By: Jarrod Dicker
New Brunswick, NJ, USA

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. 

Photo credit: Daniel A. Norman

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.