Blondie's Parallel Lines

AvKembrew McLeod

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PDF, Engelska, 2016

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Beskrivning

Blondie's Parallel Lines mixed punk, disco and radio-friendly FM rock with nostalgic influences from 1960s pop and girl group hits. This 1978 album kept one foot planted firmly in the past while remaining quite forward-looking, an impulse that can be heard in its electronic dance music hit “Heart of Glass.” Bubblegum music maven Mike Chapman produced Parallel Lines, which was the first massive hit by a group from the CBGB punk underworld. By embracing the diversity of New York City's varied music scenes, Blondie embodied many of the tensions that played out at the time between fans of disco, punk, pop and mainstream rock. Debbie Harry's campy glamor and sassy snarl shook up the rock'n'roll boy's club during a growing backlash against the women's and gay liberation movements, which helped fuel the “disco sucks” battle cry in the late 1970s. Despite disco's roots in a queer, black and Latino underground scene that began in downtown New York, punk is usually celebrated by critics and scholars as the quintessential subculture. This book challenges the conventional wisdom that dismissed disco as fluffy prefab schlock while also recuperating punk's unhip pop influences, revealing how these two genres were more closely connected than most people assume. Even Blondie's album title, Parallel Lines, evokes the parallel development of punk and disco-along with their eventual crossover into the mainstream.

Produktinformation

Utgivningsdatum:2016-03-24
Språk:Engelska
Antal sidor:192
Filformat:PDF
Kopieringsskydd:LCP
ISBN:9781501302381
Förlag:Bloomsbury Publishing PLC (Digital)
Serie:33 1/3

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Mer om författaren

Kembrew McLeod is a Professor of Communication Studies at the University of Iowa, USA. He has published and produced several books and documentaries about music and popular culture.

Recensioner i media

It's a rare treat when an author busts out a tightly researched agenda that totally flips your perspective on a record, a band, a scene, a genre, and an entire artistic era. Kembrew McLeod provides such a treat with this gloriously revisionist history, positing that Blondie and the core of the New York punk scene's early bands and aesthetics were a product of a wildly vital gay underground theater scene that flourished from the late 1960s to the early 1970s.

Innehållsförteckning

Introduction: “Went Walking One Day on the Lower East Side … ”Chapter One: Downtown New York in the 1960s and 1970sBlondie's New York GenesPunk's Bubblegum RootsThe Avant-Garde Goes Pop!Children of The Velvet UndergroundMax's Kansas CityChapter Two: Blondie's Arty Antecedents Off-Off-Broadway Sets the Stage for PunkEric Emerson Makes the SceneTwo Stars Align in the Glitter AgePunk's Trash AestheticChapter Three: Parallel ScenesThe Downtown Disco Underground EmergesBlondie Stumbles Into ExistenceCBGB and the Bowery NeighborhoodThe Downtown Rock Scene CoalescesChapter Four: From the Bowery to BlondiemaniaDebbie and Chris RebuildBlondie Takes Off“Going Professional” Art and CommerceChapter Five: “Disco Sucks,” “Chicks Can't Rock,” Blah Blah Blah“Heart of Glass” Breaks Blondie In AmericaFrom CBGB to Studio 54“Death To Disco!"Punk vs. Disco?Gender TroubleConclusion, or, Fade Away (and Radiate)Postscript: Blondie Points To the Future, Then Ceases To Exist