12B - The Michigan Daily - Tuesday, April 17, 2001

ART S

RAMONE
Continued from Page 7B
made black jumpsuit and knee-high
pink platform boots. After he hooked
up with Dee Dee, Tommy and Johnny,
he dumped the glitter scene and was
praised for his innovations. In the book
Please Kill Me: The Uncensored Oral
History of Punk, Dee Dee remem-
bered, "All the other singers were
copying David Johansen, who was
copying Mick Jagger, and I couldn't
stand that anymore. But Joey was
totally unique." The physics of Joey's
towering height also perplexed Dee
Dee, "I kept asking myself, How's he
balancing himself."
Many musicians owe their current
success to Joey and the boys, citing
their innovation and their disregard for
what was "in" at the time. The simple
approach to rock made room for bands
such as the Clash, Devo, the Replace-
ments, Green Day and the Offspring.
For those of you who have never
been to a Ramones concert, you
missed out on some truly rip-roaring

fun. From falling asleep on my daddy's
shoulders at my first Ramones tour to
bidding the band a tearful farewell at
their Adios Amigos! tour in 1996, 1
have never experienced anything quite
like it.
You walk in. You bob your head. You
walk out. That's when you realize you
just heard over 40 songs in less than an
hour and a half. And there are no
lovey-dovey songs to be found - just
sniffing glue, hustling blowjobs at
53rd & 3rd, lobotomies and good old
punk rockin', all clocking in at around
a minute-thirty.
Even though they were inexperi-
enced as musicians and low on rock-
star charisma, the Ramones became
the unlikely founder of an entire youth
movement called Punk Rock. When
VH-I looks back on the history of
punk music, don't let them forget Joey
and the rest of the Ramones. Often
overlooked, the Ramones were the
conquistadors of punk - the rest are
just inhabitants of the kingdom.
And Joey, my dear, you always bal-
anced yourself just fine enough for
me.

Courtesy of Kate Mendeloff
Macheath poses for a quick candid shot with the prostitute Jenny (Andrea Krantz).

THREEPENNY
Continued from Page 1OB
familiar." With the addition of the
Weill musical score, this distancing
is further assured. The most familiar
Weill song, "Mack the Knife," was a
revolutionary piece of its own,
employing jazz motif into an operat-
ic work.
According to Brecht, each person
has many options in life. The audi-
ence has the capacity to identify

with some of these life options. In
this play, some of the options are
whore, thief and beggar. It will be
interesting to note which option
each member will choose. Although
choices are never easy, this multi-
layered work will offer them in a
way that is challenging, exciting and
interesting to each of the audience
members. A daring and controversial
work, which evokes strong reaction,
"The Threepenny Opera" is a com-
plex work that puzzles audiences to
this day.

I

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