Monte’s been very solid and is probably still the biggest lender to the show. That kind of gave us what I thought would be the core of a very easy show. I knew Arturo going back to that ‘78 show and I had met Monte over the years. MM: I didn’t take him seriously at first. He said, “Why don’t we do a Queens hip-hop map?” And I said, “I’m happy to do it, but the easy one would be to do a Ramones show.” And he said, “Let’s do it!” It took less than a minute-like five seconds. One day I went to the Queens Museum to get some photos of the old exhibits I had curated, and I started talking with Tom Finkelpearl, the director. It shows where all the jazz musicians lived.
#YOU TUBE THE RAMONES SERIES#
After that I was hired by Flushing Town Hall to do a series of shows that combined music and art, and I also produced for them the Queens Jazz Trails map. Marc Miller: When I was a curator at the Queens Museum, I had an opportunity to do a Louis Armstrong show. These are galvanizing artifacts, and they are what made me think most of the clear influence that the Ramones still have on punk in New York. It is revelatory, like a direct line to Saint Joey’s heart and mind. Pay: 500"). But my favorite items were Joey’s extremely rudimentary drawings: a hilariously scrawled dog-faced self-portrait, and a sprawling canvas depicting the whole Bowery scene like The Garden of CB Delights, replete with snappy phrases and doodles of bugs and aliens. Throughout, you’ll find items like an anonymous fan letter to Dee Dee pleading for him to not quit the band, a tour rider (they sure liked Yoo-hoo), and a 1977 tour datebook (“October 19: Played Cleveland Music Hall w/ Iggy Pop.
Hey! Ho! is like the Ramones-song version of an artist retrospective-it’s compact, just three rooms of photos, lyric sheets, set lists, and scribbles, with a coda at the end where you can watch an early performance on a big screen. His role as a curator reaches back to a 1978 show called Punk Art, a survey of the visual component of the CB’s scene you can find its catalog on his comprehensive website, 98 Bowery, which served as a spark for the Ramones exhibit, too. A former Bowery resident and CBGB regular with a Warholian mind, Miller has pushed the boundaries of what does and does not belong inside of galleries. If the inclusion of such items seems befuddling, consider the Ramones’ role in pioneering the very idea of merch, as well as curator Marc H. The exhibit traces the Ramones’ ascent out of the pages of a Forest Hills High yearbook, to the emergence of Ramones socks-and frisbees, and aviators, and swim trunks, all encased under glass. Though it doesn’t necessarily reveal anything new about the band's teeth-rotting misfit bubblegum, it is an often inspiring tribute to the most crucial chaos that New York City has ever kicked out. The Ramones exhibition that opened yesterday (and runs through July) at the Queens Museum, titled Hey! Ho! Let’s Go: Ramones and the Birth of Punk, is simpler and more conventional.
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