Making Tracks/The Rise of Blondie

INTERVIEW WITH VICTOR AUTHOR EDITOR DESIGNER SITUATIONIST BOCKRIS

Click to read my review!

Intro: The first thing I would say about Making Tracks: The Rise of Blondie is that it was a book of photographs by the band’s leader and, in collaboration with Debbie Harry, premiere song writer, Chris Stein. Stein was no fly by night paparazzi, by the time he met Debbie in 1972 he had already studied depth and perception photography at Cooper Union and started collecting photographs. While she was still singing with the female trio The Stilettoes, he was making inroads into punk  by quitting his glitter band and letting the first Ramones live in his Lower East Side apartment. Meanwhile,  Chris moved into Debbie’s Thompson Street pad and started playing with The Stilettoes. Soon thereafter he began contributing pictures of Blondie to Punk Magazine. By the time I met them on the night of the great New York Blackout in July 1977, I was developing a role as the only writer who went  back and forth between The Beat Writers, Andy Warhol and the New York Punk bands, and wanted to write about all of them as a new generation.  We got a wonderful editor in Fred Jordan, who had been one of the first Grove Press editors and was now running the U.S. branch of the famous British publisher, Methuen.

Across the universe of writing and designing the book both publisher and authors went through significant changes. During May 1982 when the book was released almost simultaneously in New York and London, Methuen was no more and Blondie had shifted down through changes which included Harry’s first solo album Koo Koo. We were now with Fred Jordan Books in New York distributed by Dell and Hamish Hamilton in London, editor Roger Houghton. Both editions of the book were launched at lavish openings of Stein’s photographs at the Daniel Wolf Gallery in New York and David Dawson’s B2 Gallery in London. Despite this focus on Stein’s fine set of pictures, Jordan’s ability to sell the book to Hamilton for a $50,000 advance was primarily due to Debbie Harry’ autobiographical text, written in collaboration with myself and Chris. However, what had started as a labour of love ended on a negative note when Bondies’ manager coerced the world right’s back from Jordan but never got deals for the four more foreign editions we could have had in Germany. Italy, Holland and Japan. Agents can make all the difference in a case like this, but we had no one to turn to. For me the subsequent loss of revenue without discussion turned the successful collaboration into a route. The book sold well in the U.K. but virtually disappeared in the States. At first Chris and Debbie took quantities of the book on the road, selling them at their concerts until the band broke up a year later in 1983. We would have to wait for another thirteen years before the three of us would have the opportunity to launch Making Tracks again.   -Victor Bockris

LAN: Debbie seemed to be part of the scene for a very long time, maybe not as an artist at first but I’m curious to know when was the very first time you met her.

Victor Bockris: Yeah Debbie was a Slum Goddess of The Lower East Side in the late sixties. She began to get it together around the New York Dolls in the early Seventies. Blondie had their first #1 in Australia with In The Flesh in 1977. I first met Debbie and Chris at the apartment of a photographer Christopher Makos 227 Waverley Place on the night of the great New York Blackout, July 13. The room was pitch black so I could not see her, but I recognized her the minute we met. Next thing I knew I was in the back of the Frontiersman’s van with Debbie, Chris Stein and Liz Derringer on the way to Makos opening for his White Trash book. In an appropriation of Warhol’s cover of the Rolling Stones raunchy Sticky Fingers, Makos put a shot of Debbie’s crotch in a tight black miniskirt on the cover of his White Trash book. I made my entry into this scene wearing a tiger skin bikini in the back pages of Makos catalogue of trash.

Sticky Fingers album cover, showing a close-up of a jeans-clad male crotch with the visible outline of a medium-sized penis; the cover of the original (vinyl LP) release featured a working zipper and perforations around the belt buckle that opened to reveal a sub-cover image of cotton briefs. Behind the zipper the white briefs were seemingly rubber stamped in gold with the stylized name of American pop artist Andy Warhol, below which read “THIS PHOTOGRAPH MAY NOT BE—ETC.
Christopher Makos, White Trash, 1977 · Cover back and front

LAN: What were you first impressions?

Victor Bockris: I had already seen Blondie perform at CBGB’s with a bunch of people from the Factory in 1975 and 76. Everybody liked her but Debbie was still so lacking in confidence she was not carrying her performances to completion. By the blackout meeting she had grown stronger. It was such a smooth part of my 1977 transformation, my impressions of Debbie and her partner Chris Stein were seamless. I felt very much a part of the scene for the first time since 1974, hanging out with Debbie and Chris extended my territory. Soon I was taking them to meet my people as they introduced me to theirs. Threads of Punk wove together with Beat and Warhol threads. The Beat Punk Generation was beginning to get up and walk.

Book Cover of Beat Punks by Victor Bockris. Click on it!

LAN: What were the events leading to your involvement in the writing of Making Tracks/The Rise of Blondie.

Victor Bockris: They had started to talk to me about Chris Stein’s photographs at the time I was writing With William Burroughs. In fact they were in the Burroughs book. Working on Tracks began with a recording of a Dinner with Andy Warhol. It took me a long time to realize all we needed for the text was Debbie’s account of the Blondie Story to compliment Chris’ photographs of the same. I wrote a proposal and we soon got an exciting offer from Fred Jordan at Methuen in New York. This thrilled me because Jordan was one of the three men who started Grove Press, which published many of the ground breaking books of the 1960s. And Methuen was a British publisher with a long list of distinguished authors including Oscar Wilde. I was looking to connect the Beats, Warhol and the Punks so this was right my street.

LAN: How would you define what was your role in the writing of Making Tacks/The Rise of Blondie?

Victor Bockris: They looked to me like a producer, they were trying to figure out how to put books together. They thought I knew. I look back on my collaboration with Debbie and Chris as among the best in my career. But I’m not so impressed by my contribution. At first at my suggestion we took Makos on board as art designer, but Makos treated Chris in a ridiculous way. He over charged him to print up some pictures doing a lousy job that made them look bad. After Debbie fired him over the phone I put together a mock-up the book all three of us liked. That was when we really started collaborating on the book. I managed to carve a good text out of many tapes with Debbie then Debbie and Chris. When we got through that Debbie went to Toronto to film Videodrome. Chris and I stayed in New York and came up with an excellent design for all the book’s interior pages. I cherish my memories of working with them individually and together.

The French Version of Videodrome (1983) Movie Poster featuring Deborah Harry.

LAN: A recorded conversation between you, Debbie and Chris, used as the prologue raised many questions in my mind. Could you explain why you chose to use this conversation as a prologue?

Victor Bockris: I thought it caught the three-way humor that kept the book from taking itself too seriously.

LAN: In your opinion is Blondie linked to the empowerment of women, a movement that most probably spurred the career of artists like the Runaways, Siouxie Sioux, Chrissie Hynde and many others?

Victor Bockris: Debbie had an enormous influence on opening the pop – rock scene for women. Madonna comes out of Debbie. There’s a great color photo in the book of Debbie with Chrissie Hynde, Siouxie Sioux and others that says it all. Blondie was good to her friends, the band was good to the scene, it helped spread reggae and rap among others things. Debbie is undoubtedly a great heroine of the counterculture, particularly the downtown punk scene and beat punk scenes of the high seventies. One reason I wanted to work on a book with her was to extend her talents into other fields. I cannot believe she has not written one of the great biographies of her times. She has a huge story to tell. Maybe I should call her up.

Chrissie Hynde, Pauline Black of Selector, Debbie, Poly Styrene, Viv from The Slits and Siouxie Banshee by © Chris Stein.

LAN:  You most definitely should! Why do you think Blondie got a better reception at an international level than many other bands from New York?

Victor Bockris: Blondie’s international success in the 1970s and today comes from the vision to go on a world tour before they were a world band. Their early success in Australia came about because they went there. Secondly their music and songs were easy to translate, and thirdly because Debbie had by far the most sellable image and she and Chris worked endlessly touring radio stations to connect with DJs. Most partnerships in rock n roll are between men. Debbie and Chris may be the most successful long-term male/female collaboration in the business. They are really good people.

LAN: How was the book received when it was published?

Victor Bockris: The book was poorly published in the U.S. But Fred Jordan got us a $50,000 advance in the U.K. which was unbelievably great and Hamish Hamilton in London, with editor Roger Houghton, did a fine job. However, when Blondie’s manager insisted Jordan return the world rights thus cutting off any further foreign publications the book was virtually but not completely dead. I had depended on the book having at least five foreign deals so I was very disappointed. Rock’n’roll is a multileveled business. At the time they are completing a new album and planning a huge world tour. The power of their upcoming world tour took them out of my orbit. The next time I saw Debbie and Chris was backstage in Philadelphia that August were they played in front of 50,000 people and Chris Stein looked like a ghost in a Fellini movie. Making Tracks got a lot of notices in the press, but no serious reviews. I think part of the reason was that it was really a book of photographs by Chris Stein but it was sold as the autobiography of Debbie Harry. However it did have lasting influences on many people who read it and it would find a longer life in the following decade. And again now.

Debbie Harry and Chris Stein of Blondie watch Godzilla in their apartment

LAN: Do you know why it is that, when Blondie co-founders Chris Stein and Debbie Harry reformed the group in 1997 for Blondie Rock and Roll Hall of Fame induction, they “forgot” to invite bassist Nigel Harrison or guitarist Frank Infante, leading to the Hall of Fame incident that left a lot of people speechless and the bad blood never quite trickled away? 

Victor: Infante and Harrison had sued them or were in process of suing them. Don’t forget Debbie and Chris were left to deal with all the band’s post 83 breakup fallout including financial on their own. When they reformed the band in second half 1990s they were under no obligation so far as I know to take anybody on, except Clem. When they first hit big instead of being grateful to Chris and Debbie for writing the hits and working 75% harder than the rest of the band did in their heyday everybody got incredibly paranoid and there was a lot of aggressive infighting, which messed up he music and wasted their energies. Ex band members  often sue because lawyers tell them they can get some free money. I’m glad Debbie did what she did, she shouldn’t have had to go through that on Blondie’s inauguration into the ROCK N ROLL HALL OF FAME.

Debbie and Anya Phillips in “The Legend of Nick Detroit”, PUNK Magazine ©Artwork By John Halstrom and Bruce Carlton

LAN: What is the main difference between Blondie the band, and Debbie Harry? In other words, what was the main contribution Chris Stein brought to the table?

Victor: Chris Stein and Debbie Harry’s forty-five year collaboration on making music and running Blondie stands out among the greatest male-female collaboration of all time. It has gone through many phases, but to answer your question, in its first stages between 1972-1975 Debbie and Chris equally transformed each other by making music making love and banging heads. They both came from backgrounds that left them creatively intact but insecure in the delivery. They soon became a part of the CBGB’s scene, but throughout the years the tight unit they forged in the cauldron of New York’s downtown scene from Watergate to Drop Dead New York  in the ragged summer of 75 would always remain the single strength beating at the heart of Blondie.

Debbie Harry & Chris Stein, NYC, 1978 by ©Bob Gruen

LAN: Thank you so much for your precious time I know you are very busy right now and I wish you the very best, hoping that with Blondie’s new release of ”Pollinator’‘, people will feel the urge to read Making Tracks/The Rise of Blondie  as an autobiography or a photo album, either way ,it still is a wonderful book that has aged very well.

Debbie Harry in ”51” Magazine

”51”  was a magazine that was based on the idea that New York City should be the fifty-first state of the US.  This is article written by Debbie Harry, was taken from the bio Making Tracks/The Rise of Blondie published by Da Capo Press. I chose to immortalise this article  on the net since it’s almost impossible to get it from its original source and it really represents how things could be seen from the inside, by those who were part of this legendary era. It an honest, lucid look on how that particular scene was evolving coming from of an artist whose band Blondie was on its way to achieve international stardom. All the pictures were added by me. I hope they are helping setting the tone. -Tobe Damit

”51” Magazine, NYC, Late Summer of 1975

I walked into CBGB’s last Friday night at 2 a.m. The Bowery was thick with late night pollution and smog, a sea of sleeping winos, and broken glass.

The neglected denizens of the Bowery. The men of the Bower were largely neglected until the 1990s when the city began to clean up its homeless problems and workers made an effort to get them into shelters. ©Photo by Leland Bobbé, 1975 

Dee Dee Ramone spotted me through a Heineken Haze and slithered up wearing an electric purple pimp suit, a Jay’s T-shirt, ragged basketball sneakers and mirror shades.   

Swaying slightly, he whispered in my ear, Oh Debbie, we just got signed; we’re supposed to be going on tour. I smiled. I wondered: Will Success Spoil… Dee Dee is bass player to The Ramones, consummate, awesome, punk rockers extraordinaire. The handsomest of the group, Dee Dee resembles Marcello Mastroianni or Steve Canyon, speaks German (born Berlin), was a highly paid hairdresser for a while, is very charming, handsome and childlike.

Dee Dee and Tommy Ramone photographed by ©Adrian Boot

The Next day was ninety-seven degrees and I ran into Tommy Ramone, drummer and leader of the band, in front of Arthur Treacher’s on Sixth Avenue. Tommy, I heard you got signed, I quipped. He flashed me his disgusted look, Yeah, we got signed to the space program, three sets a night on the nest moon shot. I didn’t take it any further; it was very hot.

     But for a few exceptions the NYC rock scene is built on dreams and fantasy. Dreams of love and power, of polite fascism and opulent anarchy: the have and have-nots; EEE, erotism, eccentricity, and eclecticism.  It is more than fitting than that scene has filtered down to one tiny club on the Bowery. The expensive thoughts of all concerned could never have been contained in anything larger or more plush. (Except for Sunday evenings with the Miamis at Broadway Charlie’s, Miamis are not too tight with the manager of CBGB’s.)

Last picture of Miami Showband Summer of 1975. Tony Geraghty Fran O’Toole, Ray Millar, Des Lee, Brian McCoy and Steve Travers

 The rock and roll sub-culture coexists easily with the wraith-like alkies; the angry young black men; with the emptiness and ruin of America’s attics, basements, and secret corners. Places where the out takes and out casts collect. Poverty Marches On… What the Hell: a bass player (now with the Heartbreakers) with so much sex appeal it could lead anyone, male of female into groupiedom, revolution be damned.

Johnny Thunders (L) and Richard Hell

     As I hinted at, an occasional glimpse of success is not uncommon here at CBGB’S house bar. Last Thursday played host to the magnificent men of Kiss, playing homage to their old friends the Harlots of 42nd Street, who were doing their best to entertain the natives. Other notable drop-ins were Mick Ronson (ohh) and Ian Hunter (ahhh) who surprised everyone no end, including the Fast who promptly set up and played a second hot set on an otherwise dead night at the rock palace.

The Harlots of 42nd Street

     A few of the Bowery denizen have succeeded in related fields. Fayette Hauser, Gorilla Rose and Tomata du Plenty, who are behind the scenes Hollywood writers for the new nationally broadcast Manhattan Transfer TV show. I do mean behind the scenes they’re still in NYC, but word has it that they’ll be getting some fresh OJ off their own tree within the month.

Click!

     Just One More Thing . . . The great tower of power moloch Mainman is closing up shop. Mainman produced some fabulous shows like Wayne County at the Trucks, FAME, and Bowie, so much for EEE. 

-Debbie Harry, Late Summer of 1975

 

 

Blondie

Looking Through The Heart of Glass

by Tobe Damit

Da Capo Press 1998 Edition

I just finished reading Debbie Harry’s biography Making Tacks/The Rise of Blondie written by herself, Chris Stein (photographs) and under the general supervision of Victor Bockris who aided in the formation of the text and the selection of the photographs. It seemed the perfect time to read and review it since she just announced the release of Pollinator, Blondie’s 11th album, due for release on May 5, 2017 by BMG Rights Management. I was really looking forward to read this book since Blondie is a band whose music would be omnipresent on ”the soundtrack of my life’s movie”, if such a thing would indeed exist.  Blondie has always managed to preserve their uniqueness and integrity throughout the years. Making Tracks/The Rise of Blondie is a story of perseverance, hope and faith. Seeing how often everything could have just gone down the drain, this is the ultimate proof that you really have to give it all you’ve got to make it… Sometimes even giving it what you haven’t got…Yet!

Young Debbie reading a book.

The prologue (added in the 1998 Da Capo Edition) is in fact a very juicy conversation between Debbie Harry, Chris Stein and Victor Bockris, recorded in 1980 when Blondie was at the top, during which it appears that Chris may hold the upper hand in their couple, a subject that is rather downplayed otherwise. It also sets the tone for the lavish story, the rocky early days and the forces at work behind the creation process since Chris and Debbie obviously are at the very  core of Blondie. For the rest of the book, the story is told almost exclusively from Debbie’s point of view, constantly keeping us captivated with a very uplifting, spontaneous, straight forward and witty narrative . She goes on and about everything and everyone meaningful in her life; ”I don’t know exactly where I came from because I don’t know who my natural parents are. Chris thinks I’m definitely an alien because I fit the description in a book he read of a race of females who were put on this planet from space”.  Right in this first sentence, one can immediately sense the hurting and the wounds but also the way Debbie has learned to deal with it, and how Chris later came into play. Young Deborah knew what she was destined to be before the age of six and never wavered in her firm conviction; ”I always knew I was a singer. When I began singing with the radio I was struck by the fact that I knew the next note before it was played.”  

Very early on, she was a trendsetter during her High School days, dying her hair every possible color starting as soon as 1959 and always dressed in black, not giving much thought to what would people might say. ”When I was a freshman I started to draw attention to myself, with the orange hair and mostly black clothes(…)I always dressed intuitively and emotionally”.

Chrissie Hynde, Pauline Black of Selector, Debbie, Poly Styrene, Viv from The Slits and Siouxie Banshee. ©by Chris Stein 
Debbie and Joan Jett ©by Chris Stein

Making Tracks/The Rise of Blondie gives a very moving image of how Debbie was trying to become an artist during the mid sixties, working small jobs,  going to auditions and painting. She was already singing in a folk group called Wind in the Willows. It was hard but at the same time we get to see how much that, from the sidelines, working as a waitress at Max’s Kansas City by the end of the sixties, she observed, watched and learned.”When I worked at Max’s I loved all the people from Andy Warhol Factory, like Eric Emerson, Viva, Ingrid, Taylor Mead, Ultra Violet, International Velvet, Candy Darling, and all the superstars. I was just a baby growing up in the middle of this whole incredible scene, watching Andy Warhol’s eight-hours movies and listening to all kinds of fantastic music very close up at the front.” 

Debbie And Andy Warhol ©by Chris Stein

Now of course you also get to know, in parallel, what was up with Chris Stein, how his mother was a  beatnik painter and his father died when he was only 15, how he also always was into music, painting and arts in general. He is responsible for most of the incredible amount of wonderful pictures that can be found throughout the book, giving a visual dimension for each period that Debbie takes us through. Chris and Debbie went to a lot of events and shows at the same time but it took awhile before they would bump into each other. They had very similar tastes and both enjoyed seeing live the Velvet Underground, Jimi Hendrix, The Doors, Janis Joplin, Jefferson Airplane. Each of them were being influenced by both the NYC and the LA scene. Chris had his own isssues, he’d taken a lot of acid and was experiencing long periods of seeing everything as cosmic dust(!). He even received his draft notice at the beginning of ’69 while in an asylum, where he spent three months after completely flipping out. He was twenty at the time and this was a delayed reaction to his father’s death. He managed to insist he had all that was needed to be NOT eligible to join the war effort, got out of there with a 4F and rushed up to Woodstock. Debbie was there too, she had served Jefferson Airplane their dinner at Max’s the night before they left for Woodstock. They just didn’t know each other yet so they went separately, never bumping into each other.

Debbie Devolves ©by Chris Stein

Debbie had a lot of issues of her own, being so depressed that she couldn’t sing without bursting into tears. For a while she managed to keep it all together by using various drugs but 1969 was a very pivotal year for everyone. ”Paying for the drugs and doing them became a bigger drag than the problems I was trying to solve(…)It was a tremendously down period and we all had to shake off the freakouts that occurred in ’68 and ’69(…)All that sadness and tragedy just kept going through my head. I love the blues, but I didn’t want to sing them. I wanted to entertain people, have a good time, and be happy.”

Debbie looking fabulous on front of CBGB’s©by Chris Stein

So, she quits drugs and took a sabbatical from the whole scene for three years, during which time Chris, having been released from the asylum for good, went on welfare and, sponsored by the division of vocational rehabilitation, was studying photography at the School of Visual Arts, and making some of the connections that would eventually lead to the fatefull event of Debbie and Chris finally meeting.

Chris Stein and Blondie (Not from the book!)©Robert Rosen REX

The Stillettoes

The Stillettoes Amanda, Elda and Debbie ©by Chris Stein,1974

Debbie gives us a very detailed description of what she was trying to accomplish musically with The Stillettoes who were Elda Gentile, Rosie Ross (later replaced by Amanda) and Debbie; ”a combination of the aggressive Shangri-La’s rock and the round solid vocals of an R&B girl group. The overall idea was to be entertaining and danceable. The original group included Tommy and Jimmy from the Miamis, Timothy Jackson and Youngblood. Tony Ingrassia was the choreographer and worked  on giving them a cohesive look so that they each had a stage concept.” 

Eric Emerson©by Chris Stein

Chris became involved with Eric Emerson and the Magic Tramps via the School of Visual Arts by becoming the Dolls’ opening act, and quickly became friends with all those people who hung out on the periphery of the Dolls, eventually becoming Eric’s roadie. He was invited to the second Stillettoes gig at the Boburn Tavern on 28th Street by Elda herself who was the mother of Eric’s children. ”The most striking thing about collaboration is that it often happens in dreams. A microsecond of dream will unfold an elaborate scene in a flash.It’s an amazing form of communication and it happened between Chris and me the first time we saw each other when I was singing and he was in the audience(…) I was very nervous so I delivered a lot of songs to him. We had a psychic connection right away, which struck me particularly because I’d previously only had such string psychic connections with girlfriends”. Chris joined the group on Elda’s request.

Blondie

Early Blondie: Gary Valentine, Debbie, Chris Stein and Clem Burke

Now I gave you a very detailed insight of the early days but the book is even more exhaustive, leaving absolutely no stones unturned as the group slowly takes shape, requiring numerous musicians replacements, new musical directions, new looks and styles, the final result of all this evolution being the band worldy known today as Blondie -always  having at it’s very core Debbie and Chris Stein. Reading it you really feel as if you are right there with them, reliving every moment and all aspects of what was to become a very unique band, not really punk, not really disco, Debbie insists on saying that Blondie was a pop band, nothing more, nothing less. Making Tracks/The Rise of Blondie is a very fascinating journey to the top with all its up and downs, the tours, the crazy people, the shady promoters, the providential roadies, the tragic and the funny anecdotes, and everything stardom life is about. Chris Stein and Debbie Harry being always the very core of Blondie, you get to see them on various pictures with all the punk and post punk icons as they go on tour around the world several times, living their success with an integrity as persons and artists that is rarely seen.

Starting on the Bowery’s very distinct selective CBGB’s club with The Ramones and all the other bands that have now become legends, Blondie was to later gain international success and go around the world more than once to become one of the most successful bands to have risen from NYC. Here are a few people that you can see with Debbie and/or members of the band on photos included in the book: Alice Cooper, Iggy Pop, Devo, H.R. Giger, Siouxie, Chrissie Hynde, Andy Warhol, The Screamers, David Bowie, Ray Manzarek, Suzie Quatro, Joan Jett, Cherie Curie, The Buzzcocks, The Screamers, The Ramones to name very few, thanks to Chris Stein who really did an amazing photography job!

Joan Jett, Debbie Harry, David Johansen and Joey Ramone ©by Chris Stein
Debbie and Iggy ©by Chris Stein
Debbie and Bowie ©by Chris Stein

 

 

 

 

 

 

Debbie Harry during the video production of the “Koo Koo” project with HR Giger ©by Chris Stein

You also have a very interesting insight on various projects she was involved with like Blank Generation, a seminal movie about Richard Hell, a remake of Godard’s movie Alphaville that sadly has never seen the day, a promotional clip involving HR Giger‘I Know You Know”. I also happened to watch a cult sci-fi horror movie from 1982: ”Videodrome”, directed by David Cronenberg. Deborah Harry plays the role of Nicki Brand, a sadomasochistic psychiatrist and radio host. I found Debbie’s performance more than satisfying and the movie to be very prophetic.

Robert Fripp as Lemmy Caution, Debbie Harry as Natacha von Braun; from the never made remake of Jean-Luc Godard’s Alphaville. Hair by Mary Lou Green ©by Chris Stein

The book doesn’t contain the usual formal complete list of everything Blondie or its members have been involved with nor a complete discography but rather focuses on the narrative and it’s quite ok since it’s done in a way to sustain the readers interest in the story Debbie tells with a surprising gift for writing. Such a list would have been a cool addition but I’m pretty sure it’s not that hard to find on the internet.

     Making Tracks is not only about The Rise of Blondie but also about how they all handled its success. It does not contain a complete discography nor every movie she has played in Every true Blondie fan should read this book since it contains everything you want to know delivered with Debbie’s very witty way of seeing things that always sustains your interest since it is written from a very intimate point of view; and as I mentioned the photos are a very important ingredient in making the reader ”part of the gang”. The whole story is very cohesive and never boring. I will leave you with this quote written by Debbie near the end of the Heart of Glass European Tour that I found very interesting as she compares the UK culture with the US:

”Politics is business-getting enough money to win, keeping enough to stay in power and make more as a politician. The politicization of art in the sixties was very hypocritical. It existed in the minds of the people who wanted it to exist, but the people who were in power were definitely not having anything to do with it.

Debbie Harry and the Buzzcocks during Blondies European Tour, by ©Chris Stein 1978

I don’t think there’s too much difference between the Americans and British scenes, Everybody wants the same thing for themselves and their culture, but the methods have to be different because of the differences in the way the cultures operate. In America Iggy was a radical force without saying anything political. His presence and what he did was a radical phenomenon. If somebody can get on the subway and wipe out the minds of the people who see him, he’s having an effect on them and doesn’t need to say anything. I hope the kids in England realise that we all want the same things, we’re just going about it in different ways.”

Debbie with Iggy Pop by ©Chris Stein

Almost all of the pictures above are taken from the 1998 edition of Making Tracks/The Rise of Blondie and taken by ©Chris Stein. I only posted very few of them. The book is litteraly loaded with awesome pictures, most of them are very hard to find.

All rights reserved tobedamit.com 2017

Donna Santisi

LA Punk Scene in the 70’s

ata-debbie-harry-up
Debbie Harry kicking ass!

Donna Santisi was one of the very few and lucky photographers who were able to capture the new punk rock craze and scene that had spread from New York to Los Angeles. On any given night Donna would be at The Whisky A Go Go, The Starwood, or any number of clubs with camera in hand to capture on film what would soon be  the hardcore punk scene. I don’t think anybody was ready for this explosion, especially The parents of the newly found punk rockers that their children turned out to be. Ask the Angels!

ATA Kristian Hoffman Lance Loud Mumps- Tomata K.K. Screamers
Kristian Hoffman & Lance Loud (Mumps),Tomata de Plenty & K.K. (Screamers)
Tom Verlaine from Television
Tom Verlaine from Television ©Photo by Donna Santisi
Tommy Gear and Tomata du Plenty from The Screamers
Tommy Gear and Tomata de Plenty from The Screamers ©Photo by Donna Santisi
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Iggy Pop ©Photo by Donna Santisi
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John Cale (Velvet Underground)
Sex Pistol Drummer Paul Cok and Genny Body from Bacjstage Pass
Drummer Paul Cook (Sex Pistols) and Genny Body (Backstage Pass) ©Donna Santisi 
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Danielle Faye (Zippers) wirh Vicki Blue (Runaways)
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Joan Jett and Debbie Harry ©Photo by Donna Santisi
Lita Ford from The Runaways
Lita Ford from The Runaways
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Vicki Blue from The Runaways
The Zeros
The Zeros ©Photo by Donna Santisi
Lita Ford (Runaways)
Lita Ford (Runaways)©Photo by Donna Santisi
ATA Tina Weymouth (Talking Heads)
ATA Tina Weymouth (Talking Heads)
Missy, Maggie and Mercy of The Heaters!
Missy, Maggie and Mercy of The Heaters!
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Patti Smith
Joey Ramone (Ramones!)
Joey Ramone (Ramones!
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Leather! Joan Jett and a helping BFF! ©Photo by Donna Santisi
Joan Jett, Tropicana Motel 1979 ©Photo by Donna Santisi
Joan Jett, Tropicana Motel 1979 
Bowie '90 Sound and Vision Tour
Bowie ’90 Sound and Vision Tour
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Debbie and Joan Jett © Photo by Donna Santisi
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Joan Jett with Chrissy Hynde (The Pretenders)
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Siouxie Sioux
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Patti Smith
Alice Bag, lead singer for The Bags
Alice Bag, lead singer for LA Punk band The Bags
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All Pictures in this article by © Donna Santisi

All copyrights on all images © Donna Santisi

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Warhol’s Bio/Recent Movie Deal

Warhol and Bockris by Marcia Resnick
Andy Warhol and Victor Bockris, New York Mudd Club, 1978. © Marcia Resnick

Interview with Victor Bockris   

By Tobe Damit
By Tobe Damit

Following my review of Andy Warhol’s biography by Victor Bockris, I was pleased to know that the author himself was kind enough to grant me an interview regarding the book itself as well as the recent deal that was made regarding the making of a biopic involving Jared Leto. The actor Jared Leto, the producer Michael De Luca and Terence Winter are teaming to tackle the life of Andy Warhol, the famed pop art artist whose blend of art and commerce made him a household name. Winter, the ”Boardwalk Empire” creator who wrote ”The Wolf of Wall Street”, will pen the screenplay, using the 1989 Victor Bockris book, ”Warhol: The Biography”, as a jumping-off point. Leto and De Luca jointly acquired the rights to the book, having had a desire to partner on a project for some time now and since it is now a done deal, I thought it was the perfect time for a little chat with the author of the well acclaimed biography which has been published in nine countries since 1989 and remains in print in several. 

LAN: Do you remember how, where, why and under what circumstances Andy Warhol caught your attention for the first time? 

Victor Bockris: Andy Warhol had a tongue in cheek “Retrospective” at the I.C.A. on the University of Pennsylvania campus in Philadelphia in October 1965. (Tongue in cheek because he had only started showing paintings in 1962 and it usually takes much longer than three years to get a retrospective!)I had moved from my British boarding school Rugby to Central High School in Philadelphia in February, a week before Malcolm X was assassinated in New York. My transition from the one school to the other was fraught with the most extreme culture shock I had ever experienced in a life of shocks. During my first two months at Central I had a nervous breakdown, which I kept confined to the afternoons at home so nobody else knew about it. The trauma faded as soon as I started making friends amongst the cool kids who were all folkies. They were mad about Bob Dylan and took me to  Convention Hall to see him on the early 65 tour he did with Joan Baez. My closet friend, Elliot Fratkin, invited me to go to the Warhol opening in early October.
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As we approached the I.C.A that night walking across the lawn at the center of the campus I started seeing people standing around in small groups hugging each other and crying or lying on the ground like the victims of a nuclear attack in Peter Watkins famous film The War Games, which I had seen in the same place the previous week. As we got closer I could see and smell the aftermath of some hideous event such as a lynching or a riot.

I was right about the riot. Apparently when Warhol swept into the gallery with Edie Sedgwick, Girl of the Year and star of eight films Andy shot in six months, Gerard Malanga, superstar stud of the Factory, and Henry Geldzahler, curator of modern art at the Metropolitan Museum in New York, the ecstatic crowd of students packed like penguins in the small space and spontaneously exploded in a riot that reminded Geldzahler of a Beatles concert. People were screaming and crying “Andy and Edie! Andy and Edie!” This was the moment at which Andy crossed over from being a famous artist to something more akin to a rock star, somebody who has transformed themselves from a person into a magician. Of course I was not there, but Andy Warhol’s essence hung in the air like the acrid smell of machine guns and wild horses.   

 

LAN: What made you decide back then that Warhol was to be the subject of your next bio? Do you have similar reasons for the other biographies you wrote? Is there a link? How do you connect the dots (if any)?

Victor Bockris: I did not decide to write the Warhol biography. My agent, the young and ambitious Andrew Wylie just at the beginning of building his literary agency, suggested it in 1982.  I was spending the summer writing ‘Negative Girls into a book in Philadelphia. He called right after the girl who inspired the book phoned to tell me she was getting married, (to a rock star!) which drained all the desire and drive to finish Negative Girls out of my frenzied mind. We discussed the book for six weeks before I decided to take it on. There was much at stake, not in the least my friendship with Andy. I knew nothing about biography, which is a complex form one can only master by learning on the job like The Ramones did on stage. I decided to do it because Andy was the most mysterious figure in the vanguard of the American culture. Nobody knew anything about his childhood or the years before he became a pop artist. He was also a sitting duck for a writer who wanted to grab the attention of the country. Earlier that year Jean Stein had done just that with her bestselling book, “Edie” (Sedgwick). The most powerful part of that book was the long section about Edie’s relationship with Andy.  According to Stein He was a verrrry bad man. His nickname at the Factory, Drella, summed up the impression. He was a monster, half Cinderella half Dracula. He never slept, he never ate, he drank blood. He wanted to be machine, he did not believe in love, and that was the tip of  the iceberg. I had known Andy for almost ten years and I loved him the way you love a hero, like a comrade in a war. Believe me, stating your alliance to Andy Warhol could still ignite a bar fight in 1983 New York. He was still the most hated artist in America, but he was the most loved artist in France, Italy and Germany.  

Andy working on as portrait, second Factory 33 Union Square West, 1973 by Victor Bockris
Andy working on as portrait, second Factory 33 Union Square West, 1973 by Victor Bockris
There are several links between all my books: I never wrote about anyone unless I knew them well enough to see how they got through the day; everyone I wrote about was a  remarkable talker; everyone I wrote about played a role in the development of the Counterculture in New York in the 1970s. They were all living in William Burroughs Magic Universe.
As soon as I garnered good reviews for the Warhol biography I wanted to dash off and write my own biography. However my Dutch Uncle and mentor in biography, Albert Goldman, who published a masterpiece, ”Ladies and Gentlemen Lenny Bruce!” as well as first class biographies of Elvis and John Lennon, told me, “You’ve just mastered how to write a biography, don’t throw away what you’ve learned, do at least two more.” Keith Richards was a dream subject and ”Keith Richards: The Biography” was published right before the release of his first solo album. The book has been published in ten countries and stayed in print in the English language since it’s original publication in 1992. The third book in my trilogy of biographies, ”Transformer: The Lou Reed Story” was well received in the U.K. and U.S. in 1995 and did a lot to broaden his audience in the six countries in which it was published.
Burroughs-Warhol photo tapestry Chelsea Hotel 1980 by Bockris-Schmidlapp
Burroughs-Warhol photo tapestry Chelsea Hotel 1980 by Bockris-Schmidlapp
This biography obviously required an incredible amount of work. So many subjects, so many people! How did you manage to achieve such a complete story of his life without being drowned in archives of all sorts!? Did it require a different methodology than your other books??

Victor Bockris: It required a one hundred percent commitment for five years. At several stages I employed an editor to keep me on track. Writing a biography is quite different from writing the portraits I had previously published of Ali, Burroughs, Blondie and The Velvet Underground. Warhol was by far the hardest book I ever wrote, in fact it almost killed me. I have always been lucky with my timing.  My first seven books were perfectly timed. Andy died two and a half years before the book was released. It was the first and remains the only real biography of Warhol. I started it by going to Pittsburgh with Keith Haring and meeting Andy’s oldest brother Paul Warhola, who was a lovely man and became a good friend who helped me out until the very end. Andy did not want me to write the book but he never told anybody not to talk to me. I think he realized that somebody was going to do it and he was in safer hands with me than with some hack who did not know him and would mess it up.

There are by the way two distinctly different versions of my biography. When Andy died in February 1987 my British editor, Paul Sidey, at Hutchinson (Random House UK) got in touch and played a strong role in helping me complete the book. This climaxed with an all expenses paid six-week visit to London during which I was given a full-time editor and copy editor. By the time Sidey gave me the retyped 721 page manuscript of Warhol: The Biography’ I was in heaven, because it had come out much as I originally envisioned it. The British were planning to publish in May 1989. This euphoria was short-lived. A week after I delivered it to my agent, word came back, or so I was told, from Warner Books that the manuscript was “unpublishable.” I never found out if this was actually true, but the long and short was Warner wanted a re-edit. At this point I was exhausted. I had given it everything I had. Finally Hutchinson published their version ”Warhol: The Biography” in May 89. It received wonderful reviews and was published in paperback by Penguin. Warner  Books published their version, on which I worked for six weeks with an editor they had flown in from England, ”The Life and Death of Andy Warhol’, in October 1989. It was about one hundred pages shorter and much of the life had been cut out of it. 

Whereas the U.K. edition did well and remains in print twenty-seven years later, the Warner edition was a fiasco. Although it was well reviewed it suffered very disappointing sales for the advance they had paid me. Today, the British edition is in print in the U.S. (with DaCapo) and in France and Poland. With the movie coming out in 2017 we are looking forward to seeing it in print in several other countries.
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a: A Novel
LAN:How do you perceive Warhol’s contribution to the literary world? I know you feel pretty strongly about a: A Novel…?
Victor Bockris: I think it’s a disgrace that Andy Warhol’s books have not been released in uniform paperback editions or in a complete twelve volume set. Starting in 1967 and continuing until after his death Andy published a series of between nine and twelve books. They are as vital to an understanding of his oeuvre as his paintings and films. There is much more interest in his writing in Europe than America. Language is the basis of all Warhol’s work. In his college years his confrontation with the American language distressed him so much it became the root of his artistic drive to portray America as a land of Deaths and Disasters. He is a conceptual artist. His first works like the Campbell’s Soup Can paintings and his first film Sleep were seen by few people, but their names became part of our culture. He published at least three classic books: a: A Novel; The Philosophy of Andy Warhol and The Andy Warhol Diaries.” His collected literary works are ignored by the Warhol Foundation because they do not make enough money to warrant even an investment of time. They appear uninterested in developing his literary reputation and have done nothing with the unpublished books in his archives. There appears to be nobody taking care of Andy Warhol’s literary works and nobody to defend the books against people who claim they wrote them. Andy Warhol’s writing is pure Warhol. I hope one day somebody will wake up to the fact that there is actually a goldmine yet to be discovered in the many unpublished volumes in the files of the Warhol Museum. Somebody should write a book called ”Andy Warhol: The Writer, but they might have a problem getting permission to quote from his writing. There appears to be a determination to keep him down or out of print. I have published six essays about Andy’s writing in various sources, including the current DaCapo version of the Warhol biography.
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Warhol: The Biography DaCapo Press US
LAN: You were obviously close to Warhol. What were the most valuable things you learned from him or about him?

Victor Bockris: The most valuable things I learned from Warhol:  To grow my ambition higher; to realize works is the most important thing in my life; to simplify; to minimize and to recognize that most growth comes via connections to people who open doors to other people. To never let anybody take your work away from you. To collaborate.  To do interviews without questions, to just let them happen. To connect to the power in yourself.  To be a very tough businessman. To never lose your self-respect.  To treat people well. To not get hung up on your problems. To discipline yourself to not waste your life on alcohol or hard drugs. To believe that you can transform yourself.  

American author Victor Bockris, dressed as an MP, talks with Pop artist Andy Warhol at the Mudd Club's 'Combat Love' event, New York, New York, June 17, 1979. (Photo by Allan Tannenbaum/Getty Images)
Meeting at The Mudd’s Photo by Allan Tannenbaum/Getty Images 1979
LAN:Do you feel you have resolved the enigma of Andy Warhol’s persona through this book?

Victor Bockris: Jared Leto told me my book was the only one who made him feel that he got Andy, got to know him and understood him.  My original motivation for writing this book was to reveal Andy so that people could feel as if they knew him and liked him. So, yes I think I succeeded.   

LAN: Do you feel that part of the enigma of Warhol persona is whether he was a psychopath or simply an oversensitive person who simply just couldn’t afford to deal with a heartbreak, betrayal or negative feelings of any sort?
Victor Bockris: This question is difficult for me to understand. Andy was not a psychopath in any way. That sounds like the kind of word somebody desperate to write something new about Warhol might come up with, but I can’t imagine anybody who knew Andy saying that. He was, much like William Burroughs, the opposite of his image. Andy was a supersensitive romantic who found it harder as he got older to be alone. He certainly denied his emotional distress, but there is no question that he became increasingly lonely as he got older. At the same time he was turning out an extraordinary stream of great paintings.There is something almost too poignant for words about his final works, The Last Supper paintings which regained the vitality of the Car Crash paintings. And the fact that when he died he had so much work to do but perhaps nobody to look forward to seeing. Nobody he could give his love to. He checked into the hospital under the name Bob Robert. In his last phone call to Vincent Fremont, Vice President of Andy Warhol Enterprises, he was full of energy and humor. Some people called him Superman some called him the Angel of Death. He was an otherworldly figure who gave us everything he had. 
Victor on Warhol's Grave, Pittsburgh 1988 Picture by George Warhola
Victor on Warhol’s Grave, Pittsburgh 1988 Picture by George Warhola
LAN: Do you feel Warhol’s works and ideas are still relevant today?

Victor Bockris: Much has been written about the Legacy of Andy Warhol. I think he will be relevant forever in the sense that Shakespeare is still relevant. I wrote his biography and it would be hard for anybody to write a new one because most of the sources on the first thirty years of his life are dead. However, I don’t think anybody has yet put together an understanding of the impact of his collected work, not in the least because nobody has recognized the importance of his writing in his oeuvre. A writer who could show us the overall influence of Warhol’s contribution, without being over influenced by the prices of his art, but saw the art the films and the writing as the triangular base of his huge body of work would be doing us a great service. Andy Warhol may be the greatest artist of the twentieth century because he harnessed the century’s theme of death. But we will not know until somebody  emerges who isn’t frothing at the mouth about the money.

Paul Warhola by Victor Bockris Pittsburgh 1983
Paul Warhola by Victor Bockris Pittsburgh 1983
Andy’s brother Paul Warhola told me Andy never really changed. Sophisticated art dealers might scoff at that remark, but Paul is right. The Andy who drove his assistants mad by endlessly pushing them with his divine energy was the same Andy who as a child drove his brothers  wild in the same way with his insistent, “What are ya gonna do now?”
Jared Leto by Steven Taylor
Jared Leto by Steven Taylor
LAN: How do you feel about your book becoming a biopic next year and Jared Leto with his very talented friends being so enthusiastic about co-producing it and playing Warhol himself?

Victor Bockris: I have seen several opportunities to make the book into a film come and go, starting with Gus Van Saint in 1992.  I’m sure he would have made a good film, but I don’t think there was the large international audience for Warhol’s heroism back then. I hope we are going to see a film about a revolutionary culture hero who changed the world with his brilliance and his machine like drive. Something like ”Lawrence of Arabia” but with the desert being the streets of New York. Mind you this comes from a fevered brain in the middle of a hurricane. I am confident that Leto will be Warhol by the time he starts making the film and I imagine he will give us something we cannot even imagine until we see it. Something Magic.    

Andy pulling out a rabbit for Catherine Deneuve, Edie Sedgwick, and Zouzou 1966 by Jean-Jacques Bugat
Andy pulling out a rabbit for Catherine Deneuve, Edie Sedgwick, and Zouzou! Photo by Jean-Jacques Bugat 1966.
LAN: I wish you all the best!! I hope you will finally get all the credit you deserve for the quality of your books and that the world will remember your name and that the movie will be an incentive to check out the rest of  your work as well. You do have a very special place as the witness of an era, an author and as a very special friend, you most certainly had a huge influence on everything that went on since the 60’s. It seems it’s not about to stop…

Victor Bockris:  Thank you Tobe for the opportunity to talk about Andy. It went well because you asked stimulating questions and I enjoyed answering them.  I wish you all the best with Loud Alien Noize. And I look forward to contributing some of my favorite pieces to you in the future. I hope your readers enjoy with what we’ve come up with above.  

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Victor Bockris Self Portrait, New York, August 1972
I’m not even worried!! Thank YOU Victor!
All rights tobedamit.com 2016
All rights reserved tobedamit.com 2016
 

Coney Island Blondie

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Debbie Harry, Coney Island, NY, 1977 — Image © Bob Gruen

WHEN HARRY MET DEBBIE…

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“Hi, it’s Deb.  You know, when I woke up this morning I had a realization about myself.  I was always Blondie.  People always called me Blondie, ever since I was a little kid. What I realized is that at some point I became Dirty Harry.  I couldn’t be Blondie anymore, so I became Dirty Harry.”

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”People always called me Blondie, then I became Dirty Harry”

New Jersey’s own Debbie Harry is an icon and sex symbol (those dead eyes and daft lips…) of the 1970s Punk/ New Wave/Art scene.  She originally hailed from Hawthorne and went on to graduate from Centenary College in Hackettstown — all just a long stones’ throw from the killer stomping grounds.  Eesh. Her career nearly ended before it began when she jumped into the back of a car driven by a serial killer.

”It was the early Seventies, maybe .72. I was trying to get across town to a party. It was two or three o’clock in the morning and I was staggering around on huge platform shoes. This car kept circling around and some guy was offering me a ride. I kept refusing, but finally I took the ride because I couldn’t get a cab.

I got in the car and the windows were are rolled up, except for a tiny crack.  This driver had an incredibly bad smell to him. I looked down and there were no door handles and no cranks. I started scanning the inside of the car and there was absolutely nothing. The inside of the car was stripped. The hairs on the back of my neck just stood up.

I wiggled my arm out of the window and pulled the door handle from the outside.  I don’t know how I did it, but I got out. He tried to stop me by spinning the car but it sort of helped me fling myself out. I fell out and nearly got run over by a cab.

Afterwards I saw him on the news: It was Ted Bundy.

Debbie Harry, NYC, 1976 —  Image © Bob Gruen
Debbie Harry, NYC, 1976 —  Image © Bob Gruen

1978 — Debbie Harry of Blondie — Image by © Martyn Goddard/Corbis
Debbie Harry, New Jersey, 1978 – Image © Bob Gruen
Debbie Harry & Iggy Pop, Toronto, Canada, 1977 — Images © Bob Gruen

Debbie pictured with her iconic Warhol portrait © Brian Aris
Debbie pictured with her iconic Warhol portrait Image © Brian Aris
1982 — Debbie Harry of Blondie — Image by © Lynn Goldsmith/Corbis-
Los Angeles, California, 1977 — Clem Burke, Jimmy Destri, Chris Stein, Debbie Harry, Gary Valentine. — Image by © Michael Ochs Archives/Corbis
A young Debbie Harry

1978 — Debbie Harry and Chris Stein of Blondie — Image by © Martyn Goddard/Corbis
1978 — Debbie Harry, lead singer of Blondie — Image by © Lynn Goldsmith/Corbis
1979 — Blondie — Image by © Martyn Goddard/Corbis
CA.1980s — Debbie Harry of Blondie — Image by © Lynn Goldsmith/Corbis
Los Angeles, California, 1977 — New wave band Blondie, from left– Gary Valentine, Debbie Harry, Chris Stein, Jimmy Destri, and Clem Burke. — Image by © Henry Diltz/Corbis
1978 — Debbie Harry with a Knife — Image by © Lynn Goldsmith/Corbis
Debbie Harry, Basquiat, Fab Fred, NYC 1981 — Image by © Lynn Goldsmith
Debbie Harry during a Polaroid shoot with Andy Warhol. Photo by Christopher Makos, 1980.
Ca. 1970s — Rockers Vicki Blue, Joan Jett, Debbie Harry, David Johansen, Joey Ramone, and Mickey Leigh perform a fake wedding ceremony. — Image by © Corbis

Debbie Harry in Leather Knickers, Punk magazine centre-fold shoot by Chris Stein 1976
Debbie Harry in Leather Knickers, Punk magazine centre-fold shoot by Chris Stein 1976
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Debbie Harry (Blondie)/Joan Jett (The Runaways/Blackhearts) 
1978 — Joan Jett and Debbie Harry of Blondie backstage at the Tower Theatre in Philadelphia, PA at a gig featuring The Runaways, The Ramones & The Jam — Image by © Scott Weiner/Retna Ltd./Corbis
Debbie Harry and Nancy Spungen
The Clash with Al Fields, David Johansen and Debbie Harry, NYC, 1979 — Image by © Bob Gruen
Ca. 1970s — Debbie Harry of Blondie booty-bumpin’ a beater.
1978 — Debbie Harry and Chris Stein — Image by © Martyn Goddard/Corbis
1978, Philadelphia, PA — Chris Stein and Debbie Harry — Image by © Martyn Goddard/Corbis-
New York — An early publicity photo of new wave band Blondie. From left– Gary Valentine, Clem Burke, Debbie Harry, Chris Stein, and Jimmy Destri — Image by © Bettmann/Corbis
1978, London, England — Debbie Harry and Chris Stein of Blondie at the opening of Blondie in Camera exhibition at the Mirandy Gallery — Image by © Martyn Goddard/Corbis
1978, London, England — Debbie Harry of Blondie at the opening of Blondie in Camera exhibition at the Mirandy Gallery — Image by © Martyn Goddard/Corbis
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With unknown friend, David Jones

Debbie Harry, 1969

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dirty-harry

Original idea by JP in

CBGB’s 70’s Punk Scene by Godlis

1976-1978

CBGB’s House photographer

David Godlis was eyewitness to the 1970s New York punk scene. Here’s a very small sample of what you can find i his photo souvenir book on the CBGB with an intro by Jim Jarmusch who just did a documentary about The Stooges ”Gimme Danger”.

"The long view across Bowery that fabulous summer of 77" godlis,1977)
“The long view across Bowery that fabulous summer of 77” (Godlis,1977)
2. The club’s owner, Hilly Kristal, stands outside among the crowd waiting to get in (1977).
Hilly Kristal, Bowery. “Hilly overseeing his Bowery kingdom. It was essential that I had a good shot of him. But back then when I showed people this photo they would ask why I had a photo of this bearded guy in a flannel shirt mixed in with my pictures of punks on the Bowery. Now everyone knows. Without Hilly, I wouldn’t have any of these photos.” (Godlis, 1977)
3. Patti Smith, one of the first artists booked to play the club when it opened, arriving (1976).
Patti Smith, one of the first artists booked to play the club when it opened, arriving (Godlis,1976)
4. Sylvia Morales (who would go on to marry Lou Reed) and downtown scenester Mudd Club co-founder Anya Phillips strike a pose (1977).
Sylvia Morales (who would go on to marry Lou Reed) and downtown scenester/ Mudd Club co-founder Anya Phillips strike a pose (Godlis,1977)
Roberta Bayley, Mary Harron, John Holmstrom, CBGB. "All three were essential at the classic Punk Magazine. Roberta Bayley shot the cover of the first Ramones album and also worked the front desk at CBGB’s, Mary Harron did the first U.S. piece on the Sex Pistols for Punk and later directed many films including American Psycho, and John Holmstrom founded Punk magazine and still runs the punk empire online."(Godlis,1977)
Roberta Bayley, Mary Harron, John Holmstrom, CBGB. “All three were essential at the classic Punk Magazine. Roberta Bayley shot the cover of the first Ramones album and also worked the front desk at CBGB’s, Mary Harron did the first U.S. piece on the Sex Pistols for Punk and later directed many films including American Psycho, and John Holmstrom founded Punk magazine and still runs the punk empire online.”(Godlis,1977)
5. Garage punk band The Cramps standing outside the club (1977).
Psychobilly/Garage punk band The Cramps (Goldis,1977)
6. Music journalist Lester Bangs (1977).
Lester Bangs, CBGB. “Music journalist Lester Bangs brought his pen and typewriter to NYC to report on what was going on down on the Bowery. Here shown wearing a Punk Magazine T-shirt. (Godlis,1977)
7. Singer-songwriter Alex Chilton (1977).
Singer-songwriter Alex Chilton, Bowery. “Alex was a big photography fan, photographer William Eggleston being a family friend in Memphis. So we tried shooting this out on the Bowery median strip, getting very lucky when a drop of rain landed on the lens transforming this shot from pretty good to iconic. Used as the cover for his independent 45 ‘Bangkok,’ an outtake of this session is the cover of the recent biography ‘A Man Called Destruction,’ by Holly George-Warren.”(Godlis,1977)
Klaus Nomi, Christopher Parker, Jim Jarmusch, Bowery. "I knew Jim Jarmusch through a mutual friend studying film with him at NYU, and he was hanging out at CBGB's. Christopher Parker was in Jim’s first film 'Permanent Vacation.' And Klaus Nomi, was just getting ready to shine over at Club 57 in the next year or so.''(Godlis,1978)
Klaus Nomi, Christopher Parker, Jim Jarmusch, Bowery. “I knew Jim Jarmusch through a mutual friend studying film with him at NYU, and he was hanging out at CBGB’s. Christopher Parker was in Jim’s first film ‘Permanent Vacation.’ And Klaus Nomi, was just getting ready to shine over at Club 57 in the next year or so.”(Godlis,1978)
8. Patti Smith performing with the Patti Smith Group (1977).
Patti Smith performing with the Patti Smith Group (Godlis,1977)
9. Punk innovator Richard Hell performing (1978).
Punk innovator Richard Hell performing (Godlis,1978)
Richard Hell, Bowery, ''Around 3 a.m., I caught Richard exiting CBGB before catching a cab in the Bowery rain'' (Godlis 1977)
Richard Hell, Bowery, ”Around 3 a.m., I caught Richard exiting CBGB before catching a cab in the Bowery rain” (Godlis 1977)
10. The infamous bathroom stalls (1976).
CBGB’s Bathroom “The Metropolitan Museum of Art used this photo to recreate the legendary CBGB bathroom for their ‘Punk Couture’ show last year. That’s one way to get into the Met, I guess.”(Godlis,1976)
Legs-at-CBGB-by-GODLIS-w
Punk magazine co-founder Legs McNeil enjoying (?) a drink (Godlis, 1978)
12. The Talking Heads performing (1977).
Talking Heads, CBGB. “This was the first time they played CBGB as a foursome, after adding Jerry Harrison (formerly with the Modern Lovers). They used to do a great cover of 1910 Fruitgum Company’s ‘123 Red Light.’ It’s on YouTube.”(Godlis,1977)
13. Blondie performing (1977).
Blondie, CBGB. “Another view from the side of the stage. Debbie Harry with Chris Stein on slide guitar doing a cover of ‘Little Red Rooster’ at the Punk Magazine Benefit show.” (Godlis,1977)
14. Richard Manitoba, lead singer of the Dictators, and a friend stand beneath the awning of the club.
Dictators, Bowery. “I photographed ‘Handsome Dick’ Manitoba and his girlfriend Jody under the awning to thank him for returning my lost wallet. Considering that I used to have to explain to people what the letters CBGB OMFUG* meant every time I’d show this picture, I never could have imagined that CBGB would someday grace iconic T-shirts worldwide.” (Godlis.1976)
15. No wavers (which was a short-lived subculture for people who rejected the new wave musicart movement), waiting outside the club (1978).
No Wave Punks, Bowery. “I think it was Terry Ork who came up with the idea to name the next thing after New Wave, No Wave. All participants in this scene, here hanging right outside the club are Harold Paris, Kristian Hoffman, Diego Cortez, Anya Philips, Lydia Lunch, James Chance, Jim Sclavunos, Bradley Field and Liz Seidman. Well actually, Harold Paris was not a participant, but he was a best friend of Thurston Moore who once told me he should have been in this photo instead. He was probably standing right next to me when I took it, and his Volkswagen can be seen parked in the background.” (Godlis, 1978)
16. Dee Dee and Joey of the Ramones arriving at the club (1977).
Dee Dee and Joey Ramone, Bowery. “Dee Dee once told me that he chose this for the cover of his book “Poison Heart – Surviving The Ramones”, because he remembered this as a ‘really good night.’ I like that reason.” (Godlis,1977)
The Ramones, who are arguably one of the artists most closely associated with the CBGB, performing (Godlis,1977)
The Ramones, who are arguably one of the artists most closely associated with the CBGB, performing (Godlis,1977)
Ramones, CBGB. "I love that Joey Ramone is holding up the 'Gabba Gabba Hey' sign himself, before they started bringing Zippy onstage to hold it during 'Pinhead.''(Godlis,1977)
Ramones, CBGB. “I love that Joey Ramone is holding up the ‘Gabba Gabba Hey’ sign himself, before they started bringing Zippy onstage to hold it during ‘Pinhead.”(Godlis,1977)
CBGB Interior at Closing Time. "Walking out of the club at 4 a.m., it all looked so romantic to me." (Godlis,1977)
CBGB Interior at Closing Time. “Walking out of the club at 4 a.m., it all looked so romantic to me.” (Godlis,1977)
garbage truck
Garbage Truck, Bowery 4 a.m. “And here’s what it looked like out on Bowery after closing when the Garbage Trucks ruled the NYC streets. They still do.” (Godlis,1977)

10 Ramones Clips You Need To Watch!

ramonesJust click on pic for the clips!

When you boo the Ramones, you are booing rock’n’roll”; So said Supersuckers’ frontman Eddie Spaghetti. They could be the truest words ever uttered. Tommy Ramone, who died Friday on July 11th 2014 at the age of 65, was the band’s first official drummer and the cool, streetwise rogue in the shrunken black T-shirt and oversized shades staring out from the cover of that 29-minute-sprint-to-the-finish first album. An original member of the band, Tommy’s tenure in the group would last until 1978. During that time he played on arguably their three greatest records (RamonesLeave Home and Rocket To Russia), co-producing each and underpinning the songs with a high-energy, no-frills style that combined with Johnny Ramone’s buzzsaw guitar to propel their music to thrillingly unhinged heights. And if proof were needed of the NY punk icons’ foundation status in rock’s edifice, one need only survey the video evidence corralled below. Strap yourself in, and prepare to break the sound barrier with the Ramones Mark I at their very, very best.

tommy-ramones
Click!

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