Robert Christgau

Robert Christgau

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Village Voice
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After Richard Goldstein left the Village Voice, Robert Christgau began his long tenure as the paper’s self-proclaimed “Dean of Rock Critics,” chronicling the rise of punk and other leftfield rock acts.

 

Tony Ingrassia Directs Blondie

Location

In 1975, Blondie performed as the backing band in a revival of Jackie Curtis’s Vain Victory, with Debbie Harry playing the role of Juicy Lucy and the boys in the band wearing identical blue sharkskin suits that Chris Stein found at a discount store on Broadway. Danny Fields wrote about the show in his SoHo Weekly News column, which was the first time Blondie was mentioned in print. “That was big for us at the time,” Stein recalled, “and we got a lot of attention. We got exposed to a lot of the intelligentsia through that.” Local media outlets like the SoHo Weekly News, Village Voice, and the soon-to-be-launched New York Rocker played a pivotal role in the development of the downtown’s various arts scenes. Influential rock writers like the Voice’s Robert Christgau publicized what was happening and accelerated their momentum, creating a kind of feedback loop. Tony Zanetta was also cast in the revival of Vain Victory with Blondie, which was directed by the ubiquitous Tony Ingrassia. “I think a singer or a star needs to be able to magnify their own personality,” Zanetta said, “and Tony was really, really good at that. I mean, he worked with Debbie Harry, Patti Smith, Wayne County, and Cherry Vanilla, and I think they all took something from those experiences.” Back in 1973, when the Stilettoes were performing at places like Bobern Bar and Grill, Harry and Stein hired Ingrassia to help the group with choreography, projecting a cohesive image, and singing with attitude. “Tony did a lot of stage work,” Stein said. “He was a very flamboyant and a loud guy, and was responsible for a lot of cool projects, even though he was very unsung.” Harry added, “He was a slave driver. He was making us work very hard and not to sing technically, but to sing emotionally. And that was a great lesson, to make sure that you really had a connection with what you were saying or talking about or singing about, rather than just singing a nice melody with good technique.”

From Chapter 30 of The Downtown Pop Underground — order online, or from a local independent bookstore