As a teenager growing up in the suburbs of Nashville, I didn’t know a thing about CBGBs.
But I did know something about Blondie.
Well, okay, I didn’t know much beyond the fact that Debbie Harry was a former Playboy bunny (which was probably the most widely reported factoid about the band, as well as the most misunderstood by dinks like me who didn’t understand the difference between a Playboy bunny – i.e. a woman who worked in the club as a waitress – and a Playmate).
Not that it mattered, though – Debbie Harry may have been the glamorous frontwoman (and I’ll fully admit that white dress she wore on
the cover of Parallel Lines was part of the appeal), but Blondie had the musical talent to back it up.
Granted, my appreciation for disco may have made me receptive to their first major hit, “Heart Of Glass” – which I have on 45 – but their obsession with 60s pop and teenage-delinquent romance was just apparent on the B-side, “11:59”.
Which I listened to somewhat obsessively.
Seriously. I used to listen to this and think of it as the soundtrack for a short film about two teenage kids on the lam in a stolen car, racing to the coast and freedom, only to be confronted by a roadblock just shy of their destination – and they decide to go out like
Barry Newman in Vanishing Point, and floor it to fiery oblivion.
None of which you’d really find in the lyrics to the song. But that’s what it made me think about.
Like a bullet to the ocean,
This is dF