by T. S. Eliot | |
Cover page of The Egoist, Ltd.'s publication of Prufrock and Other Observations (1917) | |
First published in | June 1915 issue of Poetry[2] |
---|---|
Country | United States |
Language | English |
Publisher | magazine (1915): Harriet Monroe chapbook (1917): The Egoist, Ltd. (London)[1] |
Lines | 140 |
Pages | 6 (1915 printing)[2] 8 (1917 printing)[1] |
Read online | The Love Song of J. Alfred Prufrock at Wikisource |
'The Love Song of J. Alfred Prufrock', commonly known as 'Prufrock', is the first professionally published poem by American-born British poet T. S. Eliot (1888–1965). Eliot began writing 'Prufrock' in February 1910, and it was first published in the June 1915 issue of Poetry: A Magazine of Verse[2] at the instigation of Ezra Pound (1885–1972). It was later printed as part of a twelve-poem pamphlet (or chapbook) titled Prufrock and Other Observations in 1917.[1] At the time of its publication, Prufrock was considered outlandish,[3] but is now seen as heralding a paradigmatic cultural shift from late 19th-century Romantic verse and Georgian lyrics to Modernism.
The poem's structure was heavily influenced by Eliot's extensive reading of Dante Alighieri[4] and makes several references to the Bible and other literary works—including William Shakespeare's plays Henry IV Part II, Twelfth Night, and Hamlet, the poetry of seventeenth-century metaphysical poetAndrew Marvell, and the nineteenth-century French Symbolists. Eliot narrates the experience of Prufrock using the stream of consciousness technique developed by his fellow Modernist writers. The poem, described as a 'drama of literary anguish', is a dramatic interior monologue of an urban man, stricken with feelings of isolation and an incapability for decisive action that is said 'to epitomize frustration and impotence of the modern individual' and 'represent thwarted desires and modern disillusionment'.[5]
Prufrock laments his physical and intellectual inertia, the lost opportunities in his life and lack of spiritual progress, and he is haunted by reminders of unattained carnal love. With visceral feelings of weariness, regret, embarrassment, longing, emasculation, sexual frustration, a sense of decay, and an awareness of mortality, 'Prufrock' has become one of the most recognised voices in modern literature.[6]
- 1Composition and publication history
- 2Description
Composition and publication history[edit]
T. S. Eliot in 1923, photographed by Lady Ottoline Morrell
Writing and first publication[edit]
Eliot wrote 'The Love Song of J. Alfred Prufrock' between February 1910 and July or August 1911. Shortly after arriving in England to attend Merton College, Oxford, Eliot was introduced to American expatriate poet Ezra Pound, who instantly deemed Eliot 'worth watching' and aided the start of Eliot's career. Pound served as the overseas editor of Poetry: A Magazine of Verse and recommended to the magazine's founder, Harriet Monroe, that Poetry publish 'The Love Song of J. Alfred Prufrock', extolling that Eliot and his work embodied a new and unique phenomenon among contemporary writers. Pound claimed that Eliot 'has actually trained himself AND modernized himself ON HIS OWN. The rest of the promising young have done one or the other, but never both.'[7] The poem was first published by the magazine in its June 1915 issue.[2][8]
In November 1915 'The Love Song of J. Alfred Prufrock'—along with Eliot's poems 'Portrait of a Lady', 'The Boston Evening Transcript', 'Hysteria', and 'Miss Helen Slingsby'—was included in Catholic Anthology 1914–1915 edited by Ezra Pound and printed by Elkin Mathews in London.[9]:297 In June 1917 The Egoist, a small publishing firm run by Dora Marsden, published a pamphlet entitled Prufrock and Other Observations (London), containing twelve poems by Eliot. 'The Love Song of J. Alfred Prufrock' was the first in the volume.[1] Also Eliot was appointed assistant editor of the Egoist in June 1917.[9]:290
Prufrock's Pervigilium[edit]
According to Eliot biographer Lyndall Gordon, when Eliot was writing the first drafts of Prufrock in his notebook in 1910–1911, he intentionally kept four pages blank in the middle section of the poem.[10] According to the notebooks, now in the collection of the New York Public Library, Eliot finished the poem, which was originally published sometime in July and August 1911, when he was 22 years old.[11] In 1912, Eliot revised the poem and included a 38-line section now called 'Prufrock's Pervigilium' which was inserted on those blank pages, and intended as a middle section for the poem.[10] However, Eliot removed this section soon after seeking the advice of his fellow Harvard acquaintance and poet Conrad Aiken.[12] This section would not be included in the original publication of Eliot's poem but was included when published posthumously in the 1996 collection of Eliot's early, unpublished drafts in Inventions of the March Hare: Poems 1909–1917.[11] This Pervigilium section describes the 'vigil' of Prufrock through an evening and night[11]:41, 43–44, 176–90 described by one reviewer as an 'erotic foray into the narrow streets of a social and emotional underworld' that portray 'in clammy detail Prufrock's tramping 'through certain half-deserted streets' and the context of his 'muttering retreats / Of restless nights in one-night cheap hotels.''[13]
Critical reception[edit]
Its reception in London can be gauged from an unsigned review in The Times Literary Supplement on 21 June 1917. 'The fact that these things occurred to the mind of Mr. Eliot is surely of the very smallest importance to anyone, even to himself. They certainly have no relation to poetry.'[14]
The Harvard Vocarium at Harvard College recorded Eliot's reading of Prufrock and other poems in 1947, as part of their ongoing series of poetry readings by their authors.[15]
Description[edit]
Title[edit]
In his early drafts, Eliot gave the poem the subtitle 'Prufrock among the Women.'[11]:41 This subtitle was apparently discarded before publication. Eliot called the poem a 'love song' in reference to Rudyard Kipling's poem 'The Love Song of Har Dyal', first published in Kipling's collection Plain Tales from the Hills (1888).[16] In 1959, Eliot addressed a meeting of the Kipling Society and discussed the influence of Kipling upon his own poetry:
Traces of Kipling appear in my own mature verse where no diligent scholarly sleuth has yet observed them, but which I am myself prepared to disclose. I once wrote a poem called 'The Love Song of J. Alfred Prufrock': I am convinced that it would never have been called 'Love Song' but for a title of Kipling's that stuck obstinately in my head: 'The Love Song of Har Dyal'.[16]
However, the origin of the name Prufrock is not certain, and Eliot never remarked on its origin other than to claim he was unsure of how he came upon the name. Many scholars and indeed Eliot himself have pointed towards the autobiographical elements in the character of Prufrock, and Eliot at the time of writing the poem was in the habit of rendering his name as 'T. Stearns Eliot', very similar in form to that of J. Alfred Prufrock.[17] It is suggested that the name 'Prufrock' came from Eliot's youth in St. Louis, Missouri, where the Prufrock-Litton Company, a large furniture store, occupied one city block downtown at 420–422 North Fourth Street.[18][19][20] In a 1950 letter, Eliot said, 'I did not have, at the time of writing the poem, and have not yet recovered, any recollection of having acquired this name in any way, but I think that it must be assumed that I did, and that the memory has been obliterated.'[21]
Epigraph[edit]
The draft version of the poem's epigraph comes from Dante's Purgatorio (XXVI, 147–148):[11]:39, 41
'sovegna vos a temps de ma dolor'. Poi s'ascose nel foco che gli affina. | 'be mindful in due time of my pain'. Then dived he back into that fire which refines them.[22] |
He finally decided not to use this, but eventually used the quotation in the closing lines of his 1922 poem The Waste Land. The quotation that Eliot did choose comes from Dante also. Inferno (XXVII, 61–66) reads:
S`io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocchè giammai di questo fondo Non tornò vivo alcun, s'i'odo il vero, Senza tema d'infamia ti rispondo. | If I but thought that my response were made to one perhaps returning to the world, this tongue of flame would cease to flicker. But since, up from these depths, no one has yet returned alive, if what I hear is true, I answer without fear of being shamed.[23] |
In context, the epigraph refers to a meeting between Dante and Guido da Montefeltro, who was condemned to the eighth circle of Hell for providing counsel to Pope Boniface VIII, who wished to use Guido's advice for a nefarious undertaking. This encounter follows Dante's meeting with Ulysses, who himself is also condemned to the circle of the Fraudulent. According to Ron Banerjee, the epigraph serves to cast ironic light on Prufrock's intent. Like Guido, Prufrock had never intended his story to be told, and so by quoting Guido, Eliot reveals his view of Prufrock's love song.[24]
Frederick Locke contends that Prufrock himself is suffering from multiple personalities of sorts, and that he embodies both Guido and Dante in the Inferno analogy. One is the storyteller; the other the listener who later reveals the story to the world. He posits, alternatively, that the role of Guido in the analogy is indeed filled by Prufrock, but that the role of Dante is filled by you, the reader, as in 'Let us go then, you and I' (1). In that, the reader is granted the power to do as he pleases with Prufrock's love song.[25]
Themes and interpretation[edit]
Because the poem is concerned primarily with the irregular musings of the narrator, it can be difficult to interpret. Laurence Perrine wrote, '[the poem] presents the apparently random thoughts going through a person's head within a certain time interval, in which the transitional links are psychological rather than logical'.[26] This stylistic choice makes it difficult to determine exactly what is literal and what is symbolic. On the surface, 'The Love Song of J. Alfred Prufrock' relays the thoughts of a sexually frustrated middle-aged man who wants to say something but is afraid to do so, and ultimately does not.[26][27] The dispute, however, lies in to whom Prufrock is speaking, whether he is actually going anywhere, what he wants to say, and to what the various images refer.
The intended audience is not evident. Some believe that Prufrock is talking to another person[28] or directly to the reader,[29] while others believe Prufrock's monologue is internal. Perrine writes 'The 'you and I' of the first line are divided parts of Prufrock's own nature',[26] while Mutlu Konuk Blasing suggests that the 'you and I' refers to the relationship between the dilemmas of the character and the author.[30] Similarly, critics dispute whether Prufrock is going somewhere during the course of the poem. In the first half of the poem, Prufrock uses various outdoor images (the sky, streets, cheap restaurants and hotels, fog), and talks about how there will be time for various things before 'the taking of a toast and tea', and 'time to turn back and descend the stair.' This has led many to believe that Prufrock is on his way to an afternoon tea, where he is preparing to ask this 'overwhelming question'.[26] Others, however, believe that Prufrock is not physically going anywhere, but rather, is playing through it in his mind.[29][30]
Perhaps the most significant dispute lies over the 'overwhelming question' that Prufrock is trying to ask. Many believe that Prufrock is trying to tell a woman of his romantic interest in her,[26] pointing to the various images of women's arms and clothing and the final few lines in which Prufrock laments that the mermaids will not sing to him. Others, however, believe that Prufrock is trying to express some deeper philosophical insight or disillusionment with society, but fears rejection, pointing to statements that express a disillusionment with society, such as 'I have measured out my life with coffee spoons' (line 51). Many believe that the poem is a criticism of Edwardian society and Prufrock's dilemma represents the inability to live a meaningful existence in the modern world.[31] McCoy and Harlan wrote 'For many readers in the 1920s, Prufrock seemed to epitomize the frustration and impotence of the modern individual. He seemed to represent thwarted desires and modern disillusionment.'[29]
In general, Eliot uses imagery which is indicative of Prufrock's character,[26] representing aging and decay. For example, 'When the evening is spread out against the sky / Like a patient etherized upon a table' (lines 2–3), the 'sawdust restaurants' and 'cheap hotels', the yellow fog, and the afternoon 'Asleep..tired.. or it malingers' (line 77), are reminiscent of languor and decay, while Prufrock's various concerns about his hair and teeth, as well as the mermaids 'Combing the white hair of the waves blown back / When the wind blows the water white and black,' show his concern over aging.
Use of allusion[edit]
Like many of Eliot's poems, 'The Love Song of J. Alfred Prufrock' makes numerous allusions to other works, which are often symbolic themselves.
- In 'Time for all the works and days of hands' (29) the phrase 'works and days' is the title of a long poem – a description of agricultural life and a call to toil – by the early Greek poet Hesiod.[26]
- 'I know the voices dying with a dying fall' (52) echoes Orsino's first lines in Shakespeare's Twelfth Night.[26]
- The prophet of 'Though I have seen my head (grown slightly bald) brought in upon a platter / I am no prophet — and here's no great matter' (81–2) is John the Baptist, whose head was delivered to Salome by Herod as a reward for her dancing (Matthew 14:1–11, and Oscar Wilde's play Salome).[26]
- 'To have squeezed the universe into a ball' (92) and 'indeed there will be time' (23) echo the closing lines of Marvell's 'To His Coy Mistress'. Other phrases such as, 'there will be time' and 'there is time' are reminiscent of the opening line of that poem: 'Had we but world enough and time'. Marvell's words in turn echo the General Prologue of Chaucer's Canterbury Tales, 'whil I have tyme and space'.[26]
- ''I am Lazarus, come from the dead'' (94) may be either the beggar Lazarus (of Luke 16) returning for the rich man who was not permitted to return from the dead to warn the brothers of a rich man about Hell, or the Lazarus (of John 11) whom Christ raised from the dead, or both.[26]
- 'Full of high sentence' (117) echoes Chaucer's description of the Clerk of Oxford in the General Prologue to The Canterbury Tales.[26]
- 'There will be time to murder and create' is a biblical allusion to Ecclesiastes 3.[26]
- In the final section of the poem, Prufrock rejects the idea that he is Prince Hamlet, suggesting that he is merely 'an attendant lord' (112) whose purpose is to 'advise the prince' (114), a likely allusion to Polonius — Polonius being also 'almost, at times, the Fool.'
- 'Among some talk of you and me' may be[32] a reference to Quatrain 32 of Edward FitzGerald's translation of the Rubaiyat of Omar Khayyam ('There was a Door to which I found no Key / There was a Veil past which I could not see / Some little Talk awhile of Me and Thee / There seemed — and then no more of Thee and Me.')
See also[edit]
Notes[edit]
- ^ abcdEliot, T. S. Prufrock and Other Observations (London: The Egoist, Ltd., 1917), 9–16.
- ^ abcdEliot, T. S. 'The Love Song of J. Alfred Prufrock' in Monroe, Harriet (editor), Poetry: A Magazine of Verse (June 1915), 130–135.
- ^Eliot, T. S. (21 December 2010). The Waste Land and Other Poems. Broadview Press. p. 133. ISBN978-1-77048-267-8. Retrieved 9 July 2017. (citing an unsigned review in Literary Review. 5 July 1917, vol. lxxxiii, 107.)
- ^Hollahan, Eugene (March 1970). 'A Structural Dantean Parallel in Eliot's 'The Love Song of J. Alfred Prufrock''. American Literature. 1. 42: 91–93. doi:10.2307/2924384. ISSN0002-9831.
- ^McCoy, Kathleen, and Harlan, Judith. English Literature From 1785 (New York: HarperCollins, 1992), 265–66. ISBN006467150X
- ^Bercovitch, Sacvan. The Cambridge History of American Literature. Volume 5. (Cambridge: Cambridge University Press, 2003), 99. ISBN0521497310
- ^Capitalization and italics original. Quoted in Mertens, Richard. 'Letter By Letter' in The University of Chicago Magazine (August 2001). Retrieved 23 April 2007.
- ^Southam, B.C. A Guide to the Selected Poems of T.S. Eliot. (New York: Harcourt, Brace & Company, 1994), 45. ISBN057117082X
- ^ abMiller, James Edward. T. S. Eliot: The Making of an American poet, 1888–1922. (State College, Pennsylvania: Pennsylvania State University Press, 2005) ISBN0271026812
- ^ abGordon, Lyndall. Eliot's New Life. (Oxford: Oxford University Press, 1988), 45.
- ^ abcdeEliot, T. S., and Ricks, Christopher B. (editor). Inventions of the March Hare: Poems 1909–1917 Ed. Christopher B. Ricks. (New York: Harcourt, 1996).
- ^Mayer, Nicholas B (2011). 'Catalyzing Prufrock'. Journal of Modern Literature. 34 (3): 182. doi:10.2979/jmodelite.34.3.182. JSTOR10.2979/jmodelite.34.3.182.
- ^Jenkins, Nicholas. 'More American Than We Knew: Nerves, exhaustion and madness were at the core of Eliot's early imaginative thinking' in The New York Times (20 April 1997). This is a 1997 book review of Inventions of the March Hare:Poems 1909–1917, vide supra. Retrieved 12 June 2013.
- ^Waugh, Arthur. The New Poetry, Quarterly Review, October 1916, citing the Times Literary Supplement 21 June 1917, no. 805, 299; Wagner, Erica (2001) 'An eruption of fury', The Guardian, letters to the editor, 4 September 2001. Wagner omits the word 'very' from the quote.
- ^Woodberry Poetry Room (Harvard College Library). Poetry Readings: Guide
- ^ abEliot, T. S. 'The Unfading Genius of Rudyard Kipling' in Kipling Journal (March 1959), 9.
- ^Eliot, T. S. The Letters of T. S. Eliot. (New York: Harcourt, Brace Jovanovich, 1988). 1:135.
- ^Montesi, Al, and Deposki, Richard. Downtown St. Louis (Arcadia Publishing, 2001), 65. ISBN0-7385-0816-0
- ^Christine H. The Daily Postcard: Prufrock-Litton – St. Louis, Missouri. Retrieved 21 February 2012.
- ^Missouri History Museum. Lighting fixture in front of Prufrock-Litton Furniture Company. Retrieved 11 June 2013.
- ^Stepanchev, Stephen. 'The Origin of J. Alfred Prufrock' in Modern Language Notes. (1951), 66:400–401. JSTOR2909497
- ^Eliot provided this translation in his essay 'Dante' (1929).
- ^Dante Alighieri, and Hollander Robert and Hollander, Jean (translators), The Inferno. (Princeton: Princeton Dante Project). Retrieved 3 November 2011.
- ^Banerjee, Ron D. K. 'The Dantean Overview: The Epigraph to 'Prufrock' in Comparative Literature. (1972) 87:962–966. JSTOR2907793
- ^Locke, Frederick W. 'Dante and T. S. Eliot's Prufrock.' in Modern Language Notes. (1963) 78:51–59. JSTOR3042942
- ^ abcdefghijklmPerrine, Laurence. Literature: Structure, Sound, and Sense, 1st edition. (New York: Harcourt, Brace & World, 1956), 798.
- ^'On 'The Love Song of J. Alfred Prufrock' ', Modern American Poetry, University of Illinois (accessed 20 April 2019).
- ^Headings, Philip R. T. S. Eliot. (Boston: Twayne Publishers, 1982), 24–25.
- ^ abcHecimovich, Gred A (editor). English 151-3; T. S. Eliot 'The Love Song of J. Alfred Prufrock' notes (accessed 14 June 2006), from McCoy, Kathleen; Harlan, Judith. English Literature from 1785. (New York: HarperCollins, 1992).
- ^ abBlasing, Mutlu Konuk, 'On 'The Love Song of J. Alfred Prufrock', in American Poetry: The Rhetoric of Its Forms (New Haven: Yale University Press, 1987). ISBN0300037937
- ^Mitchell, Roger. 'On 'The Love Song of J. Alfred Prufrock', in Myers, Jack and Wojahan, David (editors). A Profile of Twentieth-Century American Poetry. (Carbondale, Illinois: Southern Illinois University Press, 1991). ISBN0809313480
- ^Schimanski, Johan Annotasjoner til T. S. Eliot, 'The Love Song of J. Alfred Prufock' (at Universitetet i Tromsø). Retrieved 8 August 2006.
Further reading[edit]
- Drew, Elizabeth. T. S. Eliot: The Design of His Poetry (New York: Charles Scribner's Sons, 1949).
- Gallup, Donald. T. S. Eliot: A Bibliography (A Revised and Extended Edition) (New York: Harcourt Brace & World, 1969), 23, 196.
- Luthy, Melvin J. 'The Case of Prufrock's Grammar' in College English (1978) 39:841–853. JSTOR375710.
- Soles, Derek. 'The Prufrock Makeover' in The English Journal (1999), 88:59–61. JSTOR822420.
- Sorum, Eve. 'Masochistic Modernisms: A Reading of Eliot and Woolf.' Journal of Modern Literature. 28 (3), (Spring 2005) 25–43. doi:10.1353/jml.2005.0044.
- Sinha, Arun Kumar and Vikram, Kumar. 'The Love Song of J Alfred Prufrock' (Critical Essay with Detailed Annotations)' in T. S. Eliot: An Intensive Study of Selected Poems (New Delhi: Spectrum Books Pvt. Ltd, 2005).
- Walcutt, Charles Child. 'Eliot's 'The Love Song of J. Alfred Prufrock'' in College English (1957) 19:71–72. JSTOR372706.
External links[edit]
Wikisource has original text related to this article: |
- Text and extended audio discussion of the poem
- The Love Song of J. Alfred Prufrock at the British Library
- Prufrock and Other Observations at Project Gutenberg
- Love Song of J. Alfred Prufrock public domain audiobook at LibriVox
Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Love_Song_of_J._Alfred_Prufrock&oldid=904232373'
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Vibe: You never forget your first time.
'Something' - The Beatles
Most romantic line: 'Something in the way she moves / Attracts me like no other lover / Something in the way she woos me / I don't want to leave her now.'
Vibe: It's complicated.
'All of Me' - John Legend
Most romantic line: 'Cause all of me / Loves all of you / Love your curves and all your edges / All your perfect imperfections.'
Vibe: Picturing your 50th wedding anniversary.
'Drops of Jupiter' - Train
Most romantic line: 'But tell me did the wind sweep you off your feet / Did you finally get the chance to dance along the light of day / And head back to the milky way / And tell me, did Venus blow your mind / Was it everything you wanted to find / And did you miss me while you were looking for yourself out there?'
Vibe: Being very into metaphors and not feeling bad about it.
'How Sweet It Is' - James Taylor
Most romantic line: 'I needed the shelter of someone's arms / And there you were / I needed someone to understand my ups and downs / And there you were.'
Vibe: Grateful for your S.O.
'I Really Like You' - Carly Rae Jepsen
Most romantic line: 'Late night watching television / But how'd we get in this position? / It's way too soon, I know this isn't love.'
Vibe: A really (really, really, really, really, really) good Tinder date.
'Your Song' - Elton John
Most romantic line: 'I hope you don't mind / That I put down in words / How wonderful life is while you're in the world.'
Vibe: Classic.
'Let's Stay Together' - Al Green
Most romantic line: 'I'm so in love with you / Whatever you want to do / Is all right with me / Cause you make me feel so brand new / And I want to spend my life with you.'
Vibe: First love.
'The Way You Make Me Feel' - Michael Jackson
Most romantic line: 'I like the feelin' you're givin' me / Just hold me baby and I'm in ecstasy.'
Vibe: That sexy dance class scene from Center Stage.
'Bleeding Love' - Leona Lewis
Most romantic line: 'But I don't care what they say, I'm in love with you / They try to pull me away, but they don't know the truth.'
Vibe: Getting dramatic about your 'haters.'
'Wildest Dreams' - Taylor Swift
Most romantic line: 'You see me in hindsight / Tangled up with you all night / Burn it down / Some day when you leave me / I bet these memories hunt you around.'
Vibe: Looking for a sexy fling.
'At Last' - Etta James
Most romantic line: 'At last my love has come along / My lonely days are over / And life is like a song.'
Vibe: A wedding that you actually want to be at.
'A Thousand Miles' - Vanessa Carlton
Most romantic line: 'If I could fall into the sky / Do you think time would pass me by? / 'Cause you know I'd walk a thousand miles / If I could just see you tonight.'
Vibe: The year 2000.
'Fidelity' - Regina Spektor
Most romantic line: 'Suppose I never ever met you / Suppose we never fell in love / Suppose I never ever let you / Kiss me so sweet and so soft.'
Vibe: Indie cool.
'Just the Way You Are' - Bruno Mars
Most romantic line: 'Oh, you know, you know, you know I'd never ask you to change / If perfect's what you're searching for, then just stay the same.'
Song Lyric Quotes 2018
Vibe: Everything you wrote about wanting in your middle school diary.
'Wouldn't It Be Nice?' - The Beach Boys
Most romantic line: 'You know it seems the more we talk about it / It only makes it worse to live without it / But let's talk about it / Wouldn't it be nice?'
Vibe: Crushing on John Stamos as Uncle Jesse.
'You and I Both' - Jason Mraz
Most romantic line: 'Cause you and I both loved / What you and I spoke of / And others just read of / Others only read of the love, the love that I love.'
Vibe: Feeling very superior about your relationship.
'You Make My Dreams' - Hall & Oates
Most romantic line: 'And wrap yourself around me / 'Cause I ain't the way you found me / And I'll never be the same, oh yeah.'
Vibe: Joseph Gordon-Levitt in (500) Days of Summer.
'Young and Beautiful' - Lana Del Rey
Most romantic line: 'Will you still love me / When I'm no longer young and beautiful? / Will you still love me / When I've got nothing but my aching soul? / I know you will, I know you will.'
Vibe: Long sighs that borderline annoy everyone else, but feel right to you.
'Perfect' - Ed Sheeran ft. Beyoncé
Most romantic line: 'I'm dancing in the dark / With you between my arms / Barefoot on the grass / While listening to our favorite song.'
Vibe: Cheesy on purpose.
'Friday I'm in Love' - The Cure
Most romantic line: 'I don't care if Monday's black / Tuesday, Wednesday heart attack / Thursday never looking back / It's Friday I'm in love.'
Vibe: Watching any given Sofia Coppola movie.
'Love on the Brain' - Rihanna
Most Romantic line: 'Must be love on the brain / That's got me feeling this way / It beats me black and blue but it fucks me so good / And I can't get enough.'
Vibe: Sex.
'Sea of Love' - Cat Power
Most romantic line: 'Do you remember when we met? / That's the day I knew you were my pet.'
Vibe: Creating a mix and feeling smug about your taste.
'Suzanne' - Leonard Cohen
Most romantic line: 'Suzanne takes you down to her place near the river / You can hear the boats go by, you can spend the night forever / And you know that she's half-crazy but that's why you want to be there.'
Vibe: Realizing your parents don't have terrible taste in music after all.
'Can't Help Falling in Love' - Elvis
Most romantic line: 'Take my hand, take my whole life too / For I can't help falling in love with you.'
Vibe: Sobbing at a wedding.
'Maps' - The Yeah Yeah Yeahs
Most romantic line: 'Wait, they don't love you like I love you.'
Vibe: When you were a hipster and refused to admit it.
'Halo' - Beyoncé
Most romantic line: 'Hit me like a ray of sun / Burning through my darkest night / You're the only one that I want / Think I'm addicted to your light.'
Vibe: The person you love doesn't love you back so you listen to this 12 times a day.
'Wonderwall' - Oasis
Most romantic line: 'I don't believe that anybody / Feels the way I do about you now.'
Vibe: Not ashamed.
'You Send Me' - Sam Cooke
Most romantic line: 'At first I thought it was infatuation / But, wooh, it's lasted so long / Now I find myself wanting / To marry you and take you home.'
Vibe: Planning a wedding even though you're not engaged yet.
'Playground Love' - Air
Most romantic line: 'I'm a high school lover / And you're my favorite flavor / Love is all, all my soul / You're my playground love.'
Vibe: Watching some more Sofia Coppola movies.
'I Found a Reason' - The Velvet Underground
Most romantic line: 'I found a reason to keep livin' / Oh, and the reason dear is you.'
Vibe: Wes Anderson.
'Nothing Compares 2U' - Sinéad O'Connor
Most romantic line: 'I went to the doctor and guess what he told me? Guess what he told me? / He said girl you better try to have fun / No matter what you do, but he's a fool / 'Cause nothing compares / Nothing compares to you.'
Vibe: Crying hysterically after two glasses of wine.
'In Love with You' - Erykah Badu
Most romantic line: 'I remember the first time that we met yo / How could I forget? / When you smiled and I turned and said to you / Yo, you're pure and true.'
Vibe: Finding your soul mate.
'Wonderful Tonight' - Eric Clapton
Most romantic line: 'It's time to go home now and I've got an aching head / So I give her the car keys and she helps me to bed / And then I tell her, as I turn out the light / I say, 'My darling, you were wonderful tonight.'
Vibe: Your mom's record collection.
'Made for You' - Alexander Cardinale
Most romantic lyrics: 'Any other guy / That made you say goodbye / Must've been a fool / But darling I was made for you.'
Vibe: You in high school, feeling all the feelings.
'The Way You Look Tonight' - Frank Sinatra
Most romantic line: 'Some day, when I'm awfully low / When the world is cold / I will feel a glow just thinking of you.'
Vibe: Any movie starring Julia Roberts.
'I Could Fall in Love' - Selena
Most romantic line: 'Cause I could take in my arms / And never let go / I could fall in love with you.'
Vibe: Feeling a little cheesy and very here for it.
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Parallel Lines | ||||
---|---|---|---|---|
Studio album by | ||||
Released | September 23, 1978 | |||
Recorded | June–July 1978 | |||
Studio | Record Plant, New York City | |||
Genre | ||||
Length | 39:06 | |||
Label | Chrysalis | |||
Producer | Mike Chapman | |||
Blondie chronology | ||||
| ||||
Singles from Parallel Lines | ||||
|
Parallel Lines is the third studio album by American rock band Blondie. It was released on September 23, 1978, by Chrysalis Records to international commercial success. The album reached No. 1 in the United Kingdom in February 1979 and proved to be the band's commercial breakthrough in the United States, where it reached No. 6 in April 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in the top pop albums year-end chart of 1979. As of 2008, the album had sold over 20 million copies worldwide.[1] The album spawned several successful singles, notably the international hit 'Heart of Glass'.
- 8Track listing
- 9Personnel
- 10Charts
Background[edit]
'Musically, Blondie were hopelessly horrible when we first began rehearsing for Parallel Lines, and in terms of my attitude they didn't know what had hit them. I basically went in there like Adolf Hitler and said, 'You are going to make a great record, and that means you're going to start playing better.'
—Mike Chapman, in an interview for Sound on Sound, recalling Blondie's initial musical inexperience[2]
In February 1978, Blondie released their second studio album Plastic Letters. It was their last album produced by Richard Gottehrer, whose sound had formed the basis of Blondie's new wave and punk output.[3] During a tour of the west coast of the US in support of Plastic Letters, Blondie encountered Australian producer Mike Chapman in California. Peter Leeds, Blondie's manager, conspired with Chrysalis Records to encourage Chapman to work with Blondie on new music. Drummer Clem Burke recalls feeling enthusiastic about the proposition, believing Chapman could create innovative and eclectic records. However, lead vocalist Debbie Harry was far less enthusiastic about Chapman's involvement as she knew him only by reputation; according to Chapman, her animosity towards him was because 'they were New York. [He] was L.A.'. Harry's cautiousness abated after she played Chapman early cuts of 'Heart of Glass' and 'Sunday Girl' and he was impressed.[4]
Recording[edit]
In June 1978 the band entered the Record Plant in New York to record their third album, and first with Chapman.[4] However, Chapman found the band difficult to work with, remembering them as the worst band he ever worked with in terms of musical ability, although praising Frank Infante as 'an amazing guitarist'. Sessions with Chris Stein were hampered by his being stoned during recording, and Chapman encouraged him to write songs rather than play guitar. Similarly, according to Chapman, Jimmy Destri would prove himself to be far better at songwriting than as a keyboardist and Clem Burke had poor timing playing drums. As a result, Chapman spent time improving the band, especially Stein with whom Chapman spent hours rerecording his parts to ensure they were right.[2] Bassist Nigel Harrison became so frustrated with Chapman's drive for perfectionism that he threw a synthesizer at him during recording.[4] Chapman recalls the atmosphere at the Record Plant in an interview for Sound on Sound:
The Blondies were tough in the studio, real tough. None of them liked each other, except Chris and Debbie, and there was so much animosity. They were really, really juvenile in their approach to life—a classic New York underground rock band—and they didn't give a fuck about anything. They just wanted to have fun and didn't want to work too hard getting it.[2]
Chapman took an unorthodox approach when recording with Harry whom he describes as 'a great singer and a great vocal stylist, with a beautifully identifiable voice. However .. also very moody'. Chapman was far more cautious of demanding much from Harry as he saw her as a highly emotional person who would vest these emotions in the songs they made. He remembers Harry disappearing into the bathroom in tears for several hours at a time during recording.[2] During a day of recording, Harry sang two lead parts and some harmonies, less work than she did previously with Gottehrer. This was due to Chapman encouraging her to be cautious about the way she sang, particularly to recognise phrasing, timing and attitude.[4]
Blondie recorded Parallel Lines in six weeks, despite being given six months by Terry Ellis, co-founder of Chrysalis Records, to do so.[2][4] A traditional set-up was used and Chapman fitted Neumann microphones to the toms, snare and hi-hat, as well as several above the site. When recording, Chapman would start with the basic track, which was difficult to record at the time by way of 'pencil erasing'. Chapman explained in an interview for Sound on Sound, 'that meant using a pencil to hold the tape away from the head and erasing up to the kick drum. If a bass part was ahead of the kick, you could erase it so that it sounded like it was on top of the kick. That's very easy to do these days, but back then it was quite a procedure just to get the bottom end sounding nice and tight.' A DI/amp method was used to record Harrison's bass and Destri's synthesizer, while Shure SM57 and AKG 414 microphones were used to capture Infante's Les Paul guitar.[2]King Crimson guitarist Robert Fripp makes a guest appearance on his main instrument on 'Fade Away and Radiate'.
After the basic track was complete, Chapman would record lead and backing vocals with Harry. However, this process was hampered by many songs not being written in time for the vocals to be recorded. 'Sunday Girl', 'Picture This' and 'One Way Or Another' were all unfinished during the rehearsal sessions. When recording vocal parts, Chapman remembers asking Harry if she was ready to sing, only for her to reply 'Yeah, just a minute' as she was still writing lyrics down. Chapman notes that many 'classic' songs from the album were created this way.[2]
During the last session at the Record Plant, the band were asleep on the floor only to be awakened at six o'clock in the morning by Mike Chapman and his engineer Peter Coleman leaving for Los Angeles with the tape tracks.[4] Despite Blondie's belief that Parallel Lines would resonate with a wider audience, Chrysalis Records was not as enthusiastic and label executives told them to start again, only to be dissuaded by Chapman's assurance that its singles would prove popular.
Music and lyrics[edit]
According to music journalist Robert Christgau, Parallel Lines was a pop rock album in which Blondie achieved their 'synthesis of the Dixie Cups and the Electric Prunes'.[5] Its style of 'state-of-the-art pop/rock circa 1978', as AllMusic's William Ruhlmann described it, showed Blondie deviating from new wave and emerging as 'a pure pop band.'[6]Ken Tucker believed the band had eschewed the 'brooding artiness' of their previous albums for more hooks and pop-oriented songs.[7] Chapman later said, 'I didn't make a punk album or a New Wave album with Blondie. I made a pop album.'[8] The album's eleven pop songs have refined melodics, and its sole disco song, 'Heart of Glass', features jittery keyboards, rustling cymbals by drummer Clem Burke, and a circular rhythm.[9] Burke credited Kraftwerk and the soundtrack to the film Saturday Night Fever as influences for the song and said that he was 'trying to get that groove that the drummer for the Bee Gees had'.[10]
Lyrically, Parallel Lines abandoned what Rolling Stone magazine's Arion Berger called the 'cartoonish postmodernist referencing' of Blondie's previous new wave songs in favor of a 'romantic fatalism' that was new for the band.[9] 'Sunday Girl' deals with the theme of teen loneliness, while 'Fade Away and Radiate' is about falling in love with dead movie stars. On the latter song, Debbie Harry, who daydreamed as a child that Marilyn Monroe was her birth mother, compares a flickering image onscreen to the light of a dying sun. Music critic Rob Sheffield said that the lyric 'dusty frames that still arrive / die in 1955' is the 'best lyric in any rock'n'roll song, ever, and it's still the ultimate statement of a band that always found some pleasure worth exploiting in the flashy and the temporary.'[11]
Title and packaging[edit]
Parallel Lines took its name from an unused track written by Harry, the lyrics of which were included in the first vinyl edition of the album. The cover sleeve image was photographed by Edo Bertoglio and was chosen by Blondie's manager, Peter Leeds, despite being rejected by the band. The photo shows the band posing in matching dress suits and smiling broadly in contrast to Harry who poses defiantly with her hands on her hips while wearing a white dress and high heels.[4] According to music journalist Tim Peacock, the cover became 'iconic – and instantly recognisable'.[12]
Release and promotion[edit]
The album was released by Chrysalis on September 23, 1978,[12] to international success.[13] In the United Kingdom, it reached the top of the albums chart with the help of 'Picture This' and 'Hanging on the Telephone', which had been released as singles and charted in the top-20 of the singles chart there. Blondie embarked on a sold-out tour of the UK and appeared at an autograph signing event for Our Price Records on Kensington High Street; according to Peacock, it 'descended into Beatlemania-esque chaos when the band were mobbed by thousands of fans'. In January 1979, they achieved their first British number-one hit when 'Heart of Glass' was released as the next single.[12]
Parallel Lines was also a commercial success elsewhere in Europe, Australia, and the United States, where the band had struggled to sell their previous records. 'Heart of Glass' became their first number-one hit on the American Billboard Hot 100, with help from a promotional video directed by Stanley Dorfman depicting Blondie in a performance of the song at a fashionable nightclub in New York. The single was 'responsible for turning the band into bona fide superstars', Peacock said. Since then, the album has sold more than 20 million copies worldwide.[12]
Critical reception[edit]
Retrospective professional ratings | |
---|---|
Review scores | |
Source | Rating |
AllMusic | [14] |
Blender | [15] |
Christgau's Record Guide | A[16] |
Entertainment Weekly | B[17] |
Pitchfork | 9.7/10[18] |
Q | [19] |
Rolling Stone | [9] |
The Rolling Stone Album Guide | [20] |
Slant Magazine | [21] |
Spin Alternative Record Guide | 10/10[22] |
Contemporary reviews of the album were near-universally positive.[12] Writing in The Village Voice in 1978, Christgau said although Blondie still could not write a perfect hit single, the record was a consistent improvement over Plastic Letters.[5] Years later, he wrote in Blender that it was 'a perfect album in 1978' and remained so with 'every song memorable, distinct, well-shaped and over before you get antsy. Never again did singer Deborah Harry, mastermind Chris Stein and their able four-man cohort nail the band's signature paradoxes with such unfailing flair: lowbrow class, tender sarcasm, pop rock.'[23] Darryl Easlea from BBC, who felt the record combined power pop and new wave styles, credited Mike Chapman's production and flair for pop songwriting for helping make Parallel Lines an extremely popular album in the United Kingdom, where it was a number-one hit and charted for 106 weeks during the late 1970s.[24]Q magazine called the album 'a crossover smash with sparkling guitar sounds, terrific hooks and middle-eights more memorable than some groups' choruses.'[19]
In a retrospective appraisal of 1970s post-punk albums, Spin magazine's Sasha Frere-Jones said Parallel Lines may have been 'the perfect pop-rock record' and Blondie's best album.[25] Christian John Wikane from PopMatters later called it 'a creative and commercial masterpiece by Blondie .. indisputably one of the great, classic albums of the rock and roll era.'[26] In the opinion of Pitchfork critic Scott Plagenhoef, the album popularized 'the look and sound of 1980s new wave' with classic songs that showcased the depth and complexity of Harry's sexuality and singing.[18] Sal Cinquemani from Slant Magazine was also impressed by her singing, which he felt varied from 'purring like a kitten and then building to a mean growl', and cited 'Heart of Glass' as the album's best track because of her 'honey-dipped vocal'.[21]
Parallel Lines was ranked at number 140 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time,[10] number 18 and 45 on NME's 100 Best Albums of All Time[27] and 500 Greatest Albums of All Time[28][29] respectively, and number 7 on Blender's 100 Greatest American Albums of All Time.[30]Rolling Stone wrote that the album was 'where punk and New Wave broke through to a mass U.S. audience'.[10] The album was also ranked at number 94 by Channel 4's list of 100 greatest albums of all time.[31]Parallel Lines was ranked the 76th best album of the 1970s by Pitchfork.[32]
Reissues[edit]
The album was reissued and remastered in 2001 along with Blondie's back catalog and featured four bonus tracks: a 1978 demo of 'Heart of Glass', live cover of T. Rex's song 'Bang a Gong (Get It On)' and two live tracks taken from Picture This Live live album.[33]
On June 24, 2008, an expanded 30th Anniversary Edition of the album was released,[34] which featured new artwork[35] and bonus tracks along with bonus DVD.[36] The liner notes once again featured lyrics to the unfinished 'Parallel Lines' song. The Parallel Lines 30th Anniversary Edition included the 7' single version of 'Heart of Glass', which was featured on the original pressing of the album, the French version of 'Sunday Girl' and some remixes, plus a DVD with albums, promo videos and TV performance.
The band also launched a world tour of the same name to promote the re-release and celebrate the event.[37]
Track listing[edit]
Side one | |||
---|---|---|---|
No. | Title | Writer(s) | Length |
1. | 'Hanging on the Telephone' (The Nerves cover) | Jack Lee | 2:17 |
2. | 'One Way or Another' | Deborah Harry, Nigel Harrison | 3:31 |
3. | 'Picture This' | Harry, Chris Stein, Jimmy Destri | 2:53 |
4. | 'Fade Away and Radiate' | Stein | 3:57 |
5. | 'Pretty Baby' | Harry, Stein | 3:16 |
6. | 'I Know but I Don't Know' | Frank Infante | 3:53 |
Side two | |||
---|---|---|---|
No. | Title | Writer(s) | Length |
7. | '11:59' | Destri | 3:19 |
8. | 'Will Anything Happen?' | Jack Lee | 2:55 |
9. | 'Sunday Girl' | Stein | 3:01 |
10. | 'Heart of Glass' | Harry, Stein | 3:54 |
11. | 'I'm Gonna Love You Too' (Buddy Holly cover) | Joe B. Mauldin, Niki Sullivan, Norman Petty | 2:03 |
12. | 'Just Go Away' | Harry | 3:21 |
2001 remastered reissue bonus tracks | |||
---|---|---|---|
No. | Title | Writer(s) | Length |
13. | 'Once I Had a Love (aka The Disco Song) (1978 version)' | Harry, Stein | 3:18 |
14. | 'Bang a Gong (Get It On) (Live)' (Recorded live 11/04/78 at The Paradise in Boston, MA) | Marc Bolan | 5:30 |
15. | 'I Know but I Don't Know (Live)' (Recorded live 11/06/78 at the Walnut Theatre in Philadelphia, PA) | Infante | 4:35 |
16. | 'Hanging on the Telephone (Live)' (Recorded live 1980 in Dallas, TX) | Lee | 2:21 |
2008 deluxe collector's edition bonus tracks | ||
---|---|---|
No. | Title | Length |
13. | 'Heart of Glass (7' Single Version)' | 4:10 |
14. | 'Sunday Girl (French Version)' (from 'Sunday Girl' 12' single) | 3:04 |
15. | 'Hanging on the Telephone (Nosebleed Handbag Remix)' (from Beautiful: The Remix Album) | 6:14 |
16. | 'Fade Away and Radiate (108 BPM Remix)' (from Beautiful: The Remix Album) | 5:16 |
2008 deluxe collector's edition bonus DVD | ||
---|---|---|
No. | Title | Length |
1. | 'Heart of Glass' | |
2. | 'Hanging on the Telephone' | |
3. | 'Picture This' | |
4. | 'Sunday Girl (Live on Top of the Pops)' |
2010 Mail on Sunday promo bonus tracks | |||
---|---|---|---|
No. | Title | Writer(s) | Length |
13. | 'What I Heard' | Matt Katz-Bohen / Laurel Katz-Bohen | 3:15 |
14. | 'Girlie Girlie' (Sophia George cover) | Anthony Davis / Lloyd Douglas / Steve Golding | 3:25 |
Notes[edit]
- The album version of 'Heart of Glass' was replaced with the disco version (5:50 long) on pressings of the album from March 1979 onward. The original length version of 'Heart of Glass' appeared on the original US CD release in 1985 (Chrysalis VK 41192, later F2 21192) although the CD artwork proclaimed it was the disco version. Later editions of the Capitol disc had the mistake removed from the inlay but it remained on the disc until its deletion. The 1994 DCC Compact Classics Gold CD release (Capitol Special Markets USA GSZ 1062) features the original version with the disco version as a bonus track.
- A promotional CD of the album was given away free with the British newspaper The Mail on Sunday on December 5, 2010, including the bonus tracks 'What I Heard' and 'Girlie Girlie' from the band's 2011 album Panic of Girls.[38]
Personnel[edit]
Blondie[edit]
- Deborah Harry – vocals
- Chris Stein – guitar, 12-string guitar, E-bow
- Clem Burke – drums
- Jimmy Destri – electronic keyboards
- Nigel Harrison – bass guitar
- Frank Infante – guitar
Additional personnel[edit]
- Mike Chapman – production
- Pete Coleman – engineering and assisting production
- Frank Duarte – illustration
- Kevin Flaherty – 2001 reissue production
- Robert Fripp – guitar (track four)
- Edo Bertoglio – photography
- Maripol - Stylist
- Steve Hall – mastering
- Peter C. Leeds – management
- Ramey Communications – art direction and design
- Jerry Rodriguez – lettering
- Grey Russell – assistant engineer
Charts[edit]
Weekly charts[edit]
| Year-end charts[edit]
|
Chart (2018) | Peak position |
---|---|
UK Official Physical Albums (OCC)[50] | 33 |
UK Official Vinyl Albums (OCC)[51] | 4 |
Scottish Albums (OCC)[52] | 29 |
Singles[edit]
Year | Title | Chart positions | Certifications | |||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
US | US Dance | AUS | AUT | BEL | CAN | GER | IRL | NLD | NZ | NOR | SWE | SWI | UK | |||
1978 | 'Picture This' | -- | -- | 88 | -- | -- | -- | -- | 13 | -- | -- | -- | 15 | -- | 12 |
|
'I'm Gonna Love You Too' | -- | -- | -- | -- | 3 | -- | -- | -- | 6 | -- | -- | -- | -- | -- | ||
'Hanging on the Telephone' | -- | -- | 39 | -- | 19 | -- | -- | 16 | 20 | 43 | -- | -- | -- | 5 |
| |
1979 | 'Heart of Glass' | 1 | 58 | 1 | 1 | 5 | 1 | 1 | 2 | 8 | 1 | 5 | 3 | 1 | 1 |
|
'Sunday Girl' | -- | -- | 1 | 5 | 23 | -- | 6 | 1 | 13 | 48 | 5 | 18 | 5 | 1 |
| |
'One Way or Another' | 24 | -- | -- | -- | -- | 7 | -- | -- | -- | -- | -- | -- | -- | 98† |
† 'One Way Or Another' was not released as a single in the United Kingdom, but charted on download sales alone in 2013.
Certifications[edit]
Region | Certification | Certified units/Sales |
---|---|---|
Australia (ARIA)[57] | Platinum | 70,000^ |
Canada (Music Canada)[58] | 4× Platinum | 400,000^ |
France | -- | 193,900 [59]* |
Netherlands (NVPI)[60] | Gold | 50,000^ |
New Zealand (RMNZ)[61] | Platinum | 15,000^ |
Yugoslavia[62] | Platinum | 100,000 |
United Kingdom (BPI)[53] | Platinum | 300,000^ |
United States (RIAA)[63] | Platinum | 1,000,000^ |
*sales figures based on certification alone ^shipments figures based on certification alone |
References[edit]
- Footnotes
- ^Graff, Gary (May 20, 2008). 'Blondie Celebrating 30th Birthday Of 'Parallel Lines''. billboard.com. Prometheus Global Media. Retrieved July 11, 2012.
- ^ abcdefgBuskin, Richard (June 2008). 'Blondie 'Hanging on the Telephone''. Sound on Sound. Retrieved July 1, 2014.
- ^'Blondie - Plastic Letters [Vinyl, LB Album - Greece]'. Discogs. Retrieved July 1, 2014.
- ^ abcdefgD. Porter; K. Needs (June 26, 2012). Blondie: Parallel Lives (1 ed.). Omnibus Press.
|access-date=
requires|url=
(help) - ^ abChristgau, Robert (October 30, 1978). 'Consumer Guide'. The Village Voice. New York. Retrieved June 30, 2013.
- ^Ruhlmann, William. 'Parallel Lines – Blondie : Songs, Reviews, Credits, Awards'. AllMusic. Rovi Corporation. Retrieved July 9, 2012.
- ^Tucker, Ken (November 3, 1982). 'Parallel Lines'. Rolling Stone. Wenner Media. Retrieved July 9, 2012.
- ^Bangs 1980, p. 62.
- ^ abcBerger, Arion (June 8, 2000). 'Blondie: Parallel Lines'. Rolling Stone. New York: 129. Archived from the original on April 1, 2007. Retrieved July 25, 2016.
- ^ abc'500 Greatest Albums of All Time: Parallel Lines – Blondie'. Rolling Stone. New York. November 2003. Archived from the original on December 20, 2010. Retrieved June 30, 2013.
- ^Sheffield, Rob; et al. (January 1995). 'Spins'. Spin. New York: 73–4. Retrieved June 30, 2013.
- ^ abcdePeacock, Tim (September 23, 2018). 'How 'Parallel Lines' Led Blondie Straight To The Top'. uDiscover. Retrieved December 3, 2018.
- ^'Blondie'. AllMusic. Retrieved March 16, 2016.
- ^Ruhlmann, William. 'Parallel Lines – Blondie'. AllMusic. Retrieved June 30, 2014.
- ^Weiner, Jonah. 'Blondie: Parallel Lines'. Blender. New York. Archived from the original on August 18, 2004. Retrieved July 25, 2016.
- ^Christgau, Robert (1981). 'Blondie: Parallel Lines'. Christgau's Record Guide: Rock Albums of the '70s. Ticknor and Fields. ISBN0-89919-026-X.
- ^'Blondie: Parallel Lines'. Entertainment Weekly. New York: 85. September 21, 2001.
- ^ abPlagenhoef, Scott (August 1, 2008). 'Blondie: Parallel Lines: Deluxe Edition'. Pitchfork. Retrieved July 9, 2012.
- ^ ab'Blondie: Parallel Lines'. Q. London (182): 143. October 2001.
- ^Coleman, Mark; Berger, Arion (2004). 'Blondie'. In Brackett, Nathan; Hoard, Christian (eds.). The New Rolling Stone Album Guide (4th ed.). Simon & Schuster. pp. 85–86. ISBN0-7432-0169-8.
- ^ abCinquemani, Sal (October 7, 2003). 'Blondie: Parallel Lines'. Slant Magazine. Retrieved June 30, 2014.
- ^Weisbard, Eric; Marks, Craig, eds. (1995). 'Blondie'. Spin Alternative Record Guide. New York: Vintage Books. ISBN0-679-75574-8.
- ^Christgau, Robert (September 2008). 'Blondie: Parallel Lines'. Blender. New York. Retrieved June 30, 2013.
- ^Easlea, Darryl. 'Blondie Parallel Lines Review'. BBC. Retrieved June 30, 2014.
- ^Frere-Jones, Sasha (November 2001). 'Destination Unknown'. Spin. New York: 137. Retrieved June 30, 2013.
- ^Wikane, Christian John (July 3, 2008). 'Blondie: Parallel Lines'. PopMatters. Retrieved June 30, 2013.
- ^'2003 NME 's Writers - AllTime Top 100 Albums'. timepieces.nl. March 2003. Retrieved July 11, 2012.
- ^'The 500 Greatest Albums of all time: 100-1'. nme.com. October 25, 2013. Retrieved February 22, 2014.
- ^'NME: The 500 Greatest Albums Of All Time: October 2013'. rocklistmusic.co.uk. October 2013. Retrieved February 22, 2014.
- ^'100 Greatest American Albums of All Time'. blender.com. Alpha Media Group. Retrieved July 11, 2012.
- ^'Radiohead top C4 albums poll'. Channel 4. musicweek.com. April 18, 2005. Retrieved January 13, 2014.
- ^'Top 100 Albums of the 1970s | Pitchfork'. pitchfork.com. Retrieved August 22, 2017.
- ^'Parallel Lines [album]'. deborah-harry.com. Archived from the original on February 4, 2014. Retrieved February 4, 2014.
- ^'Blondie Celebrating 30th Birthday Of 'Parallel Lines''. billboard.com. May 20, 2008. Retrieved February 4, 2014.
- ^''Parallel Lines' 30th Anniversary collector's edition artwork'. deborah-harry.com. Archived from the original on February 4, 2014. Retrieved February 4, 2014.
- ^''Parallel Lines' 30th anniversary collector's edition press release (May 2008)'. deborah-harry.com. Archived from the original on February 4, 2014. Retrieved February 4, 2014.
- ^'Blondie To Fete 'Parallel Lines' 30th Anniversary With Tour, Reissue'. billboard.com. May 7, 2008. Retrieved January 31, 2014.
- ^'Free download of 'Mother' now available!'. blondie.net. December 5, 2010. Retrieved July 11, 2012.
- ^Kent, David (1993). Australian Chart Book 1970–1992. Australian Chart Book, St Ives, N.S.W. ISBN0-646-11917-6.
- ^'Austriancharts.at – Blondie – Parallel Lines' (in German). Hung Medien. Retrieved July 6, 2017.
- ^'Top RPM Albums: Issue 4774a'. RPM. Library and Archives Canada. Retrieved July 6, 2017.
- ^'Dutchcharts.nl – Blondie – Parallel Lines' (in Dutch). Hung Medien. Retrieved July 6, 2017.
- ^'Offiziellecharts.de – Blondie – Parallel Lines' (in German). GfK Entertainment Charts. Retrieved July 6, 2017.
- ^'Charts.org.nz – Blondie – Parallel Lines'. Hung Medien. Retrieved July 6, 2017.
- ^'Norwegiancharts.com – Blondie – Parallel Lines'. Hung Medien. Retrieved July 6, 2017.
- ^'Swedishcharts.com – Blondie – Parallel Lines'. Hung Medien. Retrieved July 6, 2017.
- ^'Blondie | Artist | Official Charts'. UK Albums Chart. Retrieved July 6, 2017.
- ^'Blondie Chart History (Billboard 200)'. Billboard. Retrieved July 6, 2017.
- ^'Canadian 1979 Top 100 Albums'. Library and Archives Canada. Retrieved January 30, 2014.
- ^'Official Physical Albums Chart Top 100'. Retrieved June 16, 2018.
- ^'Official Vinyl Albums Chart Top 40'. Retrieved June 16, 2018.
- ^'Official Scottish Albums Chart Top 100'. Official Charts Company. Retrieved June 16, 2018.
- ^ abcde'BPI – Certified Awards Search'. British Phonographic Industry. Archived from the original on February 6, 2013. Retrieved September 21, 2013. Note: User needs to enter 'Blondie' in the 'Keywords' field, 'Artist' in the 'Search by' field and click the 'Search' button. Select 'More >>' next to the relevant entry to see full certification history.
- ^'RIAA - Gold & Platinum - November 28, 2008'. Riaa.com. Archived from the original on June 26, 2007. Retrieved June 30, 2014.
- ^'Certified Awards SearchArchived 2012-10-01 at WebCite'. Music Canada. Retrieved on August 29, 2011. Note: User needs to enter 'Blondie' in the 'Search' field, 'Artist' in the 'Search by' field and click the 'Go' button. Select 'More info' next to the relevant entry to see full certification history.
- ^'Gold-/Platin-Datenbank (Blondie)'. Bundesverband Musikindustrie. Retrieved June 30, 2014.
- ^Adams, Cameron (May 13, 2015). 'Great albums to only reach number two in Australia'. The Daily Telegraph. Retrieved April 9, 2019.
- ^'Canadian album certifications – Blondie – Parallel Lines'. Music Canada. Retrieved September 30, 2017.
- ^http://www.infodisc.fr/Ventes_Albums_Tout_Temps.php?debut=2250
- ^'Dutch album certifications – Blondie – Parallel Lines' (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers. Retrieved August 5, 2018.Enter Parallel Lines in the 'Artiest of titel' box.
- ^'Official Top 40 Albums 1979'. NZ Top 40. November 11, 1979. Retrieved May 23, 2019.
- ^'Foreign Acts Win Yugoslavia Awards'. Billboard. October 23, 1982. p. 74. Retrieved April 9, 2019.
- ^'American album certifications – Blondie – Parallel Lines'. Recording Industry Association of America. Retrieved September 30, 2017.
- Bibliography
- Bangs, Lester (1980). Blondie. Simon & Schuster. ISBN0-671-25540-1.
External links[edit]
- Parallel Lines at Discogs (list of releases)
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Parallel_Lines&oldid=898445006'
New Line Cinema | |
Subsidiary | |
Industry | Motion pictures |
---|---|
Founded | 1967; 52 years ago (New York City, United States) |
Founder | Robert Shaye |
Headquarters | 4000 Warner Blvd, , United States |
| |
Products | |
Parent | Warner Bros. Pictures Group (Warner Bros. Entertainment) |
Divisions |
|
Website | www.newline.com |
Footnotes / references [1][2] |
New Line Productions Inc., doing business asNew Line Cinema, is an American film production studio of Warner Bros. It was founded in 1967 by Robert Shaye as an independent film distribution company, later becoming a film studio. It was acquired by Turner Broadcasting System in 1994; Turner later merged with Time Warner (now WarnerMedia) in 1996, and New Line was merged with Warner Bros. Pictures in 2008.[3] Currently, its films are distributed by Warner Bros. Pictures.
- 1History
- 2Films
History
New Line Cinema was established in 1967 by the then 27-year-old Robert Shaye as a film distribution company, supplying foreign and art films for college campuses in the United States. Shaye operated New Line's offices out of his apartment at 14th Street and Second Avenue in New York City. One of the company's early successes was its distribution of the 1936 anti-cannabis propaganda film Reefer Madness, which became a cult hit on American college campuses in the early 1970s. Fountain of youth hartland mi. New Line also released many classic foreign-language films, like Stay As You Are, Immoral Tales and Get Out Your Handkerchiefs (which became the first New Line film to win an Oscar).[4] The studio has also released many of the films of John Waters.
In 1976, New Line secured funding to produce its first full-length feature, Stunts (1977), directed by Mark Lester. Although not considered a critical success, the film performed well commercially on the international market and on television.[5] New Line then produced or co-produced three more films in 1981 and 1983; Alone in the Dark, Xtro and Polyester, directed by John Waters. Polyester was one of the first films to introduce a novelty cinema experience named Odorama, where members of the audience were provided with a set of 'scratch and sniff' cards to be scratched and sniffed at specific times during the film, which provided an additional sensory connection to the viewed image.[5]
A Nightmare on Elm Street was produced and released by New Line in 1984. The resulting franchise was New Line's first commercially successful series after a devastating financial slump, leading the company to be nicknamed 'The House that Freddy Built'. The film was made on a budget of $1.8 million and grossed over $25.5 million at the United States box office. It was the first film to feature the actor Johnny Depp. A year later, A Nightmare on Elm Street 2: Freddy's Revenge was released, and grossed $3.3 million in its first three days of release and over $30 million at the domestic box office. A Nightmare on Elm Street 3: Dream Warriors was released in 1987, and grossed more than any previously released independent film and went on to make almost $45 million at the US box office.[6]
In November 1990, New Line purchased a 52% stake in the television production company RHI Entertainment (now Sonar Entertainment), which would later be sold to Hallmark Cards. In May 1991, New Line purchased the home video and foreign rights to 600 films held by Sultan Entertainment Holdings (aka Nelson Entertainment Group). The deal also included an 11-film distribution deal with Turner subsidiary Castle Rock Entertainment. On November 27, 1991, New Line purchased Sultan outright.[7][8]
On January 28, 1994, New Line Cinema was acquired by the Turner Broadcasting System,[9] which then merged with Time Warner in 1996. New Line Cinema was kept as its own separate entity, while fellow Turner-owned studios Hanna-Barbera Productions and Castle Rock Entertainment eventually became units of Warner Bros. In 2007, New Line Cinema and Castle Rock Entertainment collaborated on the 2007 film Fracture, as their first joint venture since the mid 1990s before both companies were bought by Turner.
During its time as an entity separate from Warner Bros., New Line Cinema operated several divisions, including theatrical distribution, marketing and home video. It was also a partner in founding a new distribution company named Picturehouse in 2005. Specializing in independent film, Picturehouse was formed by Bob Berney, who left distributor Newmarket Films, New Line, who folded their Fine Line division into Picturehouse, and HBO Films, a division of HBO and a subsidiary of Time Warner, who was interested in getting into the theatrical film business. However, on May 8, 2008, it was announced that Picturehouse would shut down in the fall of said year.[10] Berney later bought the Picturehouse trademarks from Warner Bros. and relaunched the company in 2013.[11]
Accounting practices
South Canterbury Finance invested $30 million in The Lord of the Rings film trilogy, only to have New Line produce accounts showing that the movies did not make a profit, but made 'horrendous losses'. According to SCF CEO Allan Hubbard: 'We found it surprising because it was one of the biggest box office success of all time.'[12] (The three films rank 7th, 25th, and 33rd on the list of highest-grossing films.) Fifteen actors sued New Line Cinema in June 2007, claiming that they never received their 5% of revenue from merchandise sold in relation to the film, which contained their likenesses.[13]
Peter Jackson's production company Wingnut Films questioned New Line Cinema's accounting methods, bringing in an outside auditor as allowed by the contract, and eventually sued New Line.[14] New Line executive Robert Shaye took great offense and declared that New Line would never work with Jackson again.[15]Saul Zaentz also had an ongoing dispute with New Line Cinema over profits from The Lord of the Rings films. In December 2007, Variety reported that Zaentz was also suing New Line, alleging that the studio refused to make records available so that he could confirm his profit-participation statements were accurate.[16]
Merger with Warner Bros.
On February 28, 2008, Time Warner's CEO at the time, Jeffrey Bewkes, announced that New Line would be shut down as a separately operated studio. Robert Shaye and Michael Lynne said that they would step down with a letter to their employees. They promised, however, along with Time Warner and Jeffery Bewkes, that the company would continue to operate its financing, producing, marketing and distributing operations of its own films, but would do so as a part of Warner Bros. and be a smaller studio, releasing a smaller number of films than in past years.[17] The box office disappointment of The Golden Compass was largely blamed for the decision, in which New Line spent $180 million on its development, yet it only grossed $70 million in the United States market.[18]
New Line moved from its long-time headquarters on Robertson Boulevard in Los Angeles in June 2014 to Warner Bros.' lot Building 76, formerly used by Legendary Entertainment, a former Warner Bros. film co-financier.[19] The last film released by New Line Cinema as a separate company was the Will Ferrell film Semi-Pro.
As for the company's future, Alan Horn, the Warner Bros. president at the time of the consolidation, stated, 'There's no budget number required. They'll be doing about six per year, though the number may go from four to seven; it's not going to be 10.' As to content, 'New Line will not just be doing genre [..] There's no mandate to make a particular kind of movie.'[20]
Films
Highest-grossing films
Rank | Title | Year | Domestic gross | Notes |
---|---|---|---|---|
1 | The Lord of the Rings: The Return of the King* | 2003 | $377,845,905 | |
2 | The Lord of the Rings: The Two Towers* | 2002 | $342,551,365 | |
3 | It | 2017 | $327,481,748 | Distributed by Warner Bros.; co-production with Vertigo Entertainment, Lin Pictures, KatzSmith Productions and RatPac-Dune Entertainment |
4 | The Lord of the Rings: The Fellowship of the Ring* | 2001 | $315,544,750 | |
5 | The Hobbit: An Unexpected Journey | 2012 | $303,003,568 | Distributed by Warner Bros.; co-production with Metro-Goldwyn-Mayer Pictures |
6 | The Hobbit: The Desolation of Smaug | 2013 | $258,366,855 | Distributed by Warner Bros.; co-production with Warner Bros. and Metro-Goldwyn-Mayer Pictures |
7 | The Hobbit: The Battle of the Five Armies | 2014 | $253,161,689 | Distributed by Warner Bros.; co-production with Warner Bros. and Metro-Goldwyn-Mayer Pictures |
8 | Rush Hour 2 | 2001 | $226,164,286 | |
9 | Austin Powers in Goldmember | 2002 | $213,307,889 | |
10 | Wedding Crashers | 2005 | $209,255,921 | |
11 | Austin Powers: The Spy Who Shagged Me | 1999 | $206,040,086 | |
12 | Elf | 2003 | $173,398,518 | |
13 | Straight Outta Compton | 2015 | $161,197,785 | Distributed by Universal Pictures; co-production with Legendary Pictures |
14 | San Andreas | 2015 | $155,190,832 | Distributed by Warner Bros.; co-production with Village Roadshow Pictures and RatPac-Dune Entertainment |
15 | Sex and the City | 2008 | $152,647,258 | Distributed by Warner Bros.; co-production with HBO Films |
16 | We're the Millers | 2013 | $150,394,119 | Distributed by Warner Bros. |
17 | Rush Hour | 1998 | $141,186,864 | |
18 | Rush Hour 3 | 2007 | $140,125,968 | |
19 | Shazam! | 2019 | $139,630,393 | Distributed by Warner Bros.; co-production with DC Films, The Safran Company and Seven Bucks Productions |
20 | The Conjuring | 2013 | $137,400,141 | Distributed by Warner Bros. |
21 | Teenage Mutant Ninja Turtles | 1990 | $135,265,915 | |
22 | Central Intelligence | 2016 | $127,440,871 | Distributed by Warner Bros. |
23 | Dumb and Dumber | 1994 | $127,175,374 | |
24 | Mr. Deeds | 2002 | $126,293,452 | studio credit; Distributed by Columbia Pictures |
25 | The Mask | 1994 | $119,938,730 |
*Includes theatrical reissue(s).
See also
- Picturehouse (with HBO)
References
- ^'Bloomberg - Are you a robot?'. www.bloomberg.com.
- ^'Warner Bros. Entertainment Executives'. WarnerMedia. Retrieved June 19, 2018.
- ^'History of New Line Cinema, Inc. – FundingUniverse'. Fundinguniverse.com. Retrieved January 17, 2016.
- ^Collins, Keith (August 22, 2004). 'A brief history'. Variety.
- ^ ab'New Line Cinema : About Us'. Newline.com. Archived from the original on January 3, 2012. Retrieved August 23, 2011.
- ^'New Line Cinema : About Us'. Newline.com. Retrieved August 23, 2011.
- ^'Nightmares, Turtles And Profits'. Businessweek.com. September 29, 1991. Retrieved January 17, 2016.
- ^'COMPANY CONFORMED NAME: TURNER BROADCASTING SYSTEM INC'(TXT). Sec.gov. Retrieved January 17, 2016.
- ^'New Line to Join Ted Turner Empire Today : Film: With more money, the company is likely to add a few big movies to its annual production schedule'. Los Angeles Times. Retrieved August 9, 2012.
- ^Hayes, Dade; McNary, Dave (May 8, 2008). 'Picturehouse, WIP to close shop'. Variety.
- ^Fleming, Mike (January 15, 2013). 'The Berneys are Back with Picturehouse, and Now They've got Metallica'. Deadline Hollywood. Retrieved January 15, 2013.
- ^Scherer, Karyn (December 13, 2010). 'The Hollywood Shell Game'. The New Zealand Herald.
- ^'15 actors sue New Line Cinema over 'Lord of the Rings' profits'. USA Today. June 6, 2007.
- ^'Director sues over Rings profits'. BBC News. March 2, 2005. Retrieved August 17, 2007.
- ^'New Line boss hits out at Peter Jackson'. The New Zealand Herald. AFP, NZPA. January 12, 2007. Retrieved October 30, 2011.
- ^Shprintz, Janet (December 13, 2007). 'Zaentz, New Line in court'. Variety.
- ^Billington, Alex (February 28, 2008). 'It's Official – New Line Cinema is Dead!'. FirstShowing.net.
- ^'Dial 'D' for disaster: The fall of New Line Cinema'. The Independent. London. April 16, 2008.
- ^McNary, Dave (January 30, 2014). 'New Line Leaving Longtime Los Angeles HQ, Moving to Burbank'. Variety. Retrieved October 30, 2014.
- ^McNary, Dave (June 27, 2008). 'New Line still has irons in fire'. Variety.
External links
- New Line Cinema on IMDb
- New Line Cinema on Twitter
Retrieved from 'https://en.wikipedia.org/w/index.php?title=New_Line_Cinema&oldid=903860724'