Blondie's Parallel Lines 33 1/3
Released in the US in 1978, Blondie's Parallel Lines brought the band their first commercial success. By mixing punk, disco and radio-friendly rock with nostalgic influences from 1960s girl groups, pop and surf rock, the album was a departure from Blondie's earlier two albums. Parallel Lines embraced the diversity of New York City's varied music scenes, and embodied the social conflicts that played out between fans of disco, pop, punk and mainstream rock. Kembrew McLeod's critical account of Parallel Lines and the story of Blondie's rise also serves as an alternative history of 1970s American popular music. It challenges the conventional wisdom that dismissed disco as fluffy (and implicitly feminine) prefab schlock, while at the same time elevating punk's pop influences.
Introduction: "Went Walking One Day on the Lower East Side ... " Chapter One: Downtown New York in the 1960s and 1970s Blondie's New York Genes Punk's Bubblegum Roots The Avant-Garde Goes Pop! Children of The Velvet Underground Max's Kansas City Chapter Two: Blondie's Arty Antecedents Off-Off-Broadway Sets the Stage for Punk Eric Emerson Makes the Scene Two Stars Align in the Glitter Age Punk's Trash Aesthetic Chapter Three: Parallel Scenes The Downtown Disco Underground Emerges Blondie Stumbles Into Existence CBGB and the Bowery Neighborhood The Downtown Rock Scene Coalesces Chapter Four: From the Bowery to Blondiemania Debbie and Chris Rebuild Blondie Takes Off "Going Professional" Art and Commerce Chapter Five: "Disco Sucks," "Chicks Can't Rock," Blah Blah Blah "Heart of Glass" Breaks Blondie In America From CBGB to Studio 54 "Death To Disco!" Punk vs. Disco? Gender Trouble Conclusion, or, Fade Away (and Radiate) Postscript: Blondie Points To the Future, Then Ceases To Exist