#CGBG

[intomore]

Patti Smith, CBGB, New Year's Eve, 1978,

Allan Tannenbaum Photography

[ourladyofomega]

1994.

📸 Phil Petit

[ttexed]

The Cramps - The Band That Time Forgot (CBGB Radio Broadcast '79)

The CRAMPS - The Band That Time Forgot, CBGB New York, Radio Broadcast August 1979

[rodglacial]

Chronique The New York Years - Eric Kroll (Jan. 2023)

[candycandiceblack]

CGBG's, New York, 2006.

[iamdangerace]

Kim Gordon @ CGBGs 1982

[volkswagonblues]

To me this is my Armand/Daniel song. I know people love the 70s but I like to think Daniel listens to a variety of artists throughout the years and LCD Soundsystem was THE epitome of biting wit and New York cool, which is so Daniel Malloy to me.

Also I just like the idea of peepaw at the infamous 2011 Madison Square Garden farewell show. He was there!! He was there at CGBG for the talking heads and he was there in MSG for the farewell LCD Soundsystem show. I believe in this 🙏🙌

[lucerodiehards]

LUCERO LIVE AT CGBG August 4, 2006

Dan Billmeyer recording

[renee561]

Galaxy quest @ 28%

Sense and Sensibility @ 21%

Robin Hood @ 16%

Other @ 13% which tied with Die hard.

Sweeney @7% which I'll admit surprise!

1% for both Rasputin & Judas' Kiss

CGBG and Seminar are 0%

Other mentioned:

Dogma

Dark Harbour

Truly Madly Deeply

Quigley Down Under

Mesmer

Snape

All

Thank you guys for doing my poll. I know I'm mean for making people choose

[freshthoughts2020]

[candycandiceblack]

CGBG's, New York, 2006.

[vhagarswattle]

Olivia Wilde???

[omegaplus]

# 3,075

Testors “Together” b/w “Time Is Mine” (1980)

Five years in existence during the dawn of punk and only one 7″ released in their activity. Of course there was much more in the vaults years after their dissolution, but that’s the finest in punk legacies for you. At least New York City’s Sonny Vincent and Co. carved themselves the life of touring with The Dead Boys and The Cramps through the CBGB’s and Max’s Kansas City circuit. By the time this 7″ was released, Testors already hung it up. “Together” and “Time Is Mine” are two modest strikes rolled down easy and you can’t complain. No shock, no theatrics, no gimmicks. It’s not the whole story, though, and they had much more to offer during those five years. Go listen to Swami Records’ Complete Recordings 1976-1979 (2003) and Incognito Records’ Original Punk Recordings New York City 1976-1979 (2001). Sonny Vincent has jumped from project to project and stayed pretty active releasing records as himself and other bands as late as 2015. Which reminds us: a classic / legacy punk broadcast on Omega WUSB is way overdue, and we are so fucking ready.

Spain’s Munster Records put out a purple 7″ for their audiences.

[crzcorgi]

So,I noticed Jeffrey’s tee in this pic and remembered one of my fav SPN scenes. It’s from season 10 episode 9 - The Things We Left Behind

I guess John bought a souvenir from there! 

Dean: We know John Winchester isn’t going to win any #1 Dad awards, but damn if he wasn’t there when we needed him.

Sam: Hey, uh, tell him about that time in New York.

Dean: Oh Yeah… Yeah, okay so, ah. We were working this haunting in Long Island, and me and Sam begged the old man to let us go to the city, for once.

Sam: He had this thing about New York; too big, too loud, too dirty.

Dean: And he hated the Yankees.

Sam: Big time, yeah.

Dean: Some how we convinced him to let us go. So we all go, we all you know see the sites and ride the subway, eat too much pizza, the whole nine. By about midnight Sam and Dad are zonked, and I figure ‘screw it, I’m going to CBGB.’

Sam: CBGB is…

Castiel: I know. It’s where the Ramones and Blondie got their start.

Sam: Right, wow. Anyway he was way underage at the time.

Dean: So I get there, I sneak in, and it is nuts. I mean people are drinking, and they’re smoking, and they’re snorting whatever. There’s a 500 pound guy on the stage with mohawk just screaming. My mind is blown I don’t even know what to do. Then this girl walks up, and she’s 'Hey why don’t come over sit down with me and my friends at this table,’ 'yeah, alright.’

Sam: Yeah and they get him drunk. First time.

Dean: But not fun drunk, I’m not quite sure what was in that stuff, but the room starts to spin, and I feel like I’m going to puke forever. Right about that time, I hear him. 'Dean Winchester.’ My old man, I don’t know how but he found me. And now I’m really freaking out, because he’s just standing there not saying anything, and I look around everyone else is freaking out too in fact no one is looking him in the eye, then finally this one guy with like a safety pin in his nose and a 'kill everything’ tattoo looks up and he says 'sorry sir.’ Yeah, 'sorry sir’ heh. John frickin’ Winchester.

Castiel: He saved you.

Dean: Yeah and you know what he got for that? Me whining about how much he embarrassed me. Me telling him that I hated him. But then he stopped and turned around looked at me and said, 'Son, you don’t like me that’s fine. It’s not my job to be liked.’

Sam: 'It’s my job to raise you right.’

Dean: And he did.

[thislovintime]

Peter Tork backstage (with author Ellen Mandell) and onstage at CBGB in New York City on July 31, 1977. Photos 1-3 by Renay Morris; photo 4 and 5 possibly by Meri Browning; photo 6 by Meri Browning, via an old eBay listing.

“In the dressing room before the show [Lester Bangs] asked him why he wanted to play there, and he said, ‘Because I like the atmosphere. The other guys like being up onstage with a full-scale show, and I played one country ‘n’ western set with them, but I like being right down face to face with my audience. It’s like, their jokes are pre-scripted, and I’d rather have my own sense of humor for the between-song patter. This is pretty much a one-show for me; I was booked in here by a journalist friend of mine who’s helping me do a book on the Monkees trip, and after it’s over I’m gonna go back to California and teaching. I couldn’t do this, on the West Coast; CBGB’s is psychedelic.’” - Village Voice, August 8, 1977

“Would Tork, armed only with an acoustic guitar, a piano, and his sharply honed sense of humor, be able to handle those heartless worshippers of blood and gore rock and searing metal demonry? ‘It’ll be okay,’ he said bravely, pointing at his tight, studded T-shirt. ‘If things get tough I’ll give the punks exactly what they want. I’ll threaten to pull these rhinestones out of my chest, one by agonizing one!’ But there proved to be no need for Tork to be anything other than his hokey, folkie (albeit somewhat decadently folkie) self. Booked for a Sunday night, ordinarily CGBG’s lowest night of the week, he packed the place with a strange assortment comprised of cocky regulars, curious record company VIP’s, writers and radio people who’d passed up a concurrent Bad Company party uptown, and giggling fifteen-year-old cuties who’d sneaked in with phony IDs lifted from older sisters’ wallets. The Tork who stepped onstage sported a bristly beard but otherwise still looked strongly like the younger man we remember from our TV screens in days ten years past.”  - Ellen Mandell, Circus, October 13, 1977

Audio of Peter's live appearance, via YouTube.

[gnrsmut]

Slash at CGBGs 1987