CONGRESSIONAL RECORD— Extensions of Remarks E657 HON

Total Page:16

File Type:pdf, Size:1020Kb

CONGRESSIONAL RECORD— Extensions of Remarks E657 HON April 26, 2001 CONGRESSIONAL RECORD — Extensions of Remarks E657 hundreds of unsung heroes from the Cerro eral. Her actions led to my introducing legisla- Melnick, who was the tour manager, feared Grande fire, and Ms. Musgrave is one of tion in the House of Representatives, H.R. there might be trouble. Instead, the woman them. 1095, intended to make claims of the fire tax- smiled at him indulgently. As Mr. Melnick, The intense Cerro Grande fire forced local 51, recalled, ‘‘She said, ‘It’s really nice, you free. taking care of these retarded boys.’’’ residents to evacuate and essentially closed The Chamber has also contacted me on Joey Ramone, the gawky, geeky, lovable- down Los Alamos for eight days. When resi- issues that are not fire-related. I am proud to loser singer of the Ramones, died last Sun- dents were allowed to return on May 15, they serve as a member of the Small Business day of lymphatic cancer, never to be under- found the fire had left more than 420 people Committee and, as a result, work on matters estimated again. His real name was Jeffrey homeless and destroyed a number of local vital to the Chamber. For example, we have Hyman; he was 49. businesses. To help the town get back on its worked together on daycare issues facing em- As the music world celebrates the 25th an- feet, the Chamber took the lead in coordi- ployees of the Los Alamos National Labora- niversary of punk, the band’s imprint—its nating relief and rebuilding efforts. tory and other equally important items. goofy fury and delinquent humor—echoes I can attest that Ms. Musgrave and others Mr. Speaker, Susan Musgrave is not only a not just in the music of latter-day punks met with me and my staff during this time to like Green Day and Blink 182, but in the wonderful asset for the Chamber of Com- strain of self-aware, loser comedy that has see what they could do and to continue to pro- merce, but she is a true champion for the become the dominant adolescent rattle: vide us with assistance. Within five days after state of New Mexico. I am proud to know her, ‘‘The Simpsons’’ and ‘‘South Park,’’ pro the fire, in conjunction with local banking insti- and I thank her for her continued service. wrestling and MTV’s blithely moronic tutions, the Chamber had established a loan f ‘‘Jackass.’’ fund for Los Alamos businesses. These busi- Mickey Leigh, Joey’s younger brother, who nesses could apply for a six-month loan up to TRIBUTE TO THE LATE JOEY played in a band called the Rattlers, de- $25,000 with a 7.5 percent interest rate. The RAMONE scribed the Ramones as a reaction to the Chamber paid the interest expense on the Queens streets where the band members grew loans for six months. HON. ANTHONY D. WEINER up. ‘‘The humor was inherent to Forest Hills, Through this effort, more than $640,000 in a Jewish neighborhood, and to the small cir- OF NEW YORK cle of rejects and misfits that we were,’’ said loans were made available to 37 companies in IN THE HOUSE OF REPRESENTATIVES Mr. Leigh, who, like his brother, was bar Los Alamos. Businesses were able to take Thursday, April 26, 2001 mitzvahed. (Several other Ramones were not care of short-term financial needs and stabilize Jewish.) ‘‘We were always on the outside, re- the effects of lost revenue after being closed Mr. WEINER. Mr. Speaker, I rise today to jected by the girls—not by all girls, but by for almost eight days. A Web site for construc- recognize a constituent of mine and an icon in the pretty ones, who preferred guys with tion contractors interested in helping Los Ala- the music world who recently passed away. cars. Our protective shell was to shock peo- mos rebuild was on line within a week of the Joey Ramone, lead singer of the Ramones ple.’’ disaster. died after a long battle with cancer on Easter Picked on in Forest Hills, Joey made him- Thanks to generous donations from member self a star of anti-charisma, fronting a band Sunday. Born Jeff Hyman in Forest Hills, whose legend drew on failure as easily as businesses and individuals, the Chamber was Queens, he changed his name to Joey success. When my friends and I heard the able to extend help to others with an imme- Ramone at age 23 and began stirring up the Ramones in the late 1970’s, as under- diate need for funds, including renters and music world with what was to become known achieving college students, we formed our homeowners without insurance. By May 20, as punk rock. The Ramones were at the lead- own band—awful, but even at our lousiest, gifts in the amount of $1,000 were distributed ing edge of the punk rock movement in the always knowing. I like to think we were to 97 families who had lost their homes. As early to mid-1970s and spoke to a generation post-awful. the fund grew, the Chamber was able to make of adolescents looking to find their way A set by the Ramones was a furious race to a second distribution in the amount of $500 to through that decade. the finish line, blurring bubble-gum riffs and the same individuals. The Chamber’s total cartoon pathologies: ‘‘Now I Wanna Sniff Many of my colleagues here in Congress Some Glue,’’ ‘‘Teenage Lobotomy,’’ ‘‘I contribution topped $142,000. In addition, 12 may not be familiar with the music of the Wanna Be Sedated.’’ What you came away college students who lost their homes were Ramones, or the impact they had on many in with depended in large part on how you took each given $1,000 towards their recovery my generation and on music in general. The the joke. needs. Ramones were everything a classic rock and ‘‘We thought punk rock was going to be The Chamber also helped spread the word roll band were not. They played short, simple the biggest thing ever,’’ said John that Los Alamos was once again ‘‘open for songs. And they did it loudly. They abhorred Holmstrom, 48, a cofounder of Punk maga- business’’ through an innovative advertising convention but compared to many of the zine, which coined the name for the music. campaign. The Chamber underwrote 80 per- bands today, they did it with style. Irony, sin- ‘‘We thought we were mainstream. It was a cent of the costs for member businesses who shock to everyone at CBGB when one by one cerity and humor ran through many of their it didn’t happen.’’ took out advertisements to let the community simple lyrics. They poked fun at the latest fad, know their businesses were up and running Charlotte Lesser, Joey’s mother, always and often themselves, in a way that caused got the joke. Ms. Lesser ran an art gallery again. The Chamber set up a similar adver- adolescents everywhere to nod their heads in and is a commercial artist. At CBGB, the tising campaign with the State of New Mexi- agreement. Bowery dive where the band got started, peo- co’s Economic Development Department as a The Ramones lasted an impressive 22 ple used to call her Mama Ramone, she said, means to successfully bring tourists back to years. Their music helped spawn musicians adding: ‘‘CBGB struck me as too narrow, too the area. who would go on to create their own styles of crowded, and it had the worst bathrooms you The Chamber’s good deeds did not go un- rock and grunge and rap-rock. At the heart of ever saw. But I always saw the whole thing as a funny show.’’ noticed. Ms. Musgrave was named New Mexi- the Ramones was Joey, a notoriously shy, The Ramones emerged just when the rad- co’s Chamber Executive of the Year 2000 by gangly, nice guy, who until his death, loved to the New Mexico Business Journal and the As- ical thrust in pop music was turning in on visit the local clubs in New York and listen to itself Hip-hop whittled down disco; punk sociation of Commerce and Industry. The the music he helped create. trimmed rock ‘n’ roll to its loud essentials. award recognized her exceptional and exem- I would like to submit for the RECORD a Writing about the Ramones and CBGB in plary services to the Chamber and the com- story from the April 22, 2001 edition of the The Village Voice in 1975, James Wolcott ob- munity. New York Times which summarizes well, the served, ‘‘No longer is the rock impulse revo- Thanks to the Los Alamos Chamber of life of Joey Ramone: lutionary—i.e., the transformation of oneself Commerce’s strong leadership and coordina- and society—but conservative: to carry on tion, Los Alamos recovered quickly. And, the A STAR OF ANTI-CHARISMA, JOEY RAMONE the rock tradition.’’ For all their locomotive MADE GEEKS CHIC Chamber has earned respect and gratitude mayhem, the Ramones were preservation- from its member businesses and the local (By John Leland) ists. Even the name harked back, to the days community. FROM his home in Queens last week, when Paul McCartney, as a Silver Beatle, called himself Paul Ramon. Additionally, since then the recovery began, Monte Melnick remembered a time the Ramones stopped for gas in rural Texas. It I think the impulse had much to do with Ms. Musgrave has continually been a leader in was the early days of punk rock, and the age.
Recommended publications
  • 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,
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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“.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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..
    [Show full text]
  • 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.
    [Show full text]