Words Seem Out Of Place

Photograph by Chris Gabrin I like to think this was photo was taken at a diner near the Chelsea Hotel, back in the day, maybe right before William Burroughs meandered in, ordered a black coffee and winked in Debbie's direction. Maybe he was meeting Patti Smith, who sat by the window, engrossed in Rimbaud. Maybe David Johansen had just kissed Debbie goodbye and strolled out the door. Maybe I was sitting at a table nearby, watching it all unfold. Maybe I even snapped this picture. Too young, you say? Eh. Don't do the math; it won't add up, but in some alternate reality it might've happened. My film-and-music-nerd buddies Jason Blanco and Dean Garman were there and scarfing down pancakes while Debbie sipped tea and I slurped coffee and we both raved about the Ramones. Anything's possible. Two bands hooked me on the power of rock as a kid: the Pretenders and Blondie. Then came U2, then came Nirvana, Pearl Jam, Soundgarden etc. But it really started with the v...

Heart of Glass: Debbie Harry Blondie holds a special place in rock music history, but also in my life. I've been under their sonic spell for as long as I can remember. Musically, Blondie blend elements of several different styles—new wave, punk, girl group, disco, reggae, rap, pop—into a sound truly their own. They were also one of the first visually memorable bands in my life—thanks in large part to lead singer and cultural icon Debbie Harry's amazing cheekbones and avant-garde style. They're unlike any other band before or since. Harry enthusiastically embraces and playfully subverts the blonde bombshell archetype at every turn. Just listen to her subtle shifts in phrasing and delivery on songs like "Call Me", "One Way or Another", or "Hangin' on the Telephone." She smoothly segues from a sweet purr to a frisky growl in a heartbeat. Harry also understands the importance of visuals in rock music, and few performers have ever been...