To describe the state of rock journalism of the 1970's, Rombes contrasts the rise of the confessional style of music journalism popularized by writers such as Lester Bangs with the rise of punk's rejection of personalization. While music critics began writing in the first person and making themselves part of their stories or explaining how a particular song made them feel, punk sought to reject and even rebel against this openness. The Ramones epitomized this stance by assuming the same surname, wearing the same leather and denim uniform, hiding their faces behind overgrown hair, and basically destroying any sense of individuality.
With the Ramones' historical context established, Rombes moves on to the album itself. The songs are short and quick as if to remind you if you don't like this song another will soon be on its way. "Chainsaw" (based on Texas Chainsaw Massacre) anchors the listener to the album's era; "Beat on the Brat" and "Judy is a Punk" illustrates their sense of detached irony; and "I wanna be your Boyfriend"imbues a taste of their romanticism with straight forward love songs.
Finally, Rombes attempts to debunk the myths that have evolved around punk rock. During the 2004 election, two Get Out the Vote web sites devoted to punk music came into existence: the first claiming that punk rock had a long history of supporting conservative causes the second claiming that punk has always sought to promote liberalism. Rombes provides plenty of examples to show that punk can not be so easily classified. Although Joey Ramone supported many liberal causes, Johnny Ramone was always a hardcore conservative, even ending his Rock and Roll Hall of Fame induction speech with "God Bless America and God Bless George W. Bush."
Finally, Rombes attempts to debunk the myths that have evolved around punk rock. During the 2004 election, two Get Out the Vote web sites devoted to punk music came into existence: the first claiming that punk rock had a long history of supporting conservative causes the second claiming that punk has always sought to promote liberalism. Rombes provides plenty of examples to show that punk can not be so easily classified. Although Joey Ramone supported many liberal causes, Johnny Ramone was always a hardcore conservative, even ending his Rock and Roll Hall of Fame induction speech with "God Bless America and God Bless George W. Bush."
Another myth taken to task in Ramones is that punk rock eschewed acceptance and popularity. In fact, punk bands strove for acceptance by a mass market and many quotes from musicians in the day point out that they were looking for fame, money, and mainstream popularity. Even the Ramones "Hey Ho Let's Go" call out was a conscious attempt at a catchy hook similar to the Bay City Rollers' "S-A-T-U-R-D-A-Y Night."
Ramones by Nicholas Rombes is far more than a written VH1 Behind the Music special. Having recently watched the documentary End of the Century, I was amazed how little duplication of material existed between this book and the documentary. While End of the Century allowed the Ramones to tell their own story, the book provides a more scholarly approach. Rombes uses source materials from the era along with greater historical analysis to provide a deeper understanding of punk rock, its roots, and the amount of work that went into becoming the most famous three chord band in history.
Ramones by Nicholas Rombes is far more than a written VH1 Behind the Music special. Having recently watched the documentary End of the Century, I was amazed how little duplication of material existed between this book and the documentary. While End of the Century allowed the Ramones to tell their own story, the book provides a more scholarly approach. Rombes uses source materials from the era along with greater historical analysis to provide a deeper understanding of punk rock, its roots, and the amount of work that went into becoming the most famous three chord band in history.
