, comes in at about 270 pages), “Lucking Out” covers plenty of ground, bopping from Mr. Wolcott’s mice-ridden “man-cave” on East 12th Street, down to CBGB, and back up to the Village Voice, where he made his name. It slides west for a gawk at the gay heyday of the West Village, then uptown for some quality time among the balletomanes of Lincoln Center (with a pause for skuzzy “Taxi Driver”-era Times Square porn along the way), and includes countless screening room séances with his mentor and muse, the late New Yorker film critic, Pauline Kael, to whom large portions of the book can be seen as an extended and touching valentine. Read more…

Two of the most comprehensive documentarians of the late-1970s East Village punk scene will give a screening of their rare no wave footage at the BMW Guggeinheim Lab on Sunday.

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Phillip Kalantzis-Cope

The Times profiles Taavo Somer of Freemans and Peels, who is opening Isa in Williamsburg, and reveals that the so-called “patron saint of hipsters” is “getting sick of New York. Yes, one of downtown’s most imitated tastemakers of the last decade is itching to leave the very place where he made his mark.”

Those flashy “jeggings” that rapper Lil Wayne wore at the MTV Music Video Awards? The Daily News discovers they were created by an East Village designer, TrippNYC.

According to The Post, two teenagers and a 21-year-old were arrested for sneaking into an East Fifth Street apartment around 2 a.m. on Sunday and making off with an iPod, iTouch, and some cash. Read more…

C Ceres Merry

Good morning, East Village.

The Daily News reports that three First Avenue teenagers were arrested for walking across a beam of the Williamsburg Bridge early Saturday morning.

According to The Post’s crime blotter, a man posing as a real estate agent showed off an East Third Street apartment and pocketed $3,575 from two victims who thought they had snagged the digs.

EV Grieve notices a sign indicating that an outpost of the organic hamburger chain BareBurger is coming to the former Sin Sin space.

In addition to the mint trash bags we told you about, a baiting station is now being used to fight the Tompkins Square Park rats, EV Grieve notices.

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Scott Lynch

Good morning, East Village.

East Village cyclists have been put on notice. City workers plan to discard several abandoned bikes near East First Street between Avenue A and First Avenue, according to a Department of Transportation sign spotted by EV Grieve. Better pick yours up by the end of the day.

The New York Daily News profiled former CBGB bartender Jane Danger, owner of Jane’s Sweet Buns. The shop, at 102 St. Marks Place, features baked goods with hints of alcohol, like a Rum Runner bun with nutmeg, cinnamon, raisins, brown sugar, Galliano liqueur and aged rum.

Finally, Neither More Nor Less, Marty After Dark, EV Grieve, and Gothamist have photos from Saturday’s protest against East Village gentrification. Activist John Penley and his crew started at East Third Street, found its way to the BMW Guggenheim Lab and ended at what used to be Mars Bar. A poem was read. A cigarette was lit. Signs were waved, and then the protestors went home.

Vivienne Gucwa

Top of the morning to you, East Village!

Ephemeral New York mourns some bygone record shops, including the Saint Mark’s Music Exchange, but it’s not all doom and gloom on St. Marks. EV Grieve notices that the space that briefly housed the CBGB store now hosts a tattoo and tobacco accessories shop. Speaking of CBGB, Bowery Boogie reports that John Varvatos and Jesse Malin of Niagara are teaming up to host a Sirius XM show, “New York Nights…Direct from the Bowery.”

EV Grieve notices web postings indicating that Bar on A seems to be for sale and Banjo Jim will close on Tuesday; meanwhile City Room remembers Mars Bar’s alternate identity as an art gallery, and WNYC also revisits the dive’s closing. Elsewhere on the art scene, EV Grieve gets a glimpse of the BMW Guggenheim Lab’s food menu, by East Williamsburg pizza destination Roberta’s; and the Times considers Chinese artist Ai Weiwei’s online gallery of photographs from the East Village in the 1980s, also on display at the Asia Society.

Finally, New York magazine strolls the neighborhood with onetime “mayor of the East Village” Aziz Ansari. The actor and comedian identifies “East Village dogs” and interrogates a NYC Icy employee: “This is pumpkin flavor, not pumpkin-pie flavor. Pumpkin pie has pie crust in it.”

Paula CourtJody Oberfelder

Jody Oberfelder is an East Village dancer/choreographer who started out as the lead singer for the Bagdads, a punk band which played at CBGB’s. She then became a dancer and choreographer who has brought to both roles unusual athleticism, heart, humor, and in the words of Village Voice critic, Deborah Jowitt, “a zest for endearingly human dancing in an upside-down world.”

She has gone from creating works with titles such as “Wanted X Cheerleaders” and “Crash Helmet Brigade” to directing opera (“Dido and Aeneas”)  and now Igor Stravinsky’s “The Soldier’s Tale,” which she will present at the Michael Schimmel Center for the Performing Arts at Pace University (where “Inside the Actors Studio” is filmed) from June 9 to 11. Recently The Local spoke to her about her work and how living in the East Village has influenced it.

You have been part of the East Village arts scene for a long time. How has living here informed your work as a dancer and choreographer?

I’ve lived in the East Village from 1980 to the present, and I saw it change from a place where it was still full of old Ukrainian characters and really scary just to go east of Avenue A. When Life Café came into being on Avenue B, I remember kind of tip-toeing my way over there beside the park. I think I was just one of the many kinds of art-makers and filmmakers who was around at that time. Steve Buscemi and his wife Jo Andres were going to all the same events, and he’s pretty famous now! It was more of a cabaret-ish atmosphere, and you’d stay out pretty late, too. There was a great performance duo called Dancenoise, and also the “Full Moon” shows at P.S. 122. This was the more liquid East Village, more sweaty and physical. There were also people doing more esoteric work at the time.
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Heartonastick Tom Verlaine performing at Central Park Summerstage, 2007.

There are certain artists one wishes one could outgrow. They belong to one’s youth, after all, and perhaps they should remain there, along with all the other youthful things one is relieved to have outgrown. But for me, the music of the CBGB’s-era band Television, and in particular its singer and songwriter, Tom Verlaine, is one of those youthful enthusiasms which (so far, anyway) threads its way through my life with embarrassing persistence. Occasionally it disappears for long periods while other, more novel interests take hold, but then, like mosquitoes in Spring, back it comes, nipping at the senses as tenaciously as always, only in this case the result is intense pleasure rather than irritation and blood marks.

Television was, or is — no one seems to be sure of its exact current status — the band best known for inaugurating the CBGB’s scene in the mid-1970’s; for having to this day a small but ferociously loyal group of devotees; and for having been eclipsed, at least in terms of popularity, by other bands of that era such as Talking Heads, Blondie, The Ramones, et al. Even by the monstrously egotistical standards set by most rock stars, they seemed weirdly indifferent to fame and record sales, but like the Velvet Underground their musical influence remains pervasive and lives on in a variety of formats which now include amateurishly filmed but invaluable concert clips put up on YouTube.
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Emily Armstrong Some of the tapes from the archive of around 200 punk and new wave performances that will soon be preserved by The Fales Collection at New York University. The collection’s director calls it “the very best.”

The Fales Collection at New York University will shortly begin the process of preserving and cataloging an extraordinary video archive of punk and new wave performances known as “Gonightclubbing, Ltd.,” mainly recorded in the nineteen seventies at East Village clubs like CBGB using reel-to-reel video.

The archive is the work of video artists Emily Armstrong and Pat Ivers, and until collected by a team from Fales last week it occupied significant cupboard space in Ms. Armstrong’s apartment. Although the material has been presented at museum and theater shows, it has never been commercially available. Almost 200 live shows by acts like the Dead Boys, the Heartbreakers, Iggy Pop and Suicide have remained largely unseen since the two young cable TV employees hauled their gear around downtown clubs more than 30 years ago.

Fales has been collecting documentation of the downtown art scene since 1994. Marvin Taylor, director of the archive, told The Local, “You can’t talk about the art scene without talking about the birth of punk rock.” He described the Armstrong-Ivers material as the “premiere collection” of live recordings from the period, with great sound quality because the makers were able to record directly from the soundboards at clubs. “It’s the very best. I have never seen anything like it,” he said.
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Jamie Newman The stage at Extra Place, a venue located in the basement of what was once C.B.G.B.

The burgeoning private-event and music space Extra Place — known to those in the know as EP — has already hosted hot ticket events. Designer John Varvatos celebrated his 10th year in fashion with a party here. “Oakazine,” the edgy design and fashion magazine, held a new issue release event. The CMJ music festival programmed performances on the Extra Place stage. Situated in what was the basement of legendary rock club CBGB (the John Varvatos store occupies the main part of the former CBGB space upstairs), Extra Place by the Max’s Kansas City Company is quickly declaring itself a destination for New York’s entertainment elite.

“We’re striving to re-create the wildness and the lifestyle that the old CBGB space used to breed,” Brett Kincaid, the venue’s manager, told The Local. “We want to recapture that time period and all of the revelry that comes with it, but add a modern twist, some relevancy.”
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