http://www.staythirstymedia.com/200906-034/html/200906-mandy-stein-int.html
Mandy Stein is a documentary filmmaker and director of Burning Down The House - The Story of CBGB. Following a review of the film on staythirsty.com, Jarrod Dicker sat down with the director to discuss her experience making the film and the motivation behind its production. She currently resides in Los Angeles, California and is presently working on another music documentary with her fiancé.
Thirsty: How long have you been making films?
Mandy Stein: My first documentary was titled, You See Me Laughin' (2002) where I followed the last of the Hill Country Bluesmen. The idea was sparked in early 1999, from a Mike Rubin article in Spin Magazine about the Bluesmen. So I went on and called Mississippi where the label was based. I had no education in the field and never attended film school. The funding came from borrowed money from my grandfather, and I just went down there, figured it out and created a documentary.
Thirsty: What was the overall vibe at the film’s premier at TRiBeCa?
MS: It was really thrilling to be there. The mood was incredibly positive and I was impressed to see that the audience laughed and cried when the film called for it.
Thirsty: Has it found a home or distribution?
MS: Not yet...there’s definitely some interest, but nobody has taken the plunge.
Thirsty: What inspired you to create this documentary?
MS: Born and raised a New Yorker, CBGB's was a part of my childhood. I went there throughout my adolescence and all through my teenage years to adulthood. When I heard of its situation, being in a serious rental dispute, I called Hilly (Kristal) from Los Angeles and spoke to him. He was a family friend, and invited me to make the film without hesitation. After that, I pretty much jumped on a plane to New York and began shooting.
Thirsty: So was this a personal mission? To document the last days of the historic club?
MS: The reason why I made this film was to preserve the history and satisfy the unsettling feeling of losing CBGB's. It just sounded too frightening, and at that point in time, a grass root campaign to save CBGB's had already begun...I wanted to jump on board. I thought it was so amazing how New Yorkers were standing up for the club, and I knew then, that this was something that needed to be documented. It’s unique to have such a vocal resistance and I wanted to follow that.
Thirsty: You said Hilly was a family friend...
MS: Hilly was really inviting, and everyone over at CBGB's was accommodating and warm. You had to earn your trust. They made you feel like a part of the CBGB family and the atmosphere that the club was run by was so family-oriented. People spent so many hours there, a home away from home. Some of my closest friends believed in it. Everyone really misses hilly.
Thirsty: Has anything ever come about from the Bowery Resident Committee? An apology?
MS: No...they own a lease that they didn’t want to renew. It’s a shame that the club isn’t there anymore, however the B.R.C. didn’t do anything illegal.
Thirsty: What film/camera techniques were used?
MS: The style of the film is incredibly eclectic. We used various lenses from HD, to super 8, to photography...because there were so many different elements and archival footage, for me it was just really trying to blend in as much as I could with all of those elements. Keeping it as simple as possible.
Thirsty: Why simple?
MS: A lot was shot, run and done at the last second. I basically used a camera that was really accessible that could work in low lights and on the run because everything was last minute. All the information was important to have documented and there was limited time to do so.
Thirsty: Limited time?
MS: Yes...everything was last minute because it all (closing of CBGB's) happened so quickly. Basically there was an article in the Village Voice that talked about a rent dispute (March) and then the Washington Square Park rally that Miami Steve (Little Steven, E Street Band Member) put together was the weekend Katrina hit (August). It all erupted very quickly. I literally jumped on a plane, and didn’t have a lot of time to plan the shoot. I didn’t have a budget behind me...it was a shoe string budget, getting what I needed to get.
Thirsty: What do you cherish about the making of this film?
MS: I was really lucky to see all those shows. I saw such amazing music in the closing months of CBGB's. I made certain to shoot more than I would ever use, just to archive it. It was the last of the last, a lot of shows and appearances didn’t make it into the film. I traveled with Hilly five times to Vegas. In want of getting so much amazing stuff I just wanted to shoot everything. Normally I would be more conservative with shooting...over 200 hours to contend with, but I needed it immediately.
Thirsty: Were you able to bring home any of the scraps/memorabilia upon destruction of CBGB?
MS: Somewhere I think I have some nails from the stage that held it together...also a couple of picks off the floor. I didn’t take a piece of the wall, at one point it was the last day, and I did borrow a steamer from a store down the street and steamed off three of the posters and gave those to Hilly. Little did I know that John Varvatos (menswear designer) was going to move in there and preserve it the best he could...but at the closing point nobody knew what was going to come out of that. Luckily John did move in there and preserve the state of the space as much as he could.
Thirsty: Working on any other projects?
MS: My Fiancé and I are co-directing a documentary (Bad Brains: a Band in D.C.) that will be finished by the end of this summer. We’ve traveled with them, and hung out with them.
Thirsty: Any celebrity feedback?
MS: Mickey (Leigh) wasn’t able to go to the premier, but I sent him a copy and he sent me the most loving email. We all miss Joey, Johnny, Hilly...so you know it’s a tough, sad film. But hopefully funny as well! I received the e-mail from Mickey after he watched the film and that was very special to me. It was amazing and so thoughtful that he took the time to watch it.
Thirsty: Any advice for future documentary film makers?
MS: Anyone thinking of going to film school, I encourage you to reconsider...make a film rather than going to film school. You learn more by doing it yourself...
Tuesday, June 9, 2009
The Stone Pony (StayThirsty)
http://www.staythirstymedia.com/200906-034/html/200906-stone-pony-feature.html
The journey to the Stone Pony is rather habitual for any New Jersey music enthusiast. Route 18 highway lies between the bosom of beautiful pine and evergreen trees once unregulated and free, now serving as a canvas to one of the grandest highways painted through the State. Its body runs long and far, from the banks of the Raritan in Piscataway, to the moist and salty air inhaled at Belmar Beach. Though its harbored a ghastly reputation for unfavorable odors often labeled by blinded, inexperienced eyes, New Jersey does in fact live up to its alter alias “the Garden State,” with beautiful mountains and green lands, most auspiciously the coastal attraction known as The Jersey Shore. Asbury Park is a coastal town, with fluctuating history revealing the austere and benevolent impact modernization can have on a region. Here is where the Stone Pony has ridden for the past 35 years, and continues to do so, on the saddle of the world renowned, historic shore town Asbury Park, New Jersey.
A brief history of Asbury Park will ease the ambiguity any outsider might have of the legendary music town. A once flourishing, hip city had since become a graveyard for blissful memories of past. The salty sweet air that once was desired by tourists in the 1970’s and 1980’s had since been spit out and rejected by the intruding generation. Though not for long, there was a time when it seemed the Asbury Park scene would be lost and gone forever.
It was a different landscape back then, and has become another now. The once beach and resort town has evolved into more desolate. As I approach my destination, I look out the side windows and see visions of poverty and objectionable living. The transformation seems at a stand still, yet as we progress towards the coastline a brighter light shines on the upcoming streets. The ocean whiff reveals itself and becomes more concentrated, as the Stone Pony is in sight. I park the car and hustle in to make my 1 p.m. photography appointment with house manager Caroline O’Toole and this is where it hit me...Asbury has been a changing scene throughout the decades, and the history of the Stone Pony has paralleled it well. However, once I entered the venue everything seems to be at a virtual stand-still. The walls are decorated with various guitars signed by all who have stepped onto the infamous stage. As I walk around with my camera, I begin to envision what it was like during the inaugural years. I sit at the bar, and watch as the engineers do a sound check for the later Battle of the Bands concert...the tabletop of the bar is a collage of pictures of artists past and present. I see one of Bruce Springsteen, an uncontrollable smile comes to my face and I sit back, listening to the sound check and close my eyes...I imagine the beginning years, the winter months of 1974...and fade into a dream...
Opening night at “The Pony” was disastrous. Snow blanketed the sandy beach and the roads were nearly impossible to drive on. There was a calculated 7 inches of snow and nobody seemed to be showing up for the late night festivities. It took little to no effort to do the accounting at the end of the night, as the receipts totaled a measly one dollar...It seemed this would be the beginning of the end.
The Stone Pony was founded by John P. Roig (Jack) and Robert Pielka (Butch) in February of 1974. The Stone Pony website reveals that, “Jack purchased the building which then housed an abandoned disco called The Magic Touch, and enlisted the managerial skills of Butch, appointing him general manager and minority partner.” Breaking into the club business was difficult at the time, especially as Jack and Butch were pursuing a Rock and Roll theme rather than the incoming disco revolution. They threw their luck into the well, to see whether it’d sink or float.
By December of 1974, after a long and unfavorable nine months in business it seemed that The Stone Pony was soon to become a victim of the times. The disastrous opening night still lingered throughout the year and foreclosure was at their doorstep. The clubs creditors were rallying their pitchforks, and all seemed but over for the young Pony. Alas, a prince was to arrive and save the city...not the Boss, which is frequently rumored but a young group of musicians with a new funky, “jersey sound” to pump the life back into the stallion. These knights in shining armor were the up and coming Blackberry Booze Band.
The Blackberry Booze Band arrived at the Pony when all seemed but over for Jack and Butch. Comprised of local Ocean Grove resident Johnny “Southside” Lyon and now E Street guitarist Steven Van Zandt, the band became a three night a week regular at the club, drawing large and even sold out crowds to the newly born venue. The Blackberry Booze band had something that wasn’t ordinarily heard in the Jersey Rock and Roll circuit. Complimented by a funky soulful horn section, the band produced fun, party music that allowed the audience to become involved with the movement. Once they started, the fun never stopped, as they eventually changed their soulful bands name to Southside Johnny and the Asbury Jukes, and invented the true sound of the Jersey Shore.
But it didn’t end there...
Van Zandt eventually left and tagged up with local buddy Bruce Springsteen in the renovated, new edition of the E street band and continued as the manager and producer of the Jukes. Southside Johnny and the Asbury Jukes are responsible for, what the Stone Pony calls, “The Jersey Attitude;” Cold beer, dancing til’ you sweat, and good music.
I come back to, and notice that my time allotted for pictures is running out. I get off the bar stool and take some final shots before my departure. A picture of Southside Johnny and Bruce Springsteen is on the wall. Vintage flyers of the Memorial Day concert, which nationalized the Stone Pony are pasted there as a remembrance, and a thank you to those musicians who made it happen.
It was a grand occasion for the young and fighting bar. On Memorial Day of 1976 a concert took place that would forever be a landmark moment in the Jersey Rock and Roll community. Southside Johnny and The Asbury Jukes performed live at The Stone Pony which was radio broadcasted by local news station WJLK. The performance was also syndicated to many other stations throughout the east coast and Midwest. Not only were the Jukes present, but the Boss himself, “Bruce Springsteen,” members of the E Street Band and legends Ronnie Spector and Lee Dorsey. This moment alone brought Asbury Park, The Stone Pony and the Jukes to a national level. It is most remembered by the collaboration of Southside Johnny and Bruce Springsteen singing the Sam Cooke hit, “Havin’ a Party.” It has since become the unofficial theme song of Asbury Park and The Pony.
After the Memorial Day radio broadcast things really seemed to take off quite rapidly. Legendary performers such as Sam Moore and Dave Prater of “Sam & Dave” frequently attended as well as Britain’s infamous Graham Parker. Local bands such as Salty Dog, Holme and Mad Dog and the Shakes were celebrated there throughout the 1970’s. National acts, as referenced to in their history on the official website, included rock God Stevie Ray Vaughn, The Ramones, Blondie, Gregg Allman, Dickie Bettes, Levon Helm, Johnny Winter and Joan Jett to name a few. It also began expanding its music repertoire, offering popular 80’s dance parties and reggae shows.
I leave the venue so that they can properly prepare for this evenings festivities. The weather is beautiful so I decide to sit with my notepad on a bench on the boardwalk. The waves ripple so beautifully and tranquil, and I just sit and watch... It’s quite relaxing the whole beach thing, even though I absolutely despise sand. The beauty in Asbury Park is a reminder of how quick some things can go away. As beautiful as it was from the mid ‘70s to mid ‘80s, Asbury soon became a very unsightly place. Speaking with legendary House Promoter Kyle Brendle, he reiterates how the Pony has been altered by the times; “Somehow, someway the Pony has rocked on...In the mid 80’s the whole Asbury Circuit started to disappear...for a while it was just me and the Tumbleweeds...”
The beach is now occupied with numerous people and families. It’s hard to imagine how such destruction could have taken place at such a beautiful destination. But history tells its own story.
The late 1980’s were a time of rising costs and insurance expenses. It was difficult for any venues offering live music to survive during such drastic inflation. As Bruce says in his song Atlantic City, “Everything Dies, Baby That’s a Fact.” And so seemed true, as Jack and Butch were forced to sell the Stone Pony in bankruptcy court in order to obtain protection from creditors. Through all the history and unforgettable moments, it all came down to money at the end...but...as the Atlantic City lyric continues it unveils that maybe, “Everything that dies, someday comes back.”
The Stone Pony was reopened by local resident Steven Nasar who purchased it in bankruptcy court. With the help of prior employees, he was able to put the Stone Pony back on its feet again. Eventually however, like so many venues do, it seemed that the Stone Pony was going to sell out to the desires of popular culture. In 1998, Steven Nasar chose to make the Pony a dance club called Vinyl. Upon the closing week of the Stone Pony, there were to be a string of shows, one featuring Southside Johnny. “The Pony’s Last Ride” took place and thus buried the venue.
Everything dies baby that’s a fact, but MAYBE everything that dies, some day comes back?
People have been anticipating the Messiah for thousands of years. Well folks, in February of the year 2000, the Messiah graced the Earth...but to the shock of many, it wasn’t Jesus. The Jersey messiah was a Cuban native, a restaurateur who helped Asbury Park overcome the intruding techno fighting regime. Dominic Santana was told about the Stone Pony through a friend. Santana realized the importance of the Stone Pony in the Asbury Park community, and in February of 2000, he purchased the building, vowing to reopen by Memorial Day Weekend. Caroline O’Toole, Manager of the Stone Pony, credits Santana with generously saving and promoting Asbury Park, most notably, the Stone Pony.
“I would think the person who took the biggest risk after the 90’s was Dominic Santana. Being from Cuba and knowing little about Rock and Roll history, he decided to become a part of it. He used his gift of gab to get every media outlet possible to start covering what was going on not only at the new reopened Stone Pony but the beginnings of the revitalization of Asbury Park.”
Santana brought the Stone Pony back to what it once was. He reinstalled classic memorabilia, arts and artifacts from “the history of the city and the venue itself.” And...as he promised...the Stone Pony did reopen on Memorial day with classic performances by the Smithereens, Gary U.S. Bonds and Lance Larson.
Maybe everything that dies, SOMEDAY COMES BACK...
Not only was the Stone Pony up and running again, but “the club also made a commitment to become involved in the Asbury Park community.” Previously housing charitable functions such as “The Shore-based Jersey Artists for Mankind,” the Stone Pony vowed to continue their involvement in the district and sponsored even more events. The “Remembering Harry Chapin” concert took place and went to support groups involved with fighting hunger. Post 9/11, after the tragic attack in New York City, Jon Bon Jovi and various other acts took the Stone Pony stage to honor the “fallen heroes” and donated the proceeds to the victim’s families.
The redevelopment of Asbury Park has also run parallel with the revitalization of The Stone Pony. O’Toole states “our [Stone Pony] surroundings in Asbury Park have changed. A once desolate and abandoned beach area has been replaced by a beautiful boardwalk, new pavilions, lots of new businesses and a record number of visitors.” The arrival of national retail development company, Madison Marquette has also been a blessing for the city of Asbury Park. Performing a joint venture operation with Asbury Partners, Madison Marquette has made it their primary agenda to preserve and keep Asbury Park alive. “The venue is currently operated by Madison Marquette. They have not only been the key in the preservation of what makes Asbury Park unique, but the visionary of what the city has become.”
So now, as the Stone Pony prepares to celebrate its ten year anniversary since the reopening in 2000 (35 years since opening in 1974) I ask Kyle Brendle, the legendary house promoter what makes the Stone Pony historic, and a landmark in the Asbury Park community. “First off, the Pony still rocks, that alone is amazing. Ten years is a long time for a venue. Then you add the biggest Jersey rockers coming through here, it is a special place, and a special place to play. You can feel it when artists hit the stage. And all the people that work here, and have worked here really love the place...it shows. And the artists love coming here for that warm comfortable feeling.”
Upon asking Caroline O’Toole, she answers confidently, “I think what makes the Pony historic is that it has always been a musicians club. This is the place where artists have always gotten together to talk music, and then perform it. It was that way 35 years ago, and is still the same today. This is the place for original music. Not just The Stone Pony, but most of the Asbury Park music scene. There are many great clubs and venues here, and the music is our bond.”
So, as the years pile on, and the times mature inevitably, the Stone Pony seems to age with increasing wisdom. Falling victim financially in the late 1980’s just made this club stronger, running off the reminiscent fuel that Bruce, Southside and Patti Smith left in decades past. And now, reincarnated as its former self the Stone Pony is up on its feet again and has provided Asbury Park with unbelievable music for the past ten years. As the times do tell, even the hardest of races cannot put down the Pony. He trots on and fights through modern times, in order to provide the city “it” loves with the music and stability necessary to survive in this wild and crazy world.
This article is dedicated to the great Daniel Paul "Danny" Federici who was the longtime organ player for the E Street Band. His beautiful style and love for music will never be forgotten. (January 23, 1950 – April 17, 2008)
The journey to the Stone Pony is rather habitual for any New Jersey music enthusiast. Route 18 highway lies between the bosom of beautiful pine and evergreen trees once unregulated and free, now serving as a canvas to one of the grandest highways painted through the State. Its body runs long and far, from the banks of the Raritan in Piscataway, to the moist and salty air inhaled at Belmar Beach. Though its harbored a ghastly reputation for unfavorable odors often labeled by blinded, inexperienced eyes, New Jersey does in fact live up to its alter alias “the Garden State,” with beautiful mountains and green lands, most auspiciously the coastal attraction known as The Jersey Shore. Asbury Park is a coastal town, with fluctuating history revealing the austere and benevolent impact modernization can have on a region. Here is where the Stone Pony has ridden for the past 35 years, and continues to do so, on the saddle of the world renowned, historic shore town Asbury Park, New Jersey.
A brief history of Asbury Park will ease the ambiguity any outsider might have of the legendary music town. A once flourishing, hip city had since become a graveyard for blissful memories of past. The salty sweet air that once was desired by tourists in the 1970’s and 1980’s had since been spit out and rejected by the intruding generation. Though not for long, there was a time when it seemed the Asbury Park scene would be lost and gone forever.
It was a different landscape back then, and has become another now. The once beach and resort town has evolved into more desolate. As I approach my destination, I look out the side windows and see visions of poverty and objectionable living. The transformation seems at a stand still, yet as we progress towards the coastline a brighter light shines on the upcoming streets. The ocean whiff reveals itself and becomes more concentrated, as the Stone Pony is in sight. I park the car and hustle in to make my 1 p.m. photography appointment with house manager Caroline O’Toole and this is where it hit me...Asbury has been a changing scene throughout the decades, and the history of the Stone Pony has paralleled it well. However, once I entered the venue everything seems to be at a virtual stand-still. The walls are decorated with various guitars signed by all who have stepped onto the infamous stage. As I walk around with my camera, I begin to envision what it was like during the inaugural years. I sit at the bar, and watch as the engineers do a sound check for the later Battle of the Bands concert...the tabletop of the bar is a collage of pictures of artists past and present. I see one of Bruce Springsteen, an uncontrollable smile comes to my face and I sit back, listening to the sound check and close my eyes...I imagine the beginning years, the winter months of 1974...and fade into a dream...
Opening night at “The Pony” was disastrous. Snow blanketed the sandy beach and the roads were nearly impossible to drive on. There was a calculated 7 inches of snow and nobody seemed to be showing up for the late night festivities. It took little to no effort to do the accounting at the end of the night, as the receipts totaled a measly one dollar...It seemed this would be the beginning of the end.
The Stone Pony was founded by John P. Roig (Jack) and Robert Pielka (Butch) in February of 1974. The Stone Pony website reveals that, “Jack purchased the building which then housed an abandoned disco called The Magic Touch, and enlisted the managerial skills of Butch, appointing him general manager and minority partner.” Breaking into the club business was difficult at the time, especially as Jack and Butch were pursuing a Rock and Roll theme rather than the incoming disco revolution. They threw their luck into the well, to see whether it’d sink or float.
By December of 1974, after a long and unfavorable nine months in business it seemed that The Stone Pony was soon to become a victim of the times. The disastrous opening night still lingered throughout the year and foreclosure was at their doorstep. The clubs creditors were rallying their pitchforks, and all seemed but over for the young Pony. Alas, a prince was to arrive and save the city...not the Boss, which is frequently rumored but a young group of musicians with a new funky, “jersey sound” to pump the life back into the stallion. These knights in shining armor were the up and coming Blackberry Booze Band.
The Blackberry Booze Band arrived at the Pony when all seemed but over for Jack and Butch. Comprised of local Ocean Grove resident Johnny “Southside” Lyon and now E Street guitarist Steven Van Zandt, the band became a three night a week regular at the club, drawing large and even sold out crowds to the newly born venue. The Blackberry Booze band had something that wasn’t ordinarily heard in the Jersey Rock and Roll circuit. Complimented by a funky soulful horn section, the band produced fun, party music that allowed the audience to become involved with the movement. Once they started, the fun never stopped, as they eventually changed their soulful bands name to Southside Johnny and the Asbury Jukes, and invented the true sound of the Jersey Shore.
But it didn’t end there...
Van Zandt eventually left and tagged up with local buddy Bruce Springsteen in the renovated, new edition of the E street band and continued as the manager and producer of the Jukes. Southside Johnny and the Asbury Jukes are responsible for, what the Stone Pony calls, “The Jersey Attitude;” Cold beer, dancing til’ you sweat, and good music.
I come back to, and notice that my time allotted for pictures is running out. I get off the bar stool and take some final shots before my departure. A picture of Southside Johnny and Bruce Springsteen is on the wall. Vintage flyers of the Memorial Day concert, which nationalized the Stone Pony are pasted there as a remembrance, and a thank you to those musicians who made it happen.
It was a grand occasion for the young and fighting bar. On Memorial Day of 1976 a concert took place that would forever be a landmark moment in the Jersey Rock and Roll community. Southside Johnny and The Asbury Jukes performed live at The Stone Pony which was radio broadcasted by local news station WJLK. The performance was also syndicated to many other stations throughout the east coast and Midwest. Not only were the Jukes present, but the Boss himself, “Bruce Springsteen,” members of the E Street Band and legends Ronnie Spector and Lee Dorsey. This moment alone brought Asbury Park, The Stone Pony and the Jukes to a national level. It is most remembered by the collaboration of Southside Johnny and Bruce Springsteen singing the Sam Cooke hit, “Havin’ a Party.” It has since become the unofficial theme song of Asbury Park and The Pony.
After the Memorial Day radio broadcast things really seemed to take off quite rapidly. Legendary performers such as Sam Moore and Dave Prater of “Sam & Dave” frequently attended as well as Britain’s infamous Graham Parker. Local bands such as Salty Dog, Holme and Mad Dog and the Shakes were celebrated there throughout the 1970’s. National acts, as referenced to in their history on the official website, included rock God Stevie Ray Vaughn, The Ramones, Blondie, Gregg Allman, Dickie Bettes, Levon Helm, Johnny Winter and Joan Jett to name a few. It also began expanding its music repertoire, offering popular 80’s dance parties and reggae shows.
I leave the venue so that they can properly prepare for this evenings festivities. The weather is beautiful so I decide to sit with my notepad on a bench on the boardwalk. The waves ripple so beautifully and tranquil, and I just sit and watch... It’s quite relaxing the whole beach thing, even though I absolutely despise sand. The beauty in Asbury Park is a reminder of how quick some things can go away. As beautiful as it was from the mid ‘70s to mid ‘80s, Asbury soon became a very unsightly place. Speaking with legendary House Promoter Kyle Brendle, he reiterates how the Pony has been altered by the times; “Somehow, someway the Pony has rocked on...In the mid 80’s the whole Asbury Circuit started to disappear...for a while it was just me and the Tumbleweeds...”
The beach is now occupied with numerous people and families. It’s hard to imagine how such destruction could have taken place at such a beautiful destination. But history tells its own story.
The late 1980’s were a time of rising costs and insurance expenses. It was difficult for any venues offering live music to survive during such drastic inflation. As Bruce says in his song Atlantic City, “Everything Dies, Baby That’s a Fact.” And so seemed true, as Jack and Butch were forced to sell the Stone Pony in bankruptcy court in order to obtain protection from creditors. Through all the history and unforgettable moments, it all came down to money at the end...but...as the Atlantic City lyric continues it unveils that maybe, “Everything that dies, someday comes back.”
The Stone Pony was reopened by local resident Steven Nasar who purchased it in bankruptcy court. With the help of prior employees, he was able to put the Stone Pony back on its feet again. Eventually however, like so many venues do, it seemed that the Stone Pony was going to sell out to the desires of popular culture. In 1998, Steven Nasar chose to make the Pony a dance club called Vinyl. Upon the closing week of the Stone Pony, there were to be a string of shows, one featuring Southside Johnny. “The Pony’s Last Ride” took place and thus buried the venue.
Everything dies baby that’s a fact, but MAYBE everything that dies, some day comes back?
People have been anticipating the Messiah for thousands of years. Well folks, in February of the year 2000, the Messiah graced the Earth...but to the shock of many, it wasn’t Jesus. The Jersey messiah was a Cuban native, a restaurateur who helped Asbury Park overcome the intruding techno fighting regime. Dominic Santana was told about the Stone Pony through a friend. Santana realized the importance of the Stone Pony in the Asbury Park community, and in February of 2000, he purchased the building, vowing to reopen by Memorial Day Weekend. Caroline O’Toole, Manager of the Stone Pony, credits Santana with generously saving and promoting Asbury Park, most notably, the Stone Pony.
“I would think the person who took the biggest risk after the 90’s was Dominic Santana. Being from Cuba and knowing little about Rock and Roll history, he decided to become a part of it. He used his gift of gab to get every media outlet possible to start covering what was going on not only at the new reopened Stone Pony but the beginnings of the revitalization of Asbury Park.”
Santana brought the Stone Pony back to what it once was. He reinstalled classic memorabilia, arts and artifacts from “the history of the city and the venue itself.” And...as he promised...the Stone Pony did reopen on Memorial day with classic performances by the Smithereens, Gary U.S. Bonds and Lance Larson.
Maybe everything that dies, SOMEDAY COMES BACK...
Not only was the Stone Pony up and running again, but “the club also made a commitment to become involved in the Asbury Park community.” Previously housing charitable functions such as “The Shore-based Jersey Artists for Mankind,” the Stone Pony vowed to continue their involvement in the district and sponsored even more events. The “Remembering Harry Chapin” concert took place and went to support groups involved with fighting hunger. Post 9/11, after the tragic attack in New York City, Jon Bon Jovi and various other acts took the Stone Pony stage to honor the “fallen heroes” and donated the proceeds to the victim’s families.
The redevelopment of Asbury Park has also run parallel with the revitalization of The Stone Pony. O’Toole states “our [Stone Pony] surroundings in Asbury Park have changed. A once desolate and abandoned beach area has been replaced by a beautiful boardwalk, new pavilions, lots of new businesses and a record number of visitors.” The arrival of national retail development company, Madison Marquette has also been a blessing for the city of Asbury Park. Performing a joint venture operation with Asbury Partners, Madison Marquette has made it their primary agenda to preserve and keep Asbury Park alive. “The venue is currently operated by Madison Marquette. They have not only been the key in the preservation of what makes Asbury Park unique, but the visionary of what the city has become.”
So now, as the Stone Pony prepares to celebrate its ten year anniversary since the reopening in 2000 (35 years since opening in 1974) I ask Kyle Brendle, the legendary house promoter what makes the Stone Pony historic, and a landmark in the Asbury Park community. “First off, the Pony still rocks, that alone is amazing. Ten years is a long time for a venue. Then you add the biggest Jersey rockers coming through here, it is a special place, and a special place to play. You can feel it when artists hit the stage. And all the people that work here, and have worked here really love the place...it shows. And the artists love coming here for that warm comfortable feeling.”
Upon asking Caroline O’Toole, she answers confidently, “I think what makes the Pony historic is that it has always been a musicians club. This is the place where artists have always gotten together to talk music, and then perform it. It was that way 35 years ago, and is still the same today. This is the place for original music. Not just The Stone Pony, but most of the Asbury Park music scene. There are many great clubs and venues here, and the music is our bond.”
So, as the years pile on, and the times mature inevitably, the Stone Pony seems to age with increasing wisdom. Falling victim financially in the late 1980’s just made this club stronger, running off the reminiscent fuel that Bruce, Southside and Patti Smith left in decades past. And now, reincarnated as its former self the Stone Pony is up on its feet again and has provided Asbury Park with unbelievable music for the past ten years. As the times do tell, even the hardest of races cannot put down the Pony. He trots on and fights through modern times, in order to provide the city “it” loves with the music and stability necessary to survive in this wild and crazy world.
This article is dedicated to the great Daniel Paul "Danny" Federici who was the longtime organ player for the E Street Band. His beautiful style and love for music will never be forgotten. (January 23, 1950 – April 17, 2008)
Monday, June 1, 2009
"The House That Hilly Built" (StayThirsty)
Tribeca film festival's, "Burning Down the House" film review
http://www.staythirstymedia.com/200905-033/html/200905-cbgb-rev.html
When Hilly Kristal embarked on constructing a venue that would encourage original Country, Blue Grass and Blues genres, he had no idea that he would be responsible for pioneering the utmost “street rock/punk” mecca of all time. The latest documentary directed by Mandy Stein (Too Tough To Die: A Tribute to Johnny Ramone ‘06) records Hilly Kristal’s life, from his beginning days in the Radio City choir to his final hours post CBGB. Highlighting the ongoing battle to keep his establishment alive, Hilly fought incessantly against the unremitting attempts of the Bowery Residential Committee to shut it down. Mandy Stein, who is the daughter of ex-Ramones manager Linda Stein, doesn’t fall short of supplying riveting vintage performances and substantial interviews throughout Burning Down The House, that pay homage to the entire existence of CBGB’s and everything it stood for.
Located in the Bowery section of New York City, CBGB’s opened its doors in December of 1973 as a music venue that prided itself exclusively on promoting innovative content. Initially set to accommodate Country, Blue Grass and Blues, the era hankered for something particularly unique and hence Street Rock, “PUNK” was born. Kristal encouraged bands to “play the music the way they wanted to,” thus making it mandatory to be original. It was the only set rule that no cover bands were to be booked.
Sticking to a true, documentary fashion, the camera utilizes personal hands on approaches, involving the audience as if they’re watching a home movie. The lighting is standard, nothing outstanding, however ample enough to deliver a “grungy” mood within the film. It is a documentary, so nothing spectacular is expected from the lighting department, but it is successful in relaying the overall attitude.
Stein continues that in early 2005, a rental dispute between CBGB and their landlord, the Bowery Residents’ Committee, occurred in that B.R.C. were accusing Kristal of owing them $100,000 in back rent. This seemed ridiculous, as Hilly was paying the $19,000 per month without warning or notification that it had increased. The majority of the film lies within this issue, in that the tragic news of the outlandish sum of back rent owed triggered the demise of one of the greatest rock venues of all time. Various other musicians are interviewed about the subject, most notably Steven Van Zandt (E Street Band Member, Sopranos) who was a main advocate for the Save CBGB movement.
Through all the attempts and arguing, CBGB’s was losing the battle against the B.R.C. Under the condition that Hilly would cease the legal battle and landmark status, he would be allowed to remain open for an addition 14 months post lease. Obtaining the $100,000 to pay the B.R.C. was far from reach to begin with. CBGB’s wasn’t a huge money maker. All royalties were obtained through the selling of merchandise. This was the passion of one man, to promote and allow original music in his venue and it was being put to rest solely due to monetary issues. The director, though clearly bias in her approach, shows the harshness and insensibilities of the Bowery Residence Committee in their inflexible understanding of what CBGB’s meant to the community. To them is was just an annoyance, but to the Bowery it was a home.
The inevitable closing week of October 16, 2006 featured multi-night performances by legendary figures in the “Street Rock” community. Bad Brains, The Dictators and Blondie put on outstanding performances, however being that this was the final night of CBGB’s existence, the aura remained somber. The camera is set on the stage throughout this final scene, as it captures the very last performances seen at CBGB’s. It deemed perfect that Blondie played an acoustic set, offering a quiet, more tranquil sound similar to what I’d expect at a funeral. The concluding performance at the venue was The Patti Smith Band, featuring Flea (Red Hot Chili Peppers) on bass. The crowd remained silent, as Patti vocally engaged in her toughest performance yet. Midway through her set, she listed off the names of influential CBGB performers who are no longer with us. People look on as staff members cut down the CBGB awning… the mood is heated and irate. “Why don’t we fight,” a fan yells. “That’s what sucks about America, we don’t fight for what we want anymore!”
The remainder of the film touches up on some crucial closing facts. We say goodbye to the legendary Hilly Kristal, who passed away on August 27, 2007 of lung cancer. Mike Bloomberg makes a couple of cameos in the film, one being at the end where he announces to the press that CBGB’s has been inducted into the Rock and Roll Hall of Fame.
Mandy Stein documented an admirable moment in musical history as she embarked on exposing the distasteful extermination of CBGB by its landlord The Bowery Residents’ Committee. Many details are left out, as to what has happened with the main voices for the B.R.C.? Have they acknowledged what they’ve done? Regret it? During a Q & A with the director post film, she states that she did indeed rush to finish the film by the TRiBeCa deadline. There are various factual components absent, as well as multiple spelling errors in the descriptions. Ms Stein, however, stands confident of her film and feels that it is always possible to build upon. Maybe we will see a modified report in the future?
Ignoring the petty spelling errors and minor “plot holes,” this film is truly one of a kind and a definite must see in the Rock and Roll community. Offering expert analysis and opinions by the performers, Hilly and his staff, the documentary gives the story of CBGB’s straight from the horse’s mouth. It is a cultural landmark in musical society that must never be forgotten. Hilly Kristal is a legend in his own right and must never be doubted as a leader and advocate for original and innovative music worldwide.
http://www.staythirstymedia.com/200905-033/html/200905-cbgb-rev.html
When Hilly Kristal embarked on constructing a venue that would encourage original Country, Blue Grass and Blues genres, he had no idea that he would be responsible for pioneering the utmost “street rock/punk” mecca of all time. The latest documentary directed by Mandy Stein (Too Tough To Die: A Tribute to Johnny Ramone ‘06) records Hilly Kristal’s life, from his beginning days in the Radio City choir to his final hours post CBGB. Highlighting the ongoing battle to keep his establishment alive, Hilly fought incessantly against the unremitting attempts of the Bowery Residential Committee to shut it down. Mandy Stein, who is the daughter of ex-Ramones manager Linda Stein, doesn’t fall short of supplying riveting vintage performances and substantial interviews throughout Burning Down The House, that pay homage to the entire existence of CBGB’s and everything it stood for.
Located in the Bowery section of New York City, CBGB’s opened its doors in December of 1973 as a music venue that prided itself exclusively on promoting innovative content. Initially set to accommodate Country, Blue Grass and Blues, the era hankered for something particularly unique and hence Street Rock, “PUNK” was born. Kristal encouraged bands to “play the music the way they wanted to,” thus making it mandatory to be original. It was the only set rule that no cover bands were to be booked.
Sticking to a true, documentary fashion, the camera utilizes personal hands on approaches, involving the audience as if they’re watching a home movie. The lighting is standard, nothing outstanding, however ample enough to deliver a “grungy” mood within the film. It is a documentary, so nothing spectacular is expected from the lighting department, but it is successful in relaying the overall attitude.
Stein continues that in early 2005, a rental dispute between CBGB and their landlord, the Bowery Residents’ Committee, occurred in that B.R.C. were accusing Kristal of owing them $100,000 in back rent. This seemed ridiculous, as Hilly was paying the $19,000 per month without warning or notification that it had increased. The majority of the film lies within this issue, in that the tragic news of the outlandish sum of back rent owed triggered the demise of one of the greatest rock venues of all time. Various other musicians are interviewed about the subject, most notably Steven Van Zandt (E Street Band Member, Sopranos) who was a main advocate for the Save CBGB movement.
Through all the attempts and arguing, CBGB’s was losing the battle against the B.R.C. Under the condition that Hilly would cease the legal battle and landmark status, he would be allowed to remain open for an addition 14 months post lease. Obtaining the $100,000 to pay the B.R.C. was far from reach to begin with. CBGB’s wasn’t a huge money maker. All royalties were obtained through the selling of merchandise. This was the passion of one man, to promote and allow original music in his venue and it was being put to rest solely due to monetary issues. The director, though clearly bias in her approach, shows the harshness and insensibilities of the Bowery Residence Committee in their inflexible understanding of what CBGB’s meant to the community. To them is was just an annoyance, but to the Bowery it was a home.
The inevitable closing week of October 16, 2006 featured multi-night performances by legendary figures in the “Street Rock” community. Bad Brains, The Dictators and Blondie put on outstanding performances, however being that this was the final night of CBGB’s existence, the aura remained somber. The camera is set on the stage throughout this final scene, as it captures the very last performances seen at CBGB’s. It deemed perfect that Blondie played an acoustic set, offering a quiet, more tranquil sound similar to what I’d expect at a funeral. The concluding performance at the venue was The Patti Smith Band, featuring Flea (Red Hot Chili Peppers) on bass. The crowd remained silent, as Patti vocally engaged in her toughest performance yet. Midway through her set, she listed off the names of influential CBGB performers who are no longer with us. People look on as staff members cut down the CBGB awning… the mood is heated and irate. “Why don’t we fight,” a fan yells. “That’s what sucks about America, we don’t fight for what we want anymore!”
The remainder of the film touches up on some crucial closing facts. We say goodbye to the legendary Hilly Kristal, who passed away on August 27, 2007 of lung cancer. Mike Bloomberg makes a couple of cameos in the film, one being at the end where he announces to the press that CBGB’s has been inducted into the Rock and Roll Hall of Fame.
Mandy Stein documented an admirable moment in musical history as she embarked on exposing the distasteful extermination of CBGB by its landlord The Bowery Residents’ Committee. Many details are left out, as to what has happened with the main voices for the B.R.C.? Have they acknowledged what they’ve done? Regret it? During a Q & A with the director post film, she states that she did indeed rush to finish the film by the TRiBeCa deadline. There are various factual components absent, as well as multiple spelling errors in the descriptions. Ms Stein, however, stands confident of her film and feels that it is always possible to build upon. Maybe we will see a modified report in the future?
Ignoring the petty spelling errors and minor “plot holes,” this film is truly one of a kind and a definite must see in the Rock and Roll community. Offering expert analysis and opinions by the performers, Hilly and his staff, the documentary gives the story of CBGB’s straight from the horse’s mouth. It is a cultural landmark in musical society that must never be forgotten. Hilly Kristal is a legend in his own right and must never be doubted as a leader and advocate for original and innovative music worldwide.
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