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Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept
® The GRAMMY Museum and Delta Air Lines Present Hey! Ho! Let's Go: Ramones and the Birth of Punk Opening Friday, Sept. 16 Linda Ramone, Billy Idol, Seymour Stein, Shepard Fairey, And Monte A. Melnick To Appear At The Museum Opening Night For Special Evening Program LOS ANGELES (Aug. 24, 2016) — Following its debut at the Queens Museum in New York, on Sept. 16, 2016, the GRAMMY Museum® at L.A. LIVE and Delta Air Lines will present the second of the two-part traveling exhibit, Hey! Ho! Let's Go: Ramones and the Birth of Punk. On the evening of the launch, Linda Ramone; British pop/punk icon Billy Idol; Seymour Stein, Vice President of Warner Bros. Records and a co-founder of Sire Records, the label that signed the Ramones to their first record deal; artist Shepard Fairey; and Monte A. Melnick, longtime tour manager for the Ramones, will participate in an intimate program in the Clive Davis Theater at 7:30 p.m. titled "Hey! Ho! Let’s Go: Celebrating 40 Years Of The Ramones." Tickets can be purchased at AXS.com beginning Thursday, Aug. 25 at 10:30 a.m. Co-curated by the GRAMMY Museum and the Queens Museum, in collaboration with Ramones Productions Inc., the exhibit commemorates the 40th anniversary of the release of the Ramones' 1976 self-titled debut album and contextualizes the band in the larger pantheon of music history and pop culture. On display through February 2017, the exhibit is organized under a sequence of themes — places, events, songs, and artists —and includes items by figures such as: Arturo Vega (who, along with the Ramones, -
Ramones 2002.Pdf
PERFORMERS THE RAMONES B y DR. DONNA GAINES IN THE DARK AGES THAT PRECEDED THE RAMONES, black leather motorcycle jackets and Keds (Ameri fans were shut out, reduced to the role of passive can-made sneakers only), the Ramones incited a spectator. In the early 1970s, boredom inherited the sneering cultural insurrection. In 1976 they re earth: The airwaves were ruled by crotchety old di corded their eponymous first album in seventeen nosaurs; rock & roll had become an alienated labor - days for 16,400. At a time when superstars were rock, detached from its roots. Gone were the sounds demanding upwards of half a million, the Ramones of youthful angst, exuberance, sexuality and misrule. democratized rock & ro|ft|you didn’t need a fat con The spirit of rock & roll was beaten back, the glorious tract, great looks, expensive clothes or the skills of legacy handed down to us in doo-wop, Chuck Berry, Clapton. You just had to follow Joey’s credo: “Do it the British Invasion and surf music lost. If you were from the heart and follow your instincts.” More than an average American kid hanging out in your room twenty-five years later - after the band officially playing guitar, hoping to start a band, how could you broke up - from Old Hanoi to East Berlin, kids in full possibly compete with elaborate guitar solos, expen Ramones regalia incorporate the commando spirit sive equipment and million-dollar stage shows? It all of DIY, do it yourself. seemed out of reach. And then, in 1974, a uniformed According to Joey, the chorus in “Blitzkrieg Bop” - militia burst forth from Forest Hills, Queens, firing a “Hey ho, let’s go” - was “the battle cry that sounded shot heard round the world. -
Rhino Reissues the Ramones' First Four Albums
2011-07-11 09:13 CEST Rhino Reissues The Ramones’ First Four Albums NOW I WANNA SNIFF SOME WAX Rhino Reissues The Ramones’ First Four Albums Both Versions Available July 19 Hey, ho, let’s go. Rhino celebrates the Ramones’ indelible musical legacy with reissues of the pioneering group’s first four albums on 180-gram vinyl. Ramones, Leave Home, Rocket To Russia and Road To Ruin look amazing and come in accurate reproductions of the original packaging. More importantly, the records sound magnificent and were made using lacquers cut from the original analog masters by Chris Bellman at Bernie Grundman Mastering. For these releases, Rhino will – for the first time ever on vinyl – reissue the first pressing of Leave Home, which includes “Carbona Not Glue,” a track that was replaced with “Sheena Is A Punk Rocker” on all subsequent pressings. Joey, Johnny, Dee Dee and Tommy Ramone. The original line-up – along with Marky Ramone who joined in 1978 – helped blaze a trail more than 30 years ago with this classic four-album run. It’s hard to overstate how influential the group’s signature sound – minimalist rock played at maximum volume – was at the time, and still is today. These four landmark albums – Ramones (1976), Leave Home (1977), Rocket To Russia (1977) and Road to Ruin (1978) – contain such unforgettable songs as: “Blitzkrieg Bop,” “Sheena Is Punk Rocker,” “Beat On The Brat,” “Now I Wanna Sniff Some Glue,” “Pinhead,” “Rockaway Beach” and “I Wanna Be Sedated.” RAMONES Side One Side Two 1. “Blitzkrieg Bop” 1. “Loudmouth” 2. “Beat On The Brat” 2. -
RAMONES the Sire Years 1976-1981 Die Ersten Sechs Alben Der Punkrock-Pioniere in Einer Box!
im Auftrag: medienAgentur Stefan Michel T 040-5149 1467 F 040-5149 1465 [email protected] RAMONES The Sire Years 1976-1981 Die ersten sechs Alben der Punkrock-Pioniere in einer Box! „Hey ho, let’s go!” Mit diesem Schlachtruf begann eine Epoche. Bei allen Diskussionen, wer nun wo den Punkrock erfunden habe, steht eine Tatsache außer Zweifel: Die RAMONES haben ihn auf den Punkt gebracht wie keine andere Band. Sie nahmen den dahinsiechenden Rock’n’Roll unter ihre Mähnen, erfanden ihn neu und gaben ihm die Kraft und Innovation zurück, die irgendwo zwischen Woodstock und Progrock verlorengegangen war. 1974 in Forest Hill, Queens, NYC, gegründet, waren die RAMONES neu, authentisch und kreierten einen aufwühlenden Sound, der zur Hebamme einer der lebhaftesten Musikstile aller Zeiten wurde: Punkrock. Mit der 6-CD-Box RAMONES: The Sire Years (1976-1981) präsentieren Rhino Records das Erbe einer der innovativsten Bands in einer umfassenden Box, die die bedeutendsten Alben des Quartetts in einer längst fälligen Sammlung vereint: Ramones (1976), Leave Home (1977), Rocket To Russia (1977), Road To Ruin(1978), End Of The Century (1980) bis Pleasant Dreams (1981) – sämtlich mit ursprünglichen Tracklistings und Original- Artwork. Das Debüt der RAMONES aus dem Jahr 1976 war zugleich ein Manifest und eine Aufforderung zum musikalischen Aufstand, der zahllose Fans anspornte, selbst die Gitarre in die Hand zu nehmen. 14 Songs brauchten gerade mal eine Gesamtlänge von 32 Minuten. Reduziert auf das Nötigste, erreichte keine der Nummern die 3-Minuten Marke – die meisten blieben sogar unter zwei Minuten. Und es waren Klassiker, die da über die Musikwelt hereinbrachen: „Blitzkrieg Bop“, „Beat On The Brat“, „Judy Is A Punk“ und „I Wanna Be Your Boyfriend“. -
Az Archetipikus Csövigyerek-Banda: Ramones
Koko Kommandó Az archetipikus csövigyerek-banda: Ramones Többé-kevésbé mindenkinek megvan az egy vagy több életre szóló esete. Az én LEG-eim között a legeslegesebb a RAMONES. Amikor 1976 végén az Újvidéki Rádióba megérkeztek az első punk lemezek (Sex Pistols, Patti Smith Group, The Clash, Dr. Feelgood, The Stranglers, Ramones), mindjárt lecsaptam rájuk - megéreztem, tudtam, hogy ez az, ami nekem kell, ez az én zeném. A Judy Is A Punk szédületes tempója egyből kiakasztott. Igen, „szerelem első pillantásra" volt, vagy operettmagyarul: szerelem első vérig. A Ramones számaival való találkozás alapélmény volt. Reménytelen, boldog szerelem, hiszen csak metafizikai viszonzásról beszélhettünk. Ez a zene soha nem hagyott cserben, soha nem volt hozzám hűtlen, soha nem okozott fájdalmat. A legnehezebb pillanatokon segített, lendített át. Szilárd pont az életemben. A nők jöttek-mentek, s mára az otthonomból és a munkahelyemről is elüldöztek. Azon az 1991-es novemberi napon, amikor még katonai engedély nélkül távozhattam a szerb birodalomból, a Ramones-kazetták ott lapultak a poggyászomban. Egy ilyen elfogult vallomás után illene valamit mondani a zenekarról, s nem utolsósorban a zenéről, amit játszanak _ hisz errefelé nem sok szó esett róluk. A legjelentősebb magyar rock- kritikusok ugyan számon tartják őket, de a tömérdek lapban s a rádiókban szinte semmit sem találni róluk. Egyszóval: siralmas állapot. Mintha depressziós lenne ez az ország zeneileg. We're A Happy Family A Ramones 1974-ben alakult. Kezdetben három queens-i fiú, John Cummings, Douglas Colman és Jeffry Hyman alkotta. Johnny és Dee Dee gitáron játszott, míg Joey dobolt. Thomas Erdélyi menedzserként szorgoskodott, de aztán átvette a dobokat Joey-tól, aki előrement énekesnek. -
I Hope You're Available to Swing by the Newseum This Evening As the National Park Trust Honors Senator Martin Heinrich (June 13Th at 6:30 PM)
Message From: Knauss, Chuck [[email protected]] Sent: 6/13/2018 4:40:24 PM To: Wehrum, Bill [/o=Exchangelabs/ou=Exchange Administrative Group (FYDI BO HF 23SPDL T)/cn=Recip ients/en =33d96a e800cf43a391 ld94a 7130b6c41-Weh rum, Wil] Subject: Invitation for tonight -- yes I know it's late ... Attachments: 2018 Bruce F Vento Public Service Award lnvitation.s-c-c-c-c.pdf Bill: Please come tonight and share with others that might be interested. ! I hope you're available to swing by the Newseum this evening as the National Park Trust honors Senator Martin Heinrich (June 13th at 6:30 PM). As you know, I'm on the NPT board and our mission is very important to me - protecting high priority lands for the National Park Service and creating future park stewards, with a special emphasis on children from under-served communities. Each year we host the Bruce F. Vento Public Service Award event to honor an outstanding elected official and conservationist and celebrate NPT's accomplishments. The invitation is below and attached. The short program will give you a chance to hear about the important and effective projects we have underway and the highlight of the evening is hearing directly from some over the under-served children in our programs. The event includes a reception with the 30-minute formal program starting at 7:00 PM. Best regards, Chuck Sierra Club v. EPA 18cv3472 NDCA Tier 1 ED_002061_00180418-00001 Sierra Club v. EPA 18cv3472 NDCA Tier 1 ED_002061_00180418-00002 Sierra Club v. EPA 18cv3472 NDCA Tier 1 ED_002061_00180418-00003 Bruce E Vento Public Service Award Recipients JOHL C'Jn<Jrntt'Nnm:m Sett; McCdkm, Minntrna 2th Ss>ndM fbb h)r!nvm. -
The Long History of Indigenous Rock, Metal, and Punk
UNIVERSITY OF CALIFORNIA Los Angeles Not All Killed by John Wayne: The Long History of Indigenous Rock, Metal, and Punk 1940s to the Present A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in American Indian Studies by Kristen Le Amber Martinez 2019 © Copyright by Kristen Le Amber Martinez 2019 ABSTRACT OF THESIS Not All Killed by John Wayne: Indigenous Rock ‘n’ Roll, Metal, and Punk History 1940s to the Present by Kristen Le Amber Martinez Master of Arts in American Indian Studies University of California Los Angeles, 2019 Professor Maylei Blackwell, Chair In looking at the contribution of Indigenous punk and hard rock bands, there has been a long history of punk that started in Northern Arizona, as well as a current diverse scene in the Southwest ranging from punk, ska, metal, doom, sludge, blues, and black metal. Diné, Apache, Hopi, Pueblo, Gila, Yaqui, and O’odham bands are currently creating vast punk and metal music scenes. In this thesis, I argue that Native punk is not just a cultural movement, but a form of survivance. Bands utilize punk and their stories as a conduit to counteract issues of victimhood as well as challenge imposed mechanisms of settler colonialism, racism, misogyny, homophobia, notions of being fixed in the past, as well as bringing awareness to genocide and missing and murdered Indigenous women. Through D.I.Y. and space making, bands are writing music which ii resonates with them, and are utilizing their own venues, promotions, zines, unique fashion, and lyrics to tell their stories. -
Singles 1970 to 1983
AUSTRALIAN RECORD LABELS PHILIPS–PHONOGRAM 7”, EP’s and 12” singles 1970 to 1983 COMPILED BY MICHAEL DE LOOPER © BIG THREE PUBLICATIONS, APRIL 2019 PHILIPS-PHONOGRAM, 1970-83 2001 POLYDOR, ROCKY ROAD, JET 2001 007 SYMPATHY / MOONSHINE MARY STEVE ROWLAND & FAMILY DOGG 5.70 2001 072 SPILL THE WINE / MAGIC MOUNTAIN ERIC BURDON & WAR 8.70 2001 073 BACK HOME / THIS IS THE TIME OF THE YEAR GOLDEN EARRING 10.70 2001 096 AFTER MIDNIGHT / EASY NOW ERIC CLAPTON 10.70 2001 112 CAROLINA IN MY MIND / IF I LIVE CRYSTAL MANSION 11.70 2001 120 MAMA / A MOTHER’S TEARS HEINTJE 3.71 2001 122 HEAVY MAKES YOU HAPPY / GIVE ‘EM A HAND BOBBY BLOOM 1.71 2001 127 I DIG EVERYTHING ABOUT YOU / LOVE HAS GOT A HOLD ON ME THE MOB 1.71 2001 134 HOUSE OF THE KING / BLACK BEAUTY FOCUS 3.71 2001 135 HOLY, HOLY LIFE / JESSICA GOLDEN EARING 4.71 2001 140 MAKE ME HAPPY / THIS THING I’VE GOTTEN INTO BOBBY BLOOM 4.71 2001 163 SOUL POWER (PT.1) / (PTS.2 & 3) JAMES BROWN 4.71 2001 164 MIXED UP GUY / LOVED YOU DARLIN’ FROM THE VERY START JOEY SCARBURY 3.71 2001 172 LAYLA / I AM YOURS DEREK AND THE DOMINOS 7.72 2001 203 HOT PANTS (PT.1) / (PT.2) JAMES BROWN 10.71 2001 206 MONEY / GIVE IT TO ME THE MOB 7.71 2001 215 BLOSSOM LADY / IS THIS A DREAM SHOCKING BLUE 10.71 2001 223 MAKE IT FUNKY (PART 1) / (PART 2) JAMES BROWN 11.71 2001 233 I’VE GOT YOU ON MY MIND / GIVE ME YOUR LOVE CAROLYN DAYE LTD. -
The History of Rock Music: 1976-1989
The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) The New Wave (These are excerpts from my book "A History of Rock and Dance Music") New York's new Boheme TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. 1976 was a watershed year: the music industry was revitalized by the emergence of "independent" labels and the music scene was revitalized by the emergence of new genres. The two phenomena fed into each other and spiraled out of control. In a matter of months, a veritable revolution changed the way music was produced, played and heard. The old rock stars were forgotten and new rock stars began setting new trends. As far as white popular music goes, it was a sort of Renaissance after a few years of burgeoisie icons (think: Bowie), conservative sounds (country-rock, southern boogie) and exploitation of minorities (funk, reggae). During the 1970s alternative rock had survived in niches that were highly intellectual, namely German rock and progressive-rock (particularly the Canterbury school). They were all but invisible to the masses. 1976 was the year when most of those barriers (between "low" and "high" rock, between "intellectual" and "populist", between "conservative" and "progressive", between "star" and "anti-star") became not only obsolete but meaningless. -
Die Ramones Als Helden Der Pop-Kultur
Nutzungshinweis: Es ist erlaubt, dieses Dokument zu drucken und aus diesem Dokument zu zitieren. Wenn Sie aus diesem Dokument zitieren, machen Sie bitte vollständige Angaben zur Quelle (Name des Autors, Titel des Beitrags und Internet-Adresse). Jede weitere Verwendung dieses Dokuments bedarf der vorherigen schriftlichen Genehmigung des Autors. Quelle: http://www.mythos-magazin.de CHRISTIAN BÖHM Die Ramones als Helden der Pop-Kultur Inhalt 1. Einleitung 2. Punk und Pop 2.1 Punk und Punk Rock: Begriffsklärung und Geschichte 2.1.1 Musik und Themen 2.1.2 Kleidung 2.1.3 Selbstverständnis und Motivation 2.1.4 Regionale Besonderheiten 2.1.5 Punk heute 2.2 Exkurs: Pop-Musik und Pop-Kultur 2.3 Rekurs: Punk als Pop 3. Mythen, Helden und das Star-System 3.1 Der traditionelle Mythos- und Helden-Begriff 3.2 Der moderne Helden- bzw. Star-Begriff innerhalb des Star-Systems 4. Die Ramones 4.1 Einführung in das ‚ Wesen ’ Ramones 4.1.1 Kurze Biographie der Ramones 4.1.2 Musikalische Charakteristika 4.2 Analysen und Interpretationen 4.2.1 Analyse von Presseartikeln und Literatur 4.2.1.1 Zur Ästhetik der Ramones 4.2.1.1.1 Die Ramones als ‚ Familie ’ 4.2.1.1.2 Das Band-Logo 4.2.1.1.3 Minimalismus 4.2.1.2 Amerikanischer vs. britischer Punk: Vergleich von Ramones und Sex Pistols 4.2.1.3 Die Ramones als Helden 4.2.1.4 Eine typisch amerikanische Band? 4.2.2 Analyse von Ramones-Songtexten 4.2.2.1 Blitzkrieg Bop 4.2.2.2 Sheena Is A Punk Rocker 4.2.2.3 Häufig vorkommende Motive und Thematiken in Texten der Ramones 4.2.2.3.1 Individualismus 4.2.2.3.2 Motive aus dem Psychiatrie- Comic- und Horror-Kontext 4.2.2.3.3 Das Deutsche als Klischee 4.2.2.3.4 Spaß / Humor 4.3 Der Film Rock’n’Roll High School 4.3.1 Kurze Inhaltsangabe des Films 4.3.2 Analyse und Interpretation des Films 4.3.2.1 Die Protagonistin: Riff Randell [...] Is A Punk Rocker 4.3.2.2 Die Antagonistin: Ms. -
Sun.Aug.23.15 195 Songs, 12.3 Hours, 1.47 GB
Page 1 of 6 .Sun.Aug.23.15 195 songs, 12.3 hours, 1.47 GB Name Time Album Artist 1 Peaks Song 3:27 Silence Is A Weapon Blackfire 2 I Can't Give You Anything 2:01 Rocket To Russia The Ramones 3 The Cutter 3:50 U2 Jukebox Echo & The Bunnymen 4 Donations 3 w/id Julie 0:24 KSZN Broadcast Clips Julie 5 Glad To See You Go 2:12 U2 Jukebox The Ramones 6 Wake Up 5:31 U2 Jukebox The Arcade Fire 7 Grey Will Fade 4:45 U2 Jukebox Charlotte Hatherley 8 Obstacle 1 4:10 U2 Jukebox Interpol 9 Pagan Lovesong 3:27 U2 Jukebox Virgin Prunes 10 Volunteer 2 Julie 0:48 KSZN Broadcast Clips Julie 11 30 Seconds Over Tokyo 6:21 U2 Jukebox Pere Ubu 12 Hounds Of Love 3:02 U2 Jukebox The Futureheads 13 Cattle And Cane 4:14 U2 Jukebox The Go-Betweens 14 A Forest 5:54 U2 Jukebox The Cure 15 The Cutter 3:50 U2 Jukebox Echo & The Bunnymen 16 Christine 2:58 U2 Jukebox Siouxsie & The Banshees 17 Glad To See You Go 2:12 U2 Jukebox The Ramones 18 Tell Me You Love Me 2:33 Strictly Commercial Frank Zappa 19 Peaches En Regalia 3:37 Strictly Commercial Frank Zappa 20 Don't Eat The Yellow Snow (Singl… 3:35 Strictly Commercial Frank Zappa 21 My Guitar Wants To Kill Your Mama 3:32 Strictly Commercial Frank Zappa 22 COPE-Terry 0:33 23 The Way It Is 2:22 The Strokes 24 Delicious Demon 2:42 Life's Too Good Sugarcubes 25 Tumble In The Rough 3:19 Tiny Music.. -
Trajetórias De Vida Em Perspectiva Histórica: Joey Ramone E Marky Ramone Life Trajectories in Historical Perspective: Joey Ramone and Marky Ramone
http//dx.doi.org/10.15448/21778-3748.2019.1.32926 Trajetórias de vida em perspectiva histórica: Joey Ramone e Marky Ramone Life trajectories in historical perspective: Joey Ramone and Marky Ramone Fernando Mendes Coelho1 Resumo: este artigo tem como objetivo discutir alguns elementos que marcaram a geração de jovens norte-ame- ricanos dos anos 1960 e do início dos anos 1970, a qual, após o final da Segunda Guerra Mundial, experimentou um período de insatisfação política e social, que levou a inúmeras contestações frente aos comportamentos conservadores estabelecidos até então. Desta forma procuraremos, a partir da análise de alguns trechos de obras autobiográfica e biográfica dos músicos Marky Ramone e Joey Ramone, identificar como os jovens, an- tes de se tornarem astros do rock mundial, enfrentavam os dilemas políticos e culturais dos Estados Unidos, como a repulsa à Guerra do Vietnã, os atritos com a geração dos seus pais e a negação ao movimento hippie. Discutiremos que o surgimento da contracultura apresentou diversas vertentes e, que em contradição aos que apenas queriam paz e amor, havia nos subúrbios urbanos algo mais agressivo, que veio posteriormente a se estruturar como o movimento punk. Todos esses elementos perpassam as incertezas dos anos de juventude dos nossos personagens, que são o centro do objeto da pesquisa, e com a utilização de análises biográficas como fontes de pesquisa histórica, procuraremos explorar as possibilidades metodológicas deste campo teórico para consolidar a argumentação desta pesquisa. Palavras-chave: Contracultura. Punk rock. Juventude. Estados Unidos. Abstract: this article aims to discuss some elements that marked the generation of American youth of the 1960s and early 1970s, which, after the end of World War II, experienced a period of political and social discontent that led to numerous conservative behaviors established so far.