Original lyric manuscripts by Joey and Dee Dee, and guitars and leather jackets used by Joey and Johnny, bring the band that much closer.Ī colorful wall of concert posters spans five continents and three decades. Cartoon drawings by Sergio Aragones (Mad magazine) and John Holmstrom illuminate the humor in the band’s caustic lyrics, some of which are written graffiti-style on the museum walls. The Ramones’ unchanging image is preserved in album covers and outtakes by Roberta Bayley, Mick Rock, and George DuBose.
Vega also encouraged Dee Dee Ramone’s idiosyncratic paintings, several of which are on view. Art director Arturo Vega turned his iconic eagle logo into a pioneering range of T-shirts and other merchandise, and the origins of that now ubiquitous band symbol are traced. Like Warhol, the Ramones used branding as an art form. Video monitors playing early Ramones shows, while vintage concert flyers and photographs by Bob Gruen and David Godlis place them within the larger downtown milieu that followed Andy Warhol’s work with the Velvet Underground. Rare artifacts such as a recently unearthed early press package and early flyers and lyrics, represent the musicians’ Queens upbringings and their transformation from John Cummings, Jeffrey Hyman, Douglas Colvin, and Thomas Erdelyi into Johnny, Joey, Dee Dee, and Tommy Ramone. Welcoming visitors will be Punk Magazine co-founder John Holmstrom’s specially commissioned cartoon map tracing the band’s path from Forest Hills to the downtown nightclub CBGB. Miller and GRAMMY Museum Executive Director Bob Santelli, the exhibition will be organized under a sequence of themes - places, events, songs, and artists. The vision of Queens Museum guest curator Marc H. The Grammy Museum version will contextualize the band in the larger pantheon of music history and pop culture. While the exhibition’s two parts will share many key objects drawn from more than 50 public and private collection across the world, each will explore the Ramones through a different lens: the Queens Museum iteration will begin with the Ramones’ roots in Queens and reveal their ascendancy in both music and visual culture, demonstrating their remarkable influence on music, fashion, fine art, comics, and film. Hey! Ho! Let’s Go: Ramones and the Birth of Punk. On this first album’s 40th anniversary, the Queens Museum and the GRAMMY Museum are partnering to present an unprecedented two-part exhibition celebrating the lasting influence of punk rock progenitors the Ramones. Ramones’ minimalist tunes, slapstick lyrics, buzzsaw guitars, and blitzkrieg tempo became the wellspring for a genre of music and a strain of culture. Released in April 1976, the Ramones’ self-titled debut album introduced the world to four unsmiling hoods in ripped jeans and leather jackets, and to the uncompromising attitude known as punk. True, most listeners will wear out the first disc while rarely reaching for the second, but this is still essential.“The Ramones all originate from Forest Hills and kids who grew up there either became musicians, degenerates or dentists. Yet, this is nitpicking, since Anthology does a flawless job in summarizing the band's career. That's not to say it isn't good - with "The KKK Took My Baby Away" and "My Brain Is Hanging Upside Down (Bonzo Goes to Bitburg)," it can be great - but it isn't timeless like the entire first disc is.
They never bottomed out, but their music became less exciting, which is evident in this anthology, as the second disc is simply not as compelling as the first. The problem is that the Ramones did drop in quality sometime after End of the Century. It's a blessing because Anthology does its job perfectly - apart from "We're a Happy Family," no major songs are missing and it tells its history succinctly, even at its length. Weighing in at nearly 60 songs, with a hardcover book that includes an excellent history by David Fricke, it has to be said that the set has the heft of history, which is both a blessing and a curse. However, Rhino's double-disc Hey! Ho! Let's Go: Ramones Anthology has much greater goals than being just another collection - it strives to be the final word on the Ramones. No matter how cohesive their records were (or not), their albums always played like collections of singles and since singles are easy to anthologize, it stands to reason that the best of the Ramones' songs will sound good in nearly any context hell, the haphazard Ramones Mania proved that. In a way, the Ramones are an ideal band to anthologize.
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