×

Uh-oh, it looks like your Internet Explorer is out of date.

For a better shopping experience, please upgrade now.

Heebie Jeebies at CBGB's: A Secret History of Jewish Punk
     

Heebie Jeebies at CBGB's: A Secret History of Jewish Punk

4.2 11
by Steven Lee Beeber
 

See All Formats & Editions


Based in part on the recent interviews with more than 125 people —among them Tommy Ramone, Chris Stein (Blondie), Lenny Kaye (Patti Smith Group), Hilly Kristal (CBGBs owner), and John Zorn—this book focuses on punk’s beginnings in New York City to show that punk was the most Jewish of rock movements, in both makeup and attitude. As it

Overview


Based in part on the recent interviews with more than 125 people —among them Tommy Ramone, Chris Stein (Blondie), Lenny Kaye (Patti Smith Group), Hilly Kristal (CBGBs owner), and John Zorn—this book focuses on punk’s beginnings in New York City to show that punk was the most Jewish of rock movements, in both makeup and attitude. As it originated in Manhattan’s Lower East Side in the early 1970s, punk rock was the apotheosis of a Jewish cultural tradition that found its ultimate expression in the generation born after the Holocaust. Beginning with Lenny Bruce, “the patron saint of punk,” and following pre-punk progenitors such as Lou Reed, Jonathan Richman, Suicide, and the Dictators, this fascinating mixture of biography, cultural studies, and musical analysis delves into the lives of these and other Jewish punks—including Richard Hell and Joey Ramone—to create a fascinating historical overview of the scene. Reflecting the irony, romanticism, and, above all, the humor of the Jewish experience, this tale of changing Jewish identity in America reveals the conscious and unconscious forces that drove New York Jewish rockers to reinvent themselves—and popular music.

Editorial Reviews

From the Publisher

"A unique new perspective on the history of punk rock."  —Tommy Ramone, The Ramones

"Shocking confessions of an eternally wicked tribe of dysfunctional kids in search of an identity."  —Malcolm McLaren, manager for the Sex Pistols

"A beautiful, well-written book that's not only the kind you can't put down but also a true revelation."  —Alan Vega, Suicide

"A remarkably rich and rewarding read."  —The Dallas Morning News

"Beeber is an original thinker with an impressive gift for sociology, psychology and gossip."   —Ketzel Levine, NPR

"The best account of punk’s nascent years."  —The Boston Globe

"Mines a vein in punk’s needle-marked history that no one else has explored and is highly recommended."  —Vanity Fair

"Entertaining, engrossing, and provocative."  —The Villager

Columbia Daily Tribune
Uses sociological and historical analysis to relate how punk, its artists and CBGBs inherited the Jewish tradition from each other in a synergetic fashion.

Metroland Holiday Gift Guide
This isn't merely a look-who's-Jewish tour, but an exploration of Jewish identity in the second half of the 20th century.

The Villager
Entertaining, engrossing, and provocative.

American Jewish Life Magazine
Digs so deep and thus paints so vivid a picture of . . . the Jewish experience.

Vanity Fair
Mines a vein in punk's needle-marked history that no one else has explored and is highly recommended.

Publishers Weekly
In this welcome addition to the annals of punk, journalist Beeber does a commendable job of illuminating the Jewish backgrounds of many of punk's pioneers, including Joey Ramone (Jeffrey Hyman), Tommy Ramone (Tamas Erdelyi), as well as Lou Reed, Lenny Kaye, Blondie's Chris Stein, CBGB owner Hilly Kristal right up to the heir-apparent to the Jewish-punk crown, the Beastie Boys. The scene was centered in 1970s New York's Jewish Lower East Side, so it's fitting that punk might have a strong Jewish tradition. Beeber ably cobbles together interesting biographical sketches of the preeminent Jewish punks, rather astutely placing the punk rockers among the pantheon of Jewish entertainers, including the controversial comic Lenny Bruce. He also neatly ties the irreverent punk ethos to the American Jewish experience. Still, the book overreaches at times, straining under the weight of too much tangential cultural history and an overly academic tone. Beeber, however, has clearly done his homework, with more than 100 primary interviews and a clear grasp of the Jewish traditions within which he places punk. And just in time: with "Jewish-owned punk landmark" CBGB slated to close on September 30, Beeber's book will open a hidden chapter for many fans. (Oct.) Copyright 2006 Reed Business Information.
Library Journal
Punk is Jewish-that's the central tenet of Beeber's (editor, Awake!: A Reader for the Sleepless) Heebie-Jeebies. Whereas most punk histories focus on England as the "true" epicenter of punk, Beeber's work posits an alternative punk time line rooted in New York City that begins with Lenny Bruce and ends with the new Beastie Boys album. Chapters on the Ramones, the Dictators, CBGBs, and Suicide are revelations, even to the seasoned punk fan. However, many of Beeber's subjects (e.g., musicians Jonathan Richman, Richard Hell, and Martin Rev) declined to be interviewed, and that's a shame, as this lack of primary sources damages the book somewhat. Beeber is left to theorize and conceptualize, often moving away from "secret history" and more toward cultural studies. That said, strong writing and even stronger subject matter keep one enthralled. Pair this with Legs McNeil and Gillian McCain's seminal Please Kill Me: The Uncensored Oral History of Punk or Victor Bockris's New York-centric Beat Punks anthology to provide another perspective on punk's Lower East Side roots. Recommended for larger public and academic libraries.-Matthew Moyer, Jacksonville P.L., FL Copyright 2006 Reed Business Information.

Product Details

ISBN-13:
9781556526138
Publisher:
Chicago Review Press, Incorporated
Publication date:
10/01/2006
Pages:
272
Product dimensions:
6.00(w) x 9.00(h) x 0.68(d)

Read an Excerpt

The Heebie-Jeebies at CBGB's

A Secret History of Jewish Punk


By Steven Lee Beeber

Chicago Review Press Incorporated

Copyright © 2006 Steven Lee Beeber
All rights reserved.
ISBN: 978-1-55652-613-8



CHAPTER 1

THE PROTOCOLS OF THE ELDERS OF PUNK

Lenny Bruce: The Patron Saint of Jewish New York


There is a real common ground with the punk sensibility and the basic Jewish, Lenny Bruce, show-biz culture. There is something just generally punkish about the whole [thing] — I mean, what we see as punk, if you really break it down, I mean, what is it? It's sort of anti-establishment, and all that. Elements of it sort of remind me of the standard Jewish comedian thing. Maybe that's part of why it came out of New York. It's a smartass town. To me, it seems related.

— Chris Stein, 2004

In the beginning was the word, and the word was fuck.

No, wait, it was nigger.

No, niggerlover.

Motherfucker!

Cocksucker!!

Chickenfucker!!!

We'll begin again.

In the beginning was Lenny Bruce, the comedian of dirty words, the taboo-breaking social critic who died like a martyr in his own land. A quintessential New Yorker, a quintessential Jew, he raised street smarts to a searing art. Punk musicians regard him as their patron saint. Many of the nearly 150 people interviewed for this book spoke of Bruce as the most important influence in their lives before the Beatles. Bruce showed Joey Ramone, Chris Stein, and Handsome Dick Manitoba how to behave like cool kids. He was the only adult they respected. Like them, Bruce was first and foremost a smartass.

Born in 1925 as Leonard Alfred Schneider to a stage mother who was a smalltime performer, Bruce epitomizes showbiz tradition in American Jewish culture, particularly New York Jewish culture. Jews predominated in Tin Pan Alley, Broadway, early nickelodeons (the precursors to Hollywood studios), comic books, radio, television, the Brill Building, The Velvet Underground, and punk. Bruce honed his craft as a truth- telling badass in strip clubs, gin joints, and broken-down burlesque houses where the comic was a filler between the acts, a dirty-joke teller who kept the audience in their seats while the girls went out for a cigarette and a shot. He was ready to move into the higher leagues by the 1950s, but like the punk rockers who followed him, he found that to succeed he had to bring the crassness of the streets along with him. In the end, he brought smartass aboveground, where it was uneasily tolerated by society.

"He was just so sarcastic," as Chris Stein puts it. "He was cool and uncompromising and he had street smarts." Stein comments that it wasn't until he was in his forties and listening again to Bruce's Carnegie Hall concert bit about his "Shiksa Goddess" wife, Honey, that he realized "how much that was like me and Debbie [Harry]."

It's not too surprising that early punk rockers worshipped Bruce. They came of age when Bruce was in his prime, a time when a new dark manifestation of the city's largest immigrant group was emerging, one that grew in the shadows of the Holocaust and burst out in shpilkes-like heebie-jeebies ready to exorcise those things that went bump in Elie Wiesel's night. Jewish stars like Dustin Hoffman, Elliott Gould, and George Segal ruled the screen. Philip Roth, Norman Mailer, and Bernard Malamud claimed the bestseller list. Jewish musicians like Philip Glass led the avant-garde in such a way that the classical establishment attacked him for bringing the music perilously close to pop, while Jewish artists like Diane Arbus photographed freaks; "A Jewish Giant at Home with His Parents" seems to foretell the emergence of Israel as an occupying oppressor — not to mention the emergence of Jeffry Hyman/Joey Ramone as a star.

"There is a real common ground with the punk sensibility and the basic Jewish, Lenny Bruce, show-biz culture," says Chris Stein. "There is something just generally punkish about the whole [thing] — I mean, what we see as punk, if you really break it down, I mean, what is it? It's sort of anti-establishment, and all that. Elements of it sort of remind me of the standard Jewish comedian thing. Maybe that's part of why it came out of New York. It's a smartass town. To me, it seems related."

And, indeed, it is. From the moment in 1654 when a group of twenty-three Sephardic judíos landed at New Amsterdam, seeking asylum from the Brazilian Inquisition (they were only saved from incarceration by the protests of Jewish shareholders on the board of the Dutch West India Company), to the point nearly two hundred years later when a larger influx of Enlightenment-liberated Juden from Germany began arriving, to the period less than fifty years after that when a much larger and more culturally significant influx of Yidn from Eastern Europe began coming (and coming and coming, close to three million by the 1920s, two-thirds of these staying in New York), there was a tug between Nice Jewish Boys, who sought respectability and acceptance, and Bad Ass Heebs, who wanted nothing more than to shock you with sick jokes.

For every Haym Solomon, financier of the American Revolution, Solomon Schechter, Jewish educator, and Louis Brandeis, Supreme Court justice, there was an entertainer, gangster, or political rabble-rouser with a name like Eddie Iskowitz (Eddie Cantor), Samuel Gompers (who founded the American Federation of Labor), and Benjamin "Bugsy" Siegel. Working outside polite society, these men created cool as we know it. Eddie Cantor led directly to Woody Allen and Ali G; Samuel Gompers set the stage for Abbie Hoffman and Jerry Rubin; and Bugsy Siegel, not to mention his original boss and inspiration, Arnold Rothstein, helped to create the fashionably attired sex symbol oozing menace. Lucky Luciano said of Rothstein, "He taught me how to dress. He taught me how to not wear loud things, how to have good taste ... he was ... real smooth." Lucky could just as well have been describing Richard Meyers Hell's influence on Malcolm McLaren and the Sex Pistols. He could have been talking about any rock star.

Most prominent Jewish Americans, of course, fell somewhere in the middle. Among them were Hollywood moguls Samuel Goldwyn (Samuel Gold-fish), Jack Warner (John Leonard Eichelbaum), and Louis B. Mayer (Eliezer Meir). Al Jolson (Asa Yoelson) was a first-generation New Yorker who, like the character he portrayed in the first talkie, The Jazz Singer(1927), epitomized the tug between the old world and new. Defying his cantor father to pursue popular music, Jolson paved the way for numerous others, such as Fanny Brice (Fanny Borach), John Garfield (Julius Garfinkle), Molly Picon (Margaret Pyekoon), and the Borscht Belt comics, all of whom embodied the cultural conflict at the heart of Jolson's largely autobiographical film.

Fanny Brice, the darling of vaudeville-bred Tin Pan Alley, joked about the old ways while spicing up her act with a sexuality that played on the public's perception of "Jewesses" as exotic, sensual "others." John Garfield, on the other hand, took an angry, almost punkish stance toward attempts to exclude him, repeatedly playing a character who was attached to his "East Side" (code for ethnic/Jewish) origins, yet was ready to use his fists to punish any slights. Molly Picon withdrew into a sentimental world that disappeared along with the East Side's many Yiddish theaters, while the comics of the Borscht Belt, among them Henny Youngman, Buddy Hackett (Leonard Hacker), and Jerry Lewis (Jerome Levitch), created a new, cutting, self-deprecating Jewish identity that could clearly mock power but instead chose to direct its anger at itself.

Beginning as a tumler (master of ceremonies) in the Catskills, Lewis morphed into a personification of impotent anger and self-hatred. As B. Kite writes, Lewis was in the main a physical comic, but unlike Chaplin, he exhibited alienation from his body rather than grace. As a result, Kite says, critics often attacked him for being "too 'ethnic' (read: Jewish), and [having] an unhealthy tendency to go 'nantz.' "Kite added, "Jewishness and sissiness were often seen as equivalents." Eventually, Lewis shirked this eternal child as jerk mode, playing the Rat Pack–like punk Buddy Love opposite the bucktoothed scientist Julius Kelp in the Jekyll-and-Hyde spoof The Nutty Professor (1963) — a transformation from schlemiel to hipster that Mickey Leigh (Mitchell Hyman) referred to when he said that his brother, Joey Ramone, had "changed when he'd gotten onstage, almost like Jerry Lewis in The Nutty Professor." Lewis also directly addressed his Jewishness in a made-for-TV version of The Jazz Singer (1961) and in a never-released film, The Day the Clown Cried, which he starred in and directed about a clown who entertains children on their way to the gas chambers.

In short, almost all of the comedians entertained both the Jewish and non-Jewish worlds even as they internalized their exclusion and accepted it. That is, until Lenny Bruce.

A tough outsider who not only mixed with strippers, junkies, and hepcats (in the minds of traditionalists, the dreaded goyim), Bruce also functioned as a social critic while openly referring to his Jewishness. Yiddish phrases and jokes and kamikaze-style humor that actually risked using the Holocaust as material were all hallmarks of Bruce's act — indeed, they were the components that often got the biggest laughs in his day, just as they continued to do decades later when Bruce was embraced by the emerging punks.

From the confrontational Bruce, there's a clear line to the social-critiquing Bob Dylan, the social-mocking Tuli Kupferberg, and the social underbelly–exposing Lou Reed. Dylan, who praised Bruce in song ("he was the brother that you never had ..."), is the consummate outsider with a moral conscience, a "voice of a generation" who defended blacks ("The Lonesome Death of Hattie Carol"), immigrants ("I Pity the Poor Immigrant"), convicts ("Hurricane"), and even Israel ("The Neighborhood Bully"), all while preaching like an Old Testament prophet warning the people of destruction both actual ("A Hard Rain's Gonna Fall") and moral ("Frankie Lee and Judas Priest"). It's not too hard to imagine Dylan onstage reading court transcripts, as Lenny Bruce did near the end of his career, nor too difficult to envision Fugs cofounder and self-proclaimed "old time Jewish anarchist" Tuli (short for the Hebrew "Naphtali") Kupferberg being banned for gleefully shouting out Bruce's infamously dirty words. In fact, it's pretty easy to see early Fugs contemporary Lou Reed backing up Tuli on guitar while occasionally taking the mike to shout about being a white boy waiting uptown for his connection (a black man who provides both figurative and literal spiritual uplift) or his anger at the hypocrisy of onetime presidential candidate Jesse Jackson, who referred to New York City as "Hymietown."

These precursors helped create not just the setting, but also the musical and lyrical template for what was soon to become punk rock. They range from Jonathan Richman, a Boston acolyte of Reed's Velvet Underground who imparted his cool nerd, outsider sensibility to New York via the Modern Lovers, to Eric Bloom (singer), Sandy Pearlman (manager/lyricist), and Richard Meltzer (lyricist) of the Blue Öyster Cult, all of whom incorporated Nazi imagery, stripped-down power chords, and comedic purpose into their music, fueling an ironic strain of "light metal" that bore deep resemblances to punk.* Pearlman and Meltzer later played an integral role in creating New York punk by defining and championing it as critics, as did numerous other Jewish music writers, such as Lenny Kaye, Lisa Robinson, Jon Landau, and Billy Altman.

Punk architect Tommy Erdelyi pays tribute to these bands and others: "The Blue Öyster Cult was like an intellectual's version of a heavy metal band and they inspired me in many ways — just as did Leslie West of Mountain. When I was growing up in Forest Hills, West was still playing with the Vagrants, perhaps the first real band to emerge in the New York scene. I mean, there were the Rascals from Long Island, but the Vagrants were more like the real thing — a garage band with a monstrous sound. And they looked like us, like kids in my mostly Jewish neighborhood. They made me think putting together a band might be possible."

Others echo these sentiments and more. Here's Richard "Handsome Dick Manitoba" Blum on the creation of the Dictators' comic persona: "I'm a Jew. I grew up around lots of Italians and Jews in the Bronx and I understood the way we were an oppressed people who had to fight back to survive and how we often did that with comedy. The Dictators were funny — as were all of the early punk bands to varying degrees. You wouldn't be wrong to say that I was doing stand up onstage between songs — that's why we left the spoken word bits between tracks on the first album, the ones where I'm talking about making it big and retiring to Florida. I mean, just look at our name for Christ's sake! The Dictators! Get it?"

The Patti Smith Group's musical mastermind Lenny Kaye, originally a rock critic best known for compiling Nuggets, a collection of 1960s garage tunes that later influenced many of the punk bands, says: "Jews have always been a writerly race ... what is the Bible but an explication of art's implications ... and what are biblical scholars but critics of the Bible? I like to see myself as part of that tradition ... I like to think of myself as a scholar of the Talmud of rock 'n' roll."

Ultimately, the Jewish aspect of New York culture influenced to varying degrees even a non-Jewish band such as the Dead Boys — just as the non-Jewish aspect of the city's culture affected many of the largely Jewish bands. The Dictators (five-sixths Jewish), the Ramones (at least half-Jewish), and numerous other bands built on a tradition of cultural "collaboration" that stretched back at least as far as Irving Berlin's wedding of Jewish folk music (or klezmer) to American jazz (one of his early hits was "Yiddle on Your Fiddle Play Some Ragtime," 1909). The "immigrant" Dead Boys from Cleveland, an industrial city with a large German/Slavic population, arrived in New York looking and sounding like a heavy metal band. They quickly transformed themselves into crazed, sick, comically demented pranksters who liked to dress in Nazi regalia and, offstage, sleep almost exclusively with Jewish girls, often atop a Nazi flag while wearing a swastika. Lead guitarist Cheetah Chrome's half-Jewish former girlfriend Gyda Gash has the word "stigmata" tattooed on one arm and a Jewish star on the other. She comments, "What do you expect from a self-loathing half-Jew?"

There's no denying that, on some level, the "self-loathing" Gash half-jokingly describes deeply informed New York punk. The emergence of Israel as a national power* and an awareness of the Holocaust were of supreme importance to it. As audience members, performers, and behind-the-scenes players have revealed in interviews, these realities created a split Jewish consciousness that felt pride in the newfound power of Israel even as it experienced shame — and anger — at a history of victimization in Europe.

This transformation of Jewish consciousness couldn't help but have an effect on punk, as the New York audience that first accepted the music was either Jewish or, at the very least, schooled in Jewishness. So were the music's critics (Meltzer et al.), producers (child of Holocaust survivors Genya Ravan, etc.), deejays (Alan Freed created the term "rock 'n' roll"), managers (Iggy Pop and MC5 discoverer Danny Fields), executives (Sire Records president Seymour Stein) club owners (CBGB's founder Hilly Kristal), publicists (Orthodox Jew Ida Langsam, who before handling the Ramones, created the punning Apple Juice newsletter as president of the Beatles New York Fan Club), roadies (Ramones "tour director" Monte Melnick), groupies (Nancy Spungen), "translators" (Sex Pistols "creator" Malcolm McLaren), and many, many others.

They all welcomed this new music and lifestyle that were both outside the mainstream, yet as close-knit (especially in the East Village) as a shtetl. It was a celebration of the degenerate (as Hitler termed Jewish art), the sick (as critics described Lenny Bruce), and the alienated (as Jewish writer Franz Kafka called himself ), not to mention the socially outrageous (think the Marx Brothers with ripped T-shirts) and comic ("If it wasn't funny, it wasn't punk," says Snooky Bellomo).

Only in New York, that city where, as Lenny Bruce said, "It doesn't matter if you're Catholic ... you're Jewish," could a "popular" art form like punk have found a birthplace. There, on that island of immigrants, where Jews formed such a sizable portion of the population, they could take their Jewishness and all its intellectual, nonviolent, comic-driven aspects for granted. Joey Ramone, a figure straight out of Kafka's The Metamorphosis, Richard Hell, a Jewish mother's worst nightmare, and Lenny Kaye, a kind of post-1960s Jewish mystic, rose up, ready to take over the world. They didn't, of course — at least not in their time. But for a few years, at least, they reigned as gods on that island where they had been born, raised, and nurtured, that city that had formed them, Hymietown.


(Continues...)

Excerpted from The Heebie-Jeebies at CBGB's by Steven Lee Beeber. Copyright © 2006 Steven Lee Beeber. Excerpted by permission of Chicago Review Press Incorporated.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Meet the Author

Steven Lee Beeber has written for many publications, including Bridge, Conduit, Fiction, Heeb, Maxim, MOJO, The New York Times, The Paris Review, Playboy.com, Rain Taxi, and Spin. He is the editor of Awake: A Reader for the Sleepless, an anthology featuring work by writers including Margaret Atwood, Aimee Bender, Joyce Carol Oates, and Davy Rothbart.

Customer Reviews

Average Review:

Post to your social network

     

Most Helpful Customer Reviews

See all customer reviews

Heebie-Jeebies at CBGB's: A Secret History of Jewish Punk 4.2 out of 5 based on 0 ratings. 10 reviews.
Guest More than 1 year ago
This book is great. Steven Beeber examines the relationship between Judaism and punk rock and argues that punk was a logical outgrowth of the post-Holocaust generation in this country. I grew up in NY and came of age in the mid-70s, so i was lucky enough to have seen many of the bands profiled in this book. It's chock-a-block with interviews and profiles of folks like Danny Fields, Lou Reed, Jonathan Richman, Alan Vega and Marty Rev,Tommy Erdelyi, Richard Hell, Hilly Kristal, Lenny Kaye, the Dictators, Genya Ravan, etc. It's a great read -- lots of funny stuff, very illuminating, sometimes quite provocative. A must-read for fans of the New York punk scene.
Anonymous More than 1 year ago
Go to match making res 11 to meet a girl named isabel.
Anonymous More than 1 year ago
Heyo :)
Anonymous More than 1 year ago
Ugh.
Anonymous More than 1 year ago
Sees Abby waiting. "Dont bother. Hes gonna be a while"
Anonymous More than 1 year ago
Runs out ..
Anonymous More than 1 year ago
Anonymous More than 1 year ago
?
Anonymous More than 1 year ago
Relieve yourself of various cases of substance abuse. It's a single room with a toilet and a roll of toilet paper on a hockey stick, but h<_>ell, we've made it work for years now!
Anonymous More than 1 year ago
This book is so stupid it's actually kind of funny. You also realize how stupid some musicians are. I suppose Jews might find it cool to find out that a lot of Jews were involved in punk rock but so what. So were lots of Catholics, Protestants, and a few Muslims. The author tries to make it sound like Jews invented punk rock and that it wouldn't have existed were it not for them. That just idiotic. Not only that, the book is realllllly boring. I found it hard to get through it. I'm sorry I spent money on it.