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Blondie's Parallel Lines [Pehme köide]

(University of Iowa, USA)
  • Formaat: Paperback / softback, 168 pages, kõrgus x laius x paksus: 164x120x14 mm, kaal: 140 g
  • Sari: 33 1/3
  • Ilmumisaeg: 24-Mar-2016
  • Kirjastus: Bloomsbury Academic
  • ISBN-10: 150130237X
  • ISBN-13: 9781501302374
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  • Formaat: Paperback / softback, 168 pages, kõrgus x laius x paksus: 164x120x14 mm, kaal: 140 g
  • Sari: 33 1/3
  • Ilmumisaeg: 24-Mar-2016
  • Kirjastus: Bloomsbury Academic
  • ISBN-10: 150130237X
  • ISBN-13: 9781501302374

Blondie's Parallel Lines mixed punk, disco and radio-friendly FM rock with nostalgic influences from 1960s girl groups, AM pop and surf rock. By embracing the diversity of New York City's varied music scenes, this 1978 album embodied the social conflicts that played out between fans of disco, pop, punk and mainstream rock.

Bubblegum music maven Mike Chapman produced Parallel Lines, which was the first massive hit by a group that emerged from the CBGB punk scene. It kept one foot planted firmly in the past while remaining quite forward-looking, an impulse that can be heard in the album's electronic dance hit "Heart of Glass." This track anticipated a wide range of genre fusions, from Blondie's later flirtations with rap and reggae to the border-crossing musical gumbos that dominate today's dance floors and indie rock clubs. 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, a backlash that helped fuel the vitriolic "disco sucks" campaign. Despite disco's roots in a largely Latino, black and gay underground scene, punk is more often celebrated by journalists and scholars asthe quintessential subculture.

Kembrew McLeod's critical account of Blondie's rise also doubles 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 recuperating punk's much less hip bubblegum influences.

Arvustused

Its 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 scenes 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. * MTV News * A neat snapshot of a time of revolution, reinvention and experimentation ... [ This book is] every bit as appetising as the album itself, and an astute, erudite examination of one of the greatest albums of all time. * Record Collector * An interesting thesis well made in this enjoyable addition to the 33 1/3 series. * International Times * Theres a little book Ive been devouring on the subway this past week or two: Blondies Parallel Lines by Kembrew McLeod. It has had me tracing and re-tracing connections all over the place, re-examining my own assumptions about my own evolving musical tastes and cultural assumptions from the time of my first transistor radio ... Refreshing. * One Flew East * Nothing beats a great argument that makes you think of the album in question in a whole new light, then of course sends you right back to the music to love it all over again ... Parallel Lines the book is worth reading if youre a devotee of Blondie or the 33 1/3 series (and of course for fans of both already) but if, somehow, youve never experienced this record in your lifetime and havent yet read any of the other entries into this set of snapshots of classic albums, McLeods book might instantly, easily, make you a fan of both. * Off The Tracks * The publisher Bloomsbury cannot be praised highly enough for the 33 1/3 series ... This volume houses countless surprising details ... [ and] McLeod writes so informatively and with such inspiration that one cannot dismiss Parallel Lines or any of the other similar music covered in the book. * CulturMag (Bloomsbury translation) * [ Blondie's] Parallel Lines ... gives a good critical insight into how record labels have worked up until the present day ... the whole thing reads very well. * OX Fanzine (Bloomsbury translation) *

Muu info

This critical account of Blondies rise also doubles as an alternative history of 1970s American popular music and the downtown New York scene.
Acknowledgments ix
Introduction 1(14)
Downtown New York in the 1960s and 1970s
15(24)
Blondie's New York Genes
15(3)
Punk's Bubblegum Roots
18(4)
The Avant-Garde Goes Pop!
22(7)
Downtown New York's Artistic Diaspora
29(5)
Max's Kansas City
34(5)
Blondie's Arty Antecedents
39(18)
Off-Off-Broadway Sets the Stage for Punk
39(5)
Eric Emerson Makes the Scene
44(2)
Two Stars Align in the Glitter Age
46(4)
Punk's Trash Aesthetic
50(7)
Parallel Scenes
57(22)
The Downtown Disco Underground
57(7)
Blondie Stumbles Into Existence
64(5)
CBGB and the Bowery Neighborhood
69(4)
The Downtown Rock Scene Coalesces
73(6)
From the Bowery to Blondiemania
79(28)
Debbie and Chris Rebuild
79(6)
Blondie Takes Off
85(4)
"Going Professional"
89(9)
Art and Commerce
98(4)
"Heart of Glass" Breaks Blondie in America
102(5)
"Disco Sucks," "Chicks Can't Rock," Blah Blah Blah
107(24)
From CBGB to Studio 54
107(5)
"Death to Disco!"
112(5)
Punk vs. Disco?
117(3)
Gender Trouble
120(5)
Genre Bending
125(6)
Conclusion: The Downtown Pop Underground 131(8)
Notes 139(6)
Bibliography 145
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.