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It was already really up and running by 1977 when we first started playing stuff. I sometimes see Rodney C from the Funky Four, a few people. I just liked capturing the images and the time travel involved in photography. CS: When you see a photograph of something, a historic moment or something in the past, it clearly puts you there, in a way. I don’t know how conscious my efforts were, but I worked on this book all year, and we’ll see what happens with that.
It hadn’t gotten out of uptown New York at that time. DH: I think there was a little sort of pocket of it somewhere in New Jersey, perhaps Newark. I got involved with , which Charlie Ahearn did — that movie in the early ’80s. We don’t live in the same place — that aspect has changed. DH: I know from all these years of being with Chris that he does have a real appreciation…
CS: It was probably all over the country even, too, probably other cities had their own scenes, but it just hadn’t crossed over. You’ve been playing some of your songs, like “Heart of Glass,” for 40 years. DH: We’re not a couple anymore, so we have separate lives. DH: We still have an easy language for working together. He’s always been — the guy who’s in the museum who’s documenting all the things… DH: Yeah, Chris has always had the mentality of a curator. I don’t think of it as being conscious or unconscious. Marking the band’s 40th anniversary and having worked on this book all year, are you guys feeling nostalgic about the past?
In 1974, New York City was the home to a potent burgeoning punk and new wave scene. DH: I take lots of vitamins too, but I don’t think that’s what keeps us going. I really like what goes on in the modern Latin scene.
Blondie’s Chris Stein was there for all of it: his guitar in one hand, his camera in the other. I hear that the official figures are that one-sixth of the population of the U. is Latino now, and it’s probably closer to a fifth, but maybe even a quarter.