Hilly Kristal and Mary Zadroga take a break during the 1997 Warped Tour on Randall’s Island (photo by Tracy Almazan)
CBGB FESTIVAL PRESENTS FUTUREX
Hank’s Saloon
46 Third Ave. at Atlantic Ave.
Friday, October 11, free, 7:00
Festival continues through October 12
www.cbgb.com
www.exitfive.com/hankssaloon
When Hilly Kristal, owner and founder of CBGB — Country Bluegrass Blues and Other Music for Uplifting Gourmandizers — passed away in 2007 at the age of seventy-five, a year after closing the club following a highly publicized rent dispute, Wives bass player Mary Zadroga posted an online tribute, writing, “When I first met him and started working with him, I was so scared and intimidated. I loved his voice, though, his deep, low baritone voice. He took good care of us, touring, practicing in CB’s basement, and coming up with all kinds of crazy schemes and plans for us. . . . We lost touch over the past eight years, but I would stop by, now and then, with the kids. Last time I saw him, he called my five-year-old a little monster (which she was), and he had that lovely smile on his face when he said it.” Kristal managed the Wives, which recently reunited the original lineup, with Sue Horwitz singing, for its twentieth anniversary, from 1996 to 1999. Zadroga will be playing this year’s CBGB Festival with one of her other bands, the fast and furious Futurex (which stands for Future Ex Wives), with Susan Horowitz on guitar and vocals and Paul Andrew on drums. They’ll be at Hank’s Saloon in Brooklyn on Friday night, along with other bands and crew members that have CBGB connections, including Drugstore and Brunch of the Living Dead. Zadroga, who has also been in such groups as Jane Lee Hooker, Celebrated Cherry Sisters, and Browniehead, recently discussed the seminal punk-rock club with twi-ny.
twi-ny: How did you feel when you first heard that CBGB was closing?
Mary Zadroga: Even though CBs was well past its prime, I felt nostalgic and sad. The floodgates were open once CBs was gone, of EV clubs disappearing. Hilly was sick by then, and I was worried it would do him in.
twi-ny: When you were in the Wives during the late ’90s, Hilly was your manager. What was that experience like? Was the Hilly who ran CBGB different from the Hilly who managed the band?
Mary Zadroga: He wasn’t nearly as grouchy with us. He liked our music, and us three as people: drummer Tracy Almazan, singer Zu Leika (Horwitz had moved on), and me. He sounded kind of addled sometimes, but he really wasn’t. Just round about how he got things done.
twi-ny: Who are some of the groups you either saw or played with at CBGB?
Mary Zadroga: New Bomb Turks, Iron Prostate, Wig Hat, Lunachicks, Sex Pod, Patti Smith, Tub, Molotov Cocktail, Ff, 7 Seconds . . . I don’t know, I have a terrible memory. Lots of bands: Helldorado, the Lone Wolves, Sea Monkeys, Rats of Unusual Size, Maul Girls, Sisters Grimm.
Mary Zadroga and Futurex will play Hank’s Saloon as part of second annual CBGB Festival (photo by Gene Sturges)
twi-ny: What is your favorite CBGB memory?
Mary Zadroga: My favorite memory was of Joan Jett standing right in front of me while we were playing. I remember she was bald? I may be way off on that one.
twi-ny: How about your least favorite?
Mary Zadroga: The years of calling [CBGB booker] Louise [Parnassa Staley] to get a show. It was nuts. “Call me back in five.” “Call me next Tuesday.” “Call me after four.” Then, finally, we’d get a show! I was like a pit bull; I very literally would call exactly when she said.
twi-ny: Futurex will be playing Hank’s Saloon on October 11 as part of the CBGB Festival, with other CBGB survivors. How did that come about?
Mary Zadroga: Jme Gorman [guitarist for Brunch of the Living Dead] and his wife, Ellen, have been booking nights there for years. They both worked at CBs. Jme was sound and knew Wives. These Hank’s nights are amazingly good, a local underbelly of the scene, older bands. It’s interesting to see it dressed up as a CBs Festival night.
Are there any other venues out there that come close to capturing the spirit of CBs, or is that just impossible?
Mary Zadroga: CBs by far had the best sound system, and you could record your set and get a decent tape out of it. There were so many places to play: Spiral, Brownies (loved Brownies!), Space at Chase, Acme, Continental, Nightingale (my favorite!), then later 269 and Otto’s. . . . I never played Lakeside or Banjo Jim’s but loved going there. Um, now I don’t know great places to play. Wives just had a reunion at Delancey and that was decent. Fontana’s . . . Arlene’s . . . Nothing compares to CBs. Well, you know which does? With layout, and sound, and overall great vibe? The Shrine up in Harlem. It isn’t punk or rock n roll; it is more blues, soul, reggae, but that club has it going on.
Jeff Feuerzeig’s The Devil and Daniel Johnston is a sad portrait of fame and folly. The mesmerizing documentary examines the life and career of Daniel Johnston, an outsider artist and musician who has a ravenous underground following. From the time he was a kid, Johnston was obsessed with recording his existence, making deeply personal audiocassettes and inventive Super-8 films, many of which Feuerzeig includes here, revealing Johnston’s curious, unique past. In the mid-1980s, Johnston recorded a pair of homemade tapes, Songs of Pain and More Songs of Pain, that detailed his unrequited love for an acquaintance of his named Laurie. His music quickly developed a cult audience, landing him on MTV and at the prestigious SXSW festival while gaining such fans as Kurt Cobain, Matt Groening, Sonic Youth, and the Butthole Surfers. All the while, he created comic-book-style paintings and drawings that began to be shown in galleries. But as Feuerzeig’s amazing mix of archival footage, home movies, and new interviews reveals, Johnston is also a manic depressive with severe mental problems who cannot survive on his own. At the time of the film’s release, Johnston was in his mid-forties, still living with his Christian fundamentalist parents, seemingly as childlike as ever, unable to understand the realities of his situation. While many people consider him a genius — at the beginning of the film, he is introduced at a live gig as the greatest songwriter in the world, and his art was part of the 2006 Whitney Biennial — it’s also easy to think that he’s being celebrated for all the wrong reasons and that this worship is doing him — and us — more harm than good. Favorite scene: Butthole Surfer Gibby Haynes talking about Johnston while sitting in a dentist’s chair getting his teeth drilled. The Devil and Daniel Johnston is screening October 12-13 at Nitehawk Cinema as part of the CBGB Festival (as well as the continuing Nitehawk series “Music Driven” and “Brunch Screenings”), which also includes such other music-related films as Searching for Sugarman, The Blank Generation, The Stone Roses: Made of Stone, and Twenty Feet from Stardom.
