JOEY ALIZIO JR
WRITING FOR MY BLOG POSTINGS
MARCH 28 - 2013
CREATED HERE ON JUNE 20 - 2013
PART TWO.
i posted too many pictures on my last piece.
i had to split my writing up.
LOL
Christine and The Queens: the interview (Collection 3)Bénédicte Lelong
Interview avec Christine and The Queens (http://www.christineandthequeens.com/) pour Kaltblut Magazine - Collection 3 > http://www.kaltblut-magazine.com/collection-3/
Where to find us > http://www.kaltblut-magazine.com/stocklist/
JOEY ALIZIO JR
WRITING FOR MY BLOG POSTINGS
MARCH 28 - 2013
CREATED HERE ON JUNE 20 - 2013
PART TWO.
i posted too many pictures on my last piece.
i had to split my writing up.
LOL
Christine and The Queens: the interview (Collection 3)Bénédicte Lelong
Interview avec Christine and The Queens (http://www.christineandthequeens.com/) pour Kaltblut Magazine - Collection 3 > http://www.kaltblut-magazine.com/collection-3/
Where to find us > http://www.kaltblut-magazine.com/stocklist/
Part 2 lecture transcriptYes. This meeting is being recorded..docxkarlhennesey
Part 2 lecture transcript
Yes. >> This meeting is being recorded. >> Jerry back, history of American animation on April eighth, UCLA. >> And we're going to begin shortly. We're just waiting for a few more students wander, and I hope they wander will start soon wet, regardless of that, and we will debate this may be one of the more fun ones in terms of what we're going to watch, which Looney Tunes and Warner Brothers cartoons, I hope. >> But our video goes through well, but as we said last week on the CCLE will have all the cartoons links to them. So you can see that a good, I mean, good running order the way you're supposed to see them. >> And I probably won't start to much later than now. >> Maybe it'll start in a minute and make it even. And I guess while we're starting, I'll see if I can start sharing screens and things like that. >> This is where we're going to begin. >> That guy, I like that guy, that guy because he wasn't really a harsh producer except for one incident that happened. >> He was, he was pretty loose and he let the animators do what they wanted. And that's kinda how cool things start. Leon's Schlesinger. You'll get to neatly on Schlesinger today if you haven't already met him somehow. >> Alright. >> I guess I should begin. Unless there's some objection. Unless a t any TA with audio has any objection. I'm going to start just rambling. >> Alright, because I can't see the chat thing while I do this. Ok, lapse or guaranteed today, I hope. Alright, let's talk about 100 cartoons. >> Let's also do what we usually do, but I usually do we recap a little bit because this is like I saying, sorry if I'm repeating myself, I do that this is like a continued story and that ultimately, by the end it along more sensitivity to see the bigger picture of things. >> The, I won't go over everything again. But last week, as you will recall, we when I say elastic, I mean monday, Sorry, I'm so used to doing this weekly. The we basically looked at the studios. >> We looked at Disney in the 19 thirties into the forties. >> We looked at the other studios that we're making cartoons in Hollywood during the 19 thirties, we looked at Fleisher cartoons. Max like New York City With his stereo optical three-dimensional backgrounds and characters like Betty boop and poppy that we're becoming. >> And we're the biggest characters of the 130s people who casually or into this, you know, we, you would think that, well, Mickey Mouse, Donald Duck, and they weren't, they were still, they were popular, but, but poppy and Betty were equal. The reason we have that impression, of course, why, you know, a laymen would think about Mickey Mouse, Donald Duck, and that's because the Disney empire now and Disneyland and what we've been raised with it. >> You know, sometimes that's the only cartoon characters that go back that far, that we know history and has not been kind to a lot of these pop culture things that happened during these periods. So that's part of what you're l ...
Part 2 lecture transcriptYes. This meeting is being recorded.twilacrt6k5
Part 2 lecture transcript
Yes. >> This meeting is being recorded. >> Jerry back, history of American animation on April eighth, UCLA. >> And we're going to begin shortly. We're just waiting for a few more students wander, and I hope they wander will start soon wet, regardless of that, and we will debate this may be one of the more fun ones in terms of what we're going to watch, which Looney Tunes and Warner Brothers cartoons, I hope. >> But our video goes through well, but as we said last week on the CCLE will have all the cartoons links to them. So you can see that a good, I mean, good running order the way you're supposed to see them. >> And I probably won't start to much later than now. >> Maybe it'll start in a minute and make it even. And I guess while we're starting, I'll see if I can start sharing screens and things like that. >> This is where we're going to begin. >> That guy, I like that guy, that guy because he wasn't really a harsh producer except for one incident that happened. >> He was, he was pretty loose and he let the animators do what they wanted. And that's kinda how cool things start. Leon's Schlesinger. You'll get to neatly on Schlesinger today if you haven't already met him somehow. >> Alright. >> I guess I should begin. Unless there's some objection. Unless a t any TA with audio has any objection. I'm going to start just rambling. >> Alright, because I can't see the chat thing while I do this. Ok, lapse or guaranteed today, I hope. Alright, let's talk about 100 cartoons. >> Let's also do what we usually do, but I usually do we recap a little bit because this is like I saying, sorry if I'm repeating myself, I do that this is like a continued story and that ultimately, by the end it along more sensitivity to see the bigger picture of things. >> The, I won't go over everything again. But last week, as you will recall, we when I say elastic, I mean monday, Sorry, I'm so used to doing this weekly. The we basically looked at the studios. >> We looked at Disney in the 19 thirties into the forties. >> We looked at the other studios that we're making cartoons in Hollywood during the 19 thirties, we looked at Fleisher cartoons. Max like New York City With his stereo optical three-dimensional backgrounds and characters like Betty boop and poppy that we're becoming. >> And we're the biggest characters of the 130s people who casually or into this, you know, we, you would think that, well, Mickey Mouse, Donald Duck, and they weren't, they were still, they were popular, but, but poppy and Betty were equal. The reason we have that impression, of course, why, you know, a laymen would think about Mickey Mouse, Donald Duck, and that's because the Disney empire now and Disneyland and what we've been raised with it. >> You know, sometimes that's the only cartoon characters that go back that far, that we know history and has not been kind to a lot of these pop culture things that happened during these periods. So that's part of what you're l ...
During the late 90s, I published TransAction Magazine, about music in NYC (home base), London and Hollywood, CA.
In This Issue:
* Supergrass
* MANSUN
* Suede
* No Doubt
* Radiohead
* Teenage Fanclub
* Travis
* Bigmouth
* Perfect
* Geneva
* World Party
* Messyheads
* LES Stitches
* The Heartdrops
* Embrace
* Better Than Ezra
* Subcircus
* Elvez
* Rumblecat
* Pat McGuire Band
* Coyote Shivers
* The Kowalskis
* 3 Colors Red
* Longshore Drift
* The Cardigans
* PAINT
* SYLK 130
* BIGMOUTH
* 13th Floor
* Sugar Ray
* The Lightning Seeds
* The Turbo A.C.'s
* flip-SIDE
* Thin Lizard Dawn
Part 2 lecture transcriptYes. This meeting is being recorded..docxkarlhennesey
Part 2 lecture transcript
Yes. >> This meeting is being recorded. >> Jerry back, history of American animation on April eighth, UCLA. >> And we're going to begin shortly. We're just waiting for a few more students wander, and I hope they wander will start soon wet, regardless of that, and we will debate this may be one of the more fun ones in terms of what we're going to watch, which Looney Tunes and Warner Brothers cartoons, I hope. >> But our video goes through well, but as we said last week on the CCLE will have all the cartoons links to them. So you can see that a good, I mean, good running order the way you're supposed to see them. >> And I probably won't start to much later than now. >> Maybe it'll start in a minute and make it even. And I guess while we're starting, I'll see if I can start sharing screens and things like that. >> This is where we're going to begin. >> That guy, I like that guy, that guy because he wasn't really a harsh producer except for one incident that happened. >> He was, he was pretty loose and he let the animators do what they wanted. And that's kinda how cool things start. Leon's Schlesinger. You'll get to neatly on Schlesinger today if you haven't already met him somehow. >> Alright. >> I guess I should begin. Unless there's some objection. Unless a t any TA with audio has any objection. I'm going to start just rambling. >> Alright, because I can't see the chat thing while I do this. Ok, lapse or guaranteed today, I hope. Alright, let's talk about 100 cartoons. >> Let's also do what we usually do, but I usually do we recap a little bit because this is like I saying, sorry if I'm repeating myself, I do that this is like a continued story and that ultimately, by the end it along more sensitivity to see the bigger picture of things. >> The, I won't go over everything again. But last week, as you will recall, we when I say elastic, I mean monday, Sorry, I'm so used to doing this weekly. The we basically looked at the studios. >> We looked at Disney in the 19 thirties into the forties. >> We looked at the other studios that we're making cartoons in Hollywood during the 19 thirties, we looked at Fleisher cartoons. Max like New York City With his stereo optical three-dimensional backgrounds and characters like Betty boop and poppy that we're becoming. >> And we're the biggest characters of the 130s people who casually or into this, you know, we, you would think that, well, Mickey Mouse, Donald Duck, and they weren't, they were still, they were popular, but, but poppy and Betty were equal. The reason we have that impression, of course, why, you know, a laymen would think about Mickey Mouse, Donald Duck, and that's because the Disney empire now and Disneyland and what we've been raised with it. >> You know, sometimes that's the only cartoon characters that go back that far, that we know history and has not been kind to a lot of these pop culture things that happened during these periods. So that's part of what you're l ...
Part 2 lecture transcriptYes. This meeting is being recorded.twilacrt6k5
Part 2 lecture transcript
Yes. >> This meeting is being recorded. >> Jerry back, history of American animation on April eighth, UCLA. >> And we're going to begin shortly. We're just waiting for a few more students wander, and I hope they wander will start soon wet, regardless of that, and we will debate this may be one of the more fun ones in terms of what we're going to watch, which Looney Tunes and Warner Brothers cartoons, I hope. >> But our video goes through well, but as we said last week on the CCLE will have all the cartoons links to them. So you can see that a good, I mean, good running order the way you're supposed to see them. >> And I probably won't start to much later than now. >> Maybe it'll start in a minute and make it even. And I guess while we're starting, I'll see if I can start sharing screens and things like that. >> This is where we're going to begin. >> That guy, I like that guy, that guy because he wasn't really a harsh producer except for one incident that happened. >> He was, he was pretty loose and he let the animators do what they wanted. And that's kinda how cool things start. Leon's Schlesinger. You'll get to neatly on Schlesinger today if you haven't already met him somehow. >> Alright. >> I guess I should begin. Unless there's some objection. Unless a t any TA with audio has any objection. I'm going to start just rambling. >> Alright, because I can't see the chat thing while I do this. Ok, lapse or guaranteed today, I hope. Alright, let's talk about 100 cartoons. >> Let's also do what we usually do, but I usually do we recap a little bit because this is like I saying, sorry if I'm repeating myself, I do that this is like a continued story and that ultimately, by the end it along more sensitivity to see the bigger picture of things. >> The, I won't go over everything again. But last week, as you will recall, we when I say elastic, I mean monday, Sorry, I'm so used to doing this weekly. The we basically looked at the studios. >> We looked at Disney in the 19 thirties into the forties. >> We looked at the other studios that we're making cartoons in Hollywood during the 19 thirties, we looked at Fleisher cartoons. Max like New York City With his stereo optical three-dimensional backgrounds and characters like Betty boop and poppy that we're becoming. >> And we're the biggest characters of the 130s people who casually or into this, you know, we, you would think that, well, Mickey Mouse, Donald Duck, and they weren't, they were still, they were popular, but, but poppy and Betty were equal. The reason we have that impression, of course, why, you know, a laymen would think about Mickey Mouse, Donald Duck, and that's because the Disney empire now and Disneyland and what we've been raised with it. >> You know, sometimes that's the only cartoon characters that go back that far, that we know history and has not been kind to a lot of these pop culture things that happened during these periods. So that's part of what you're l ...
During the late 90s, I published TransAction Magazine, about music in NYC (home base), London and Hollywood, CA.
In This Issue:
* Supergrass
* MANSUN
* Suede
* No Doubt
* Radiohead
* Teenage Fanclub
* Travis
* Bigmouth
* Perfect
* Geneva
* World Party
* Messyheads
* LES Stitches
* The Heartdrops
* Embrace
* Better Than Ezra
* Subcircus
* Elvez
* Rumblecat
* Pat McGuire Band
* Coyote Shivers
* The Kowalskis
* 3 Colors Red
* Longshore Drift
* The Cardigans
* PAINT
* SYLK 130
* BIGMOUTH
* 13th Floor
* Sugar Ray
* The Lightning Seeds
* The Turbo A.C.'s
* flip-SIDE
* Thin Lizard Dawn
Rude, paranoid, obtuse — Lou Reed is not a dream interviewee. But gradually the king of New York cool opens to Will Hodgkinson about his ‘kindred spirit’ Andy Warhol, the power of rock and the beauty of the Kindle.
Published in The Times Sunday Review
2. I: Until 1983, is thatright?
R: Yes.
I: Whenwouldthat --
R: Springof 1983. I thinkitwas March or April whenwe finallybroke up.
I: How didyouguys firstmeet?
R: You meanwashe one of my clients?
I: No,just -- Was he?
R: (laughs) No,noIwasn't doing -- uh,I methim-- I waslivinginthe East Village,thiswouldbe early
1974. I knewa lotof musiciansandactors and artistsand people likethat -- um-- andI usedto hang out
at Max's Kansas Cityquite abit.So [these guysI knew] hada band. Sortof an experimental group.Kind
of like aZappa-type thing,kindajazzrock.Andtheyusedtorehearse atthisplace Performance Studio
whenitfirstopened.
I: That was Tommyand Monte's place.
R: Right,right
I: On 20th Street?
R: Yeah,20, 21st -- no,20th. East 20th street.NearMax's.Anyway,sothese guyswouldrehearse there.
One day Tommysaysto them,you know,yououghttacome downon Saturdaynight,some friendsof
mine are gonna be playing,it'stheirfirstshow.Andthatwasthe firsttime the Ramonesplayedout.
I: That was theirfirstshowever?
R: Yeah.It wasMarch 30, 1974. It wasa Saturdaynight.I rememberbecause mybirthdaywasthe week
before andthese guyswantedtotake me out.
I: What made you go to the show?You didn'tknow themyet,didyou?
R: No,itwas these guyswhorehearsedatthe Performance Studio.Ijusthappenedtorunintothemand
theywere like,Hey,weren'twe supposedtotake youout foryour birthday?Well,we're gonnagosee
thisnewbandtonight,youwannacome?So I saidsure,whynot.
I: NowTommy wasn'tinthe bandyetat thatpoint,washe?
R: No,Tommywasn't eventhere thatnight.He wasout doingsoundforanotherband.He usedto work
as a soundmanback thenandhe wasout doingsoundfora guynamedBuzzyLinhart that night.
I: Damn. Howdo you knowthat?
R: I justrememberthat'swhathe said.I didn'tknow itat the time,he toldme laterthat's where he was
the nightof theirfirstshow.
I: Was Monte there?
R: Yeah,Monte was there.Runningsoundforthemandlaughinghisassoff.
I: Monte thoughttheywere funny?
R: Monte thoughttheysucked.Andtheykindadid,thatnight!
I: So whowas playingdrumsforthem?
R: Joeyplayeddrums.Dee Dee wassinging.Ithink -- Idon'tknow if thisis right,butI seemto remember
Dee Dee wasplayingthe guitar...itcouldabeen,'cause Johnstartedoutasa bass player.Ithinkmaybe
Johnwas playingbassthatnight.
I: So it wasjustthe three of 'em -- Johnny,Dee Dee,andJoey?
R: Yeah.
I: What were theydressedlike?Were theywearingleatherjackets?
R: No,notat that point.Theyhadn'tgottenthat whole looktogetheryet.Lemme see...IwannasayJohn
was wearingsome kindof tightsilverspandex orlamé pants --
I: What? JohnnyRamone?!
R: Ohyeah,oh yeah -- he was intowiththe glitterthingfora longtime.He and Dee Dee had a friend
whowouldgo to Londonandbring thembackstuff fromGranny Takesa Trip,youknow,the psychedelic
boutique?Theyhadall kindsof crazystuff theywore!Soyeah,I thinkhe was wearingthose silverpants
3. and a jacketof some kindbutnot a motorcycle jacket.Some blackspandex thing.
I: Spandex -- Ican't evenimagine!
R: Yeah,well.He alsohada Granny TakesA Trip shoppingbaghe carriedhisguitar aroundin.He coulda
justas easilyusedabag fromAlexanders,buty'know...Johnwasveryfashionconscious!
I: And Dee Dee,doyourememberwhathe waswearing?
R: Hmm.Lemme think...he mightactuallyhave beenwearingaleatherjacket.ButI thinkitwas one of
those slimonestheywore inthe 70s.
I: The onesthatlookedlike blazers?
R: Notreallya blazer,butclose-fittedandstraight,withazipper.Andpatchwork...youknow?Like alot
of leatherpatchesall sewntogether.All one color,tho.Dark.
I: And Joey?
R: I don'trememberwhathe waswearingthatnight.Somethingblackandshinyprobably.He liked
wearingblack.Irememberhe fell over,though.He hadon hisdark glassesandI guesshe couldn'tsee
too well whenthe stage wasdarkand bam!He wentdown,man.It wasfunny.
I: How manypeople were there?The booksall saylike 30people...
R: That soundsaboutright.Notverymany.
I: Did youknowanybodyelse there?
R: Yeah,a couple of the Blondie people.Ithinkthisiswhentheywere still Angelandthe Snakes.
I: What kindof a place wasPerformance Studio?
R: It wasa nice place.It wasn'tpalatial butit wasgood,it was a reallygoodstudio.A lotof great bands
usedto rehearse there,like Blondie beforetheywere calledBlondie.Andthe Dollsjustbefore they
broke up.
I: It was a rehearsal andperformance space?
R: Yeah.
I: What was itlike inside?Doyouremember?
R: Mm. Well...itwasonthe 2nd floor.I remembertheyhad thisoldelevatorthatwasreallysmall and
rickety.Youcame off the elevatorandthe entrance wasto the right.You go inthe doorand there'slike
a -- an office tothe right,and thentothe leftthere wasa hallway,shorthallway.Yougothru two
soundproof doors,thenyoucome intothisbigroomand the stage wasat the far end.Thatwas the
rehearsal roomandthe -- uh -- where live shows,where theydidlive shows.
I: How bigwas it?
R: It wasbig,like -- Idon't know,maybe 30 or 40 feetlongbyabout15 feetwide.Hadanoldwooden
floor.Uncovered.Dark,the wallswere wassome darkcolor,and theyhadcurtainson the walls,Iguess
for the sound.Theyhadlightsforthe stage.Andthere wasa couple of stepsleadinguptothe stage
fromthe front.That's where Joeyfelldown.Theydidn'thave abackstage areaso the band wouldjustgo
up these couple little stepsinfronttothe stage.
I: What do yourememberaboutthe Ramonesfirstshow?Itmust've beenamazing.
R: Well,uh-- I remembertheyweren'tverygood! (laughs)Actuallytheywere kindadrunk.Theywere so
nervousthattheyhad a couple of drinksbefore the show.Ithinkthatwas the lasttime that ever
happened!
I: Firstand last!
R: I thinksoyeah.Afterthattheyneverdrankor didany drugs before ashow,thatwas the rule,even
for Dee Dee.Johnwouldfine them!
I: Really?
R: Yeah!He'd take $25 out of theirpayif theywere late or if theyfuckedupinany way.Theynever
drank before ashow,ever.
I: I don't see howyoucouldpossiblygetthroughone of theirsetsfuckedup.
R: Exactly.Youcouldn't.But I have to say,that firstshow,besidesbeingdrunktheywere reallypretty
4. bad. (laughs)
I: It's hard to imagine the Ramonesbeingbad --
R: There was,uh -- there wasalottaenergythere,youcouldtell theyreallywantedtobe good,butthey
justweren'tyet,theyweren'ttogetheratall.Theydidlike 5 or 6 songsand thenDee Dee fell backwards
intohisamp and broke it,and thatwas the endof the show!My jazz rock friendsthoughtitwaspretty
much a waste of time,butI dug it,I lovedit.There wassomething happening,youknow?Itwasn'tthe
usual thingyou'dsee back then,withbandstryingtobe reallyskillful and -- profound.This wasreally
different-- itwasreal.I thoughtit wasamazing.It wasn'tdull,that'sfor sure!
I: So howdidyou meetJohnny?Didyoutalkto himafterthe set?
R: Ohno. My friendsintroducedme toMonte afterthe show,he was reallynice andsaida lotof nice
thingsabouttheirgroup.Theyall thoughtof themselvesas"real musicians,"y'know.Andtheyall were
kindalaughingaboutthe Ramones,soIsaid Well Ireallylikedtheirset.We were all standingaroundand
thenthe,um -- the Ramonescame out and startedpackinguptheirstuff.ButI didn'ttry to talk to them
because theydidn'tseemlike theywere inthe moodtotalk!Theylookedalittle freakedoutathowit
didn'tgo so well,andJohninparticularwasprobably...
I: Pissedoff?
R: Well -- No.Disappointed.Youknow.He hadit inmindhow it wasgonna be and itwasn't like that.At
all!You know,the masterplankindagot derailedthereandI'msure he wasannoyedwithhimself.
Probablywonderingwhythe fuckhe hadlethimself drinkbefore he played.He hardlyeverdrankatall
at thispoint,that's the funnything -- he quitgettingfucked-upwhenhe was20. That was like 5years
before.Soforhimto be evenalittle outof iton such an important...I'msure he wasnothappywith
himself.
I: Did youtalkto themat all that night?
R: Well,Dee Dee came overat one point,he wasjustcuriousto know whatanybodythoughtwhohad
justseenthem.Buthe was also,like,he knew ithadn'treallygone verywell.SoIjusttoldhimI loved it
and I saidI thoughttheywere greatand I hopedIwouldsee themagainsoon,andhe said,"Yeah,when
we're notfalling-downdrunk!"(laughs)Theyknew.Theyalwayswantedtoseemlikeverynonchalant
aboutplayingandeverythingbuttheycareda lot, theytookit reallyseriously.Always.Theyhatedit
whentheyfuckedup.Johnusuallytookituponhimselftotell them, of course.Scoldthem.SmackDee
Dee inthe head.Justso nobodyeverfelttoogoodaboutanything!Evenif thingswentwell,he'dsti ll
findsomethingtobeatupon somebodyfor.PoorDee Dee!Johnwasalwayssmackinhim.Like akid
brother.
I: Like the Three Stooges.
R: (laughs) Withoutthe laughs,yeah.He trulywasMoe!
# # #
![ROXY RAMONE SPEAKS!!
The December Play 2005
SO TRUE by Emily XYZ (excerpt)
Being an interview with Roxy, ex-girlfriend of Johnny Ramone
©2005 emilyxyz
This is an excerptfrommy interviewwith Johnny Ramone'sformergirlfriend,Roxy (Cynthia Whitney).
She waswithJohnny fromthemid-70s to the mid-80s. Fromwhatlittle I've been able to find outabout
her, shewasat their very firstshowon March 30, 1974 at PerformanceStudio,which theband played as
a trio. Butin theannalsof the Ramones,thereis almostno mention of Roxy,which is a shamebecause
she musthavesomeincredible stories to tell. I reaaally wish someonegreat,like Jan Uhelzskior Charles
M. Young,would trackRoxy down and do a big long interview with her,but since no one hasI decided to
makeone up.Mostof the details related are true as faras I can determinebased on my own research --
it's justtheinterview itself that'sfake.So in thespirit of all thegreat made-up newswe'veseen this year,
I hopeyou enjoy this.Pleasefeel free to stageit during yourChristmasrevels!(Note:Only 2 characters,
Roxy and theInterviewer). -- emily xyz
UNEDITED TRANSCRIPT OF INTERVIEW
CYNTHIA WHITNEY9/15/05, NYC
(Wordsin bracketsindicate semi-audible,transcribedasbestas possible.Linesrightnexttoeachother
spokenatthe same time.)
[tape on]
ROXY: cool 'cause I beenwritingpoetrylately.Ilike the Boweryclub,it'snice -- it'slivelybutnotreal
commercial,youknow.More like clubsusedtobe.Loose.
INTERVIEWER: Oh really?
R: Yeah.I'll readyou somethingIwrote aboutJohnnyif youwannahearit.
I: Yeah,that wouldbe great.
R: Later,tho. Let'sdo thisfirst.
I: OK. Well let'ssee,uh...Iguess...[startatthe beginning].Iguessthe firstthingIwantedtoask -- do you
mindif I close this?
R: No,go ahead.(soundof windowclosing)
I: All right.OK.Today isSeptember15,2005. We're at the Gramercy ParkHotel inNew York, andwe are
here doingI thinkthe first-everinterview withCynthiaWhitney[alsoknownas]
R: Yeah,thisis[the firsttime I've ever]
I: Roxy.You were the girlfriendof JohnnyRamone
R: YesI was.
I: from 19 -- ?
R: 1974, late summerof 1974](https://image.slidesharecdn.com/roxyramonespeaks-12904036010284-phpapp01/85/Roxy-Ramone-Speaks-1-320.jpg)
![I: Until 1983, is thatright?
R: Yes.
I: Whenwouldthat --
R: Springof 1983. I thinkitwas March or April whenwe finallybroke up.
I: How didyouguys firstmeet?
R: You meanwashe one of my clients?
I: No,just -- Was he?
R: (laughs) No,noIwasn't doing -- uh,I methim-- I waslivinginthe East Village,thiswouldbe early
1974. I knewa lotof musiciansandactors and artistsand people likethat -- um-- andI usedto hang out
at Max's Kansas Cityquite abit.So [these guysI knew] hada band. Sortof an experimental group.Kind
of like aZappa-type thing,kindajazzrock.Andtheyusedtorehearse atthisplace Performance Studio
whenitfirstopened.
I: That was Tommyand Monte's place.
R: Right,right
I: On 20th Street?
R: Yeah,20, 21st -- no,20th. East 20th street.NearMax's.Anyway,sothese guyswouldrehearse there.
One day Tommysaysto them,you know,yououghttacome downon Saturdaynight,some friendsof
mine are gonna be playing,it'stheirfirstshow.Andthatwasthe firsttime the Ramonesplayedout.
I: That was theirfirstshowever?
R: Yeah.It wasMarch 30, 1974. It wasa Saturdaynight.I rememberbecause mybirthdaywasthe week
before andthese guyswantedtotake me out.
I: What made you go to the show?You didn'tknow themyet,didyou?
R: No,itwas these guyswhorehearsedatthe Performance Studio.Ijusthappenedtorunintothemand
theywere like,Hey,weren'twe supposedtotake youout foryour birthday?Well,we're gonnagosee
thisnewbandtonight,youwannacome?So I saidsure,whynot.
I: NowTommy wasn'tinthe bandyetat thatpoint,washe?
R: No,Tommywasn't eventhere thatnight.He wasout doingsoundforanotherband.He usedto work
as a soundmanback thenandhe wasout doingsoundfora guynamedBuzzyLinhart that night.
I: Damn. Howdo you knowthat?
R: I justrememberthat'swhathe said.I didn'tknow itat the time,he toldme laterthat's where he was
the nightof theirfirstshow.
I: Was Monte there?
R: Yeah,Monte was there.Runningsoundforthemandlaughinghisassoff.
I: Monte thoughttheywere funny?
R: Monte thoughttheysucked.Andtheykindadid,thatnight!
I: So whowas playingdrumsforthem?
R: Joeyplayeddrums.Dee Dee wassinging.Ithink -- Idon'tknow if thisis right,butI seemto remember
Dee Dee wasplayingthe guitar...itcouldabeen,'cause Johnstartedoutasa bass player.Ithinkmaybe
Johnwas playingbassthatnight.
I: So it wasjustthe three of 'em -- Johnny,Dee Dee,andJoey?
R: Yeah.
I: What were theydressedlike?Were theywearingleatherjackets?
R: No,notat that point.Theyhadn'tgottenthat whole looktogetheryet.Lemme see...IwannasayJohn
was wearingsome kindof tightsilverspandex orlamé pants --
I: What? JohnnyRamone?!
R: Ohyeah,oh yeah -- he was intowiththe glitterthingfora longtime.He and Dee Dee had a friend
whowouldgo to Londonandbring thembackstuff fromGranny Takesa Trip,youknow,the psychedelic
boutique?Theyhadall kindsof crazystuff theywore!Soyeah,I thinkhe was wearingthose silverpants](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)