photo by nacrowe
my brother works at a place in NEW JERSEY where they fix consumer electronics on-site and an older customer came to him with an issue with her phone. he went about solving her problem by analyzing it and quickly realized by its contents who his client was and asked "are you?..." to which she replied "yes." my brother then went in the back area and started working on the phone and told his 20-something co-worker "just so you know, thats DEBBIE HARRY out there."
"who is DEBBIE HARRY?"
FACE IT (DEY STREET, 2019), the recently published memoir by legendary BLONDIE front-woman, actor and fashion icon DEBBIE HARRY is that rare outward statement by an artist that directly addresses their public persona. here HARRY incorporates dozens of portraits by fans through the years as a way of showcasing how enduring a cultural legacy her musical creation has been and how it has carried on much like that of her beloved idol MARILYN MONROE. all artists have personas and the idea of authenticity is a fraught concept to begin with, and i think that incorporating the fan aspect as a literal house of mirrors is an interesting take on the idea of fame.
because a lot of this book deals with BLONDIE before they became famous. it showcases a hungry upcoming band struggling in a post-apocalyptic downtown landscape in NYC during the 1970s when the social contract that binds us temporarily broke down. but in that chaos was a risk and reward with cheap housing and ample space to create. no doubt this story is important for her to tell because it showcases the psychical and emotional sacrifices she made pre-fame to chase her dream of being an artist. not a singer, but a multi-dimensional artist in a rich tapestry of like-minded souls that only an extended network like NYC could provide with the adjacent ANDY WARHOL/PAUL MORRISSEY scene and slow-churning band of misfits that made up the early punk scene.
a lot of times BLONDIE gets trapped into being NEW WAVE as their sound clashed with the likes of RICHARD HELL, TELEVISION and THE RAMONES, but this book puts that argument to shame. BLONDIE were PUNK. PUNK enough to do DISCO. her argument bases itself on her band's intent, as they were constantly pushing out their sound over several albums to expand and incorporate elements of JAZZ, ELECTRONIC MUSIC, AFRICAN and LATIN rhythms, R&B, HIP HOP and beyond. its hard to argue against that. plus not everyone needs to be PATTI SMITH.
the crux of this memoir seems to be her relationship with the BLONDIE character, which is really just a dialogue we all have with our pubic image. this is beyond prescient and meta when you consider that everyone with a social media account (cough, cough or blog) is putting out an image that may or may not jive with their real-world counterpart. HARRY dealt with this in real-time throughout with her career to unique extent that is probably only matched by movie stars and other high profile female musicians that are marketed based on their sexuality. most of the female musicians i have written BOOK REVIEWS for over time in this space (RONNIE SPECTOR, PATTI SCHEMEL, LILLY ALLEN, KIM GORDON, PATTI SMITH and CHRISSIE HYNDE) have largely had to deal with this issue, whether or not they abandoned it at some point. it is just an awful aspect of our culture that women are subject to being expendable once their perceived "beauty" has expired. for me HARRY is an archetype for this dilemma and her memoir shows her constant expansion into new territory and new creative relationships to date. to LADY MACBETH that shit and unsex her there. how do you follow up your third successful album, by collaborating with NILE ROGERS and having your album cover created by H.R. GIGER, duh. seems the logical choice for a commercial career trajectory.
i feel HARRY is still criminally underrated as an artist and this memoir does its part to argue in favor of her contributions separate from her BLONDIE persona.
but then again i am totally biased. like her, im from NEW JERSEY.