Blondie

Blondie's Deborah Harry and Chris Stein discuss their band's formative years and evolution. They recall the 1970s New York City scene, talk about their hits, and discuss using their platform to bring Hip-Hop culture to the masses. Debbie and Chris also discuss preserving their archives for the Grammy-nominated Blondie: Against The Odds 1974-1982 box set.

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Episode Transcript

Speaker 1 (00:00):
Quest Love Supreme is a production of I Heart Radio
Ladies and Gentlemen. This is a special question Love Supreme. Uh,
your host Quest Love here with Sugar Steve. I'll say
that our guest today are the founding Trailblazers and New

(00:20):
York legends. Along with drummer Clem Burke, bassist Lee Fox,
guitarist Tommy Kessler, and keyboardist Matt katz Bohan, they ushered
in be very influential punk slash dew wait movement. I
know musicians hate when things get a title. I often
cringe when I hear it the Neil Soul title, But

(00:44):
you know this is two legendary to this casually not
spot spot On describe what they represent the world of
music They to me or the epitome of cool and
the epitome of of of style and practically dipping their
toe into every genre of music that defined a movement

(01:04):
and a city pop, rock, punk, disco, reggae. And they're
especially noted for being one of the early, early, early,
early co signers of the burgeoning hip hop movement. You
know there was there was a period where the first
five didn't Depending on who you ask and how conservative
they are, ten, maybe twenty years, which hip hop was

(01:28):
hopefully going to be like a fad that went away,
like a flu that influenza that goes away eventually. But
they were one of the very first to co sign
the movement and really brought it to a wider audience,
going as far as these are the Cache to bring
the light projects like the the iconic score to Charlie
Ahearn's hip Hop Classic Wild Style Um and also being

(01:52):
one of the first people to introduce hip hop to
a worldwide audience. Of course, the legendary Saturday and Live
episode with the Funky four plus one that they literally
just put their money with their mouth is. And you know,
it's one thing to just say you're down with a movement,
but to really use your your power, you know, to
do so, it's another. Uh. They're currently celebrating the release

(02:15):
of their Mammoth Against the Odds box set, which basically
celebrates the hits, the demos and the remixes of their
illustrious career over one hundred and twenty four songs and
all this is an honor to say, please welcome to
Course Left Supreme. Chris Stein and Debrie Harry of Blondie

(02:37):
thank you. I'm the only one in clapp in the day,
So just pretend it's like two billion people, very very
generous thank you. No, you know, it's it's I've I've
been a massive fan of you guys, you know, and so,
and I have to say, Debbie, thank you very much
for my note. You happen to you happen to come

(02:59):
on the show? Oh um, I'm talking about the tonight
show in which I was hoping to holler at you
for a second before I went on stage, but I
had to do something, and then by the time I
got off stage, you had already left, because it's like
a very long UH show that we shot that day.
But I saw the beautiful note that you left UH
in my dressing room, and I really appreciate that you.

(03:21):
I meant every word of it, even though there were
some um, misspellings and scribbles. No, I appreciate. I appreciate
that acknowledgment. I want to thank christ for your nice
note that you left me on my recording console. Whatever. Steve,
you know, I personally, I want to know, first of all,

(03:44):
I really do love the box set, and as a
person that's just starting to think about looking under the
hood of my own career in terms of you know,
looking at artifacts and going through storage units and all
those things. You know, oftentimes you're still present in the moment.

(04:04):
You don't realize that the most miniscule thing you have
is going to wind up being history ten years later.
You know. Um So, in terms of just getting all
these artifacts together and keeping those demos and keeping those
tapes and all that stuff, how what was the process?

(04:26):
Like how painstaking was the process and putting this all
together went on over a pretty long period. I just
had all this stuff, you know, when we first started
making money. You know, I would say the model for
the rock Star was different back then, or at least
for me and Debbie was. We didn't think about buying
Rolexes and Bentley's and ship we wanted to. We just

(04:48):
bought recording equipment, so I bought guitars, so I bought
I had my own old m C. I set up,
you know, the automation, the whole thing, and I like
that around a bunch of different apartments. We lived in
different spaces, and tapes accumulated along with that, and eventually
that stuff all died and they gave it all the

(05:11):
way and stuff and I wind up with a garage
full of tapes of State, New York, which was where
we did the assault on the tapes. Okay, so like
what kind of tape like two inch tapes or everything? Everything? Everything? No,
I don't know one. Uh. I had a lot of

(05:31):
half inch, a lot of a lot of two wish yeah,
a lot of two which I mean I had. I
wound up with a complete copy of the Cugle record
that we did with Nil and Bernard, and now got
the whole thing on like just like two or three
tapes because he was running at seven and a half.
You know, yeah, he was. He was economical. I was

(05:57):
gonna say that at the time, Like when did you
realize I mean, most artists I know are not sentimental
at all. There's a story well, I mean he's not
a musician, but you know, consider a historian Don Cornelius
in order to save maybe hundreds hundreds of dollars, would

(06:19):
I mean, you know, when it came time to look
through the Soul Train archives, you know, the staff there
was sad to announce to me that, you know, Don
wasn't too sentimental. So you know this the stage and
the lights and them all the designs of of the shows,
of the Soul Training Show within you know, the forty
year history of it. He just had it all destroyed

(06:41):
and crushed, crushed and thrown away. And I was like,
none of you at all were like, you know this
will be historical one day, like we should say this stuff.
And you know, at the time, Don was just thinking like, uh, storage,
storage space is too expensive and I can't afford it.
So I mean oftentimes, you know, I'll tell new artists

(07:04):
now like don't throw away that concert poster, don't throw
away your itinerary, don't throw away I mean even Prince,
like when Prince passed away, Like literally anything he wrote
on is almost damn near like five figure worthy in
auctions now, like even directions to the house or or
you know, Prince was world famous for writing. Whoever, the

(07:29):
lady of the moment was like poetry and stuff like
you know, revealing too much. But what I'm basically saying is,
did you guys realize in the beginning, like I should
save everything, like even with besides the music, Like are
you saving that outfits and the wardrobes and old posters

(07:52):
or ticket stubs or itineraries. I got a lot of
junk left still, but I know, I mean, are you
a horn totally? My wife is like, I can't go
in there because it's like freaks me out. It's so
hoarded out the room and the the basement where we are.
But uh, you know, there's so much stuff. Felt by

(08:12):
the wayside, I sold so many damn guitars that I
could retire now on what those things are worth in
today's market, you know, it's just yeah, it's just crazy.
I would like to know. I asked the both of you.
I'll start with Debri, what was your first musical memory? Oh? Wow,

(08:35):
Oh that's it really goes back, doesn't I had, you know,
children's records back back then. I had a Victrola at
least that's what my dad called a Victrola. And it
was in a box, you know, a little suitcase, and
it had a speaker that was attached to the arm

(08:57):
where the you know, where the needle was, and you
were just drop it down onto the record and um
so that those were my earliest things. And I think
one of my one of my favorites was the thing,
oddly enough called Little Toot a Little Too. Yeah. Was

(09:17):
that a Disney record or enough was the Disney record. Um,
it might have been, it might have been, um, but
it was a really a great little song that went
through a lot of different emotional interpretations as they told
the story of this little tug boat and you know,
the worthlessness of this little little tug boat and how

(09:39):
the big tug boats always you know, pushed it around.
But then a little front of h little too became
like the hero of the day and so basically rude
off the red nose reindeer boats. Where were you born.
I was born actually in Miami, but I grew up

(10:00):
in uh Hawthorne, New Jersey, which is just outside of Patterson,
New Jersey. Well, um, my parents and well my grandparents
lived in Patterson. Okay, Chris, what was your first musical memory. Well,
I don't I don't really remember locking on into any
little kid music. My first affinity for music started when

(10:23):
I was like, I guess, you know, around ten or eleven,
with movie scores, which was and man, some of those
novelty songs, you know, like the the Chipmunks and Purple
People Eater and stuff. But you know, I don't know
how much that moved me, that stuff. But then I started,
you know, like Lawrence of Arabia, What's Side Story? I mean,

(10:45):
I I it's very hard for me to explain to
younger people what a huge cultural touchstone West Side Story was.
West Side Story was as big as the damn Beatles,
There's no question about it. I don't think people people
have it that then of the days. Oh god, my
mother got so mad at me because I took my sister,

(11:05):
who was seven years younger than me to see West
Side Story and she almost had a heart attention. I
don't know, you took her? You took her to see that?
Oh no, how could you? But it was fabulous, was
so wonderful, and you know, Leonard Bernstein was never better. Really,
I was gonna say that. Um. I'm currently reading uh

(11:26):
little Stephen Stephen van's Ante's um autobiography, and he too
has h an immense obsession with West Side Story and
pretty much described it as the way that you guys
did like when it came out, it was it was
a huge deal. I mean, you're probably on your soundtracks

(11:46):
that I was pretty more obsessed with Lawrence Arabia soundtrack,
Maurice Shell. Are you know? The other thing that I
listened to a lot was like the Cowboys singers, which
is you know, Western, not even country western, it was
really Western music and those were those were great, you know,

(12:07):
great songs and people like Burl Lives and stuff. Okay,
So now that you you know, declared your love for
Lawrence of Arabia, I gotta ask, you know, it is
important because the very first Okay, So, I grew up
in the household with an older sibling who you know,

(12:29):
because of my sister's um, because of her school situation.
You know, she was fitting in with her girlfriends what
they were listening to at the time, so you know,
she was bringing in a lot of you know, the
classic New Way and punk stuff or whatever. But the
one album that I remember, even though she had like

(12:50):
you know, each of and all that stuff, like, I
remember the day that she brought Auto American. Okay, okay, okay, okay, okay.
So now you know on the orchestral session, there was
a one of the bass players played on the Lawrence
of Arabia soundtrack and that so that I was gonna ask,

(13:10):
is your obsession because you know the way that you
opened up Auto American with the Europa score. Yeah, I mean,
you know you know that by then I was in
Adino Road, very deep and all this other stuff. You know. Um,
I always had a thing for soundtracks. I think soundtracks
nowadays that's a whole other topic are way overused. Uh

(13:30):
They're becoming like laugh tracks, you know, where they steer
your emotions in the direction of where whoever, whoever, the
committee that wrote the thing, they think you should be feeling,
you know. And then you know, gradually I started assimilating
the pop music that was around me, like the locomotion.
Everybody loved the locomotion, what you know, and you know

(13:53):
this stuff, um like the Shankra Laws, I didn't really
appreciate until a little later when we were doing the band.
I it was kind of like commercial to me at
the time. You know, well, I'm older than Chris and
I remember this thing. I used to listen to radio
a lot. I had a little radio and I always
had my ear right next to the speaker. Speaker was

(14:15):
only you know at this big and uh they had
a radio thing called the Hit Parade. Yeah, and all
those like uh crooners and you know, band singers and
stuff like that. It was a lot of that. It
was kind of great before and then it was and
then when it's folk music, of course, you know, I

(14:37):
was fifteen and sixty five and by that time I've
been playing I've been playing guitar for since I was
twelve and folk music was in and remember learning how
to play house and the Rising Sun was such a
big deal to me. Yeah, So can you describe to
me what the New York nightclub scene was in terms

(15:01):
of like the pre punk, the pre new wave movement,
Like if it's seventy four, if it's seventy three or
seventy four, you know, how where are you playing or
like where are you hanging out? At least well we've
met Debbie was doing a show in a bar, so
I don't even I didn't didn't go out to many
clubs before I was in the band situation. I mean,

(15:22):
Max's was kind of the first thing I was going
to regularly. Mostually it was bars, you know, people just
setting up on the floor and bars and stuff. Um.
And then a little bit later on they became officially
became clubs, but initially they were bars, okay. I mean

(15:45):
the stuff that we were involved with was like Martin
Mercer Arts Center came out of the art scene. Max's
was an art bar. You know, all those all those guys,
all those people went on to be famous, and the
art world had tabs facts as you know, the post
war hall movement or were Andy. You know he was
always in the middle of everything, well for us anyway,

(16:09):
for you know, he was just there. He was a stable.
I wanted to know. Well, they mentioned Max's Kansas City,
and it's hard not to think of the Velopt Underground.
Did you guys see the Developt Underground play live there?
I opened up for the vel Lewis when I was seventeen.
What was that like? It was amazing and it was
a pivotal moment in my musical life. And it was
they were playing in a place up town called the Gymnasium,

(16:31):
which was the Andy had connections to the UH like
these Polish hall people you know over in these old
world halls, and his place was was the Gymnasium and
also did show. This was nineteen sixty seven. I mean,
my friends all knew who the Velvets were at that point.
And I had a really close friend who a guy
I grew up with known for fifty years who was

(16:54):
working for Andy at the time. He staying Joey Freeman
still my buddy. He showed up my house in Brooklyn
one afternoon and he said, listen to the opening band
for the Velvets didn't show up. You guys want to
do it. So we took our guitars on the subway
and we went up down. It was like up on
the West Side somewhere in the seventies or so sixties seventies,

(17:17):
and developers let us use their amps, and Marine Tucker
let us put her bass from upright, you know, because
she only played it like like a temper, you know,
on its side. And they were nice, and we played
our blues rock set. You know, I don't remember. I
only remember we did. We can't judge the book by
its cover, but I don't remember much to the other stuff,

(17:40):
you know, like with sixty six, that kind of joke
we were doing. And we were really daunted because this
place was big and echoe and it was like not
there weren't too many people there. But then the Velvets
came on and they took advantage of the echo. And
that was also a life lesson for me, because you know,
the place you're playing and becomes a part of your
sound system, you know. At that you know, uns, you're

(18:00):
doing this all the time. And they were awesome and
filled the room and Andy was there. We never saw him,
and somebody came over and said, oh, and he thinks
you're great. That was terrific and that was that was
the event. But it was a really wonderful thing. I
saw them at this place called the Balloon Farm. Yeah, yeah,

(18:22):
on St. Mark's place and Andy was doing the lights
and uh Nico was with them that night and it
was beautiful. It was just I mean beautiful visually and
in sound wise, and everything about it was beautiful. Like

(18:44):
I know that you were in separate bands or can
you tell us how the band came to be as
far as you know, uh, the official starter Blondie. Well,
the scene was very incestuous and we all had mutual friends,
though the two of us it never met. We think
we we both were at Woodstock, but we didn't meet their.

(19:08):
Debbie had a job working for the first head shop
in New York, which was called the head Shop, which
was on East ninth Street, and I remember going in
there the Yeah, it's called the head shop. What is
a head shop? The head shop they sell yeah, bonds
and posters and and rolling papers and we'd supply you know,

(19:32):
but it was it was where you've been, you know, dog,
I'm I'm sorry, I'm the fort ye old Verdon and
you know it was it was a little more clandestine
and it wasn't like it was kind of understated that
it was all based on we'd consumption. I never knew
that it was called a head shop, well because where

(19:53):
we'd where I grew up, it was always the you know,
you always uh at the mom and pop wreck good store.
Yeah right, yeah, I would assume that the guy also
sold we because you know, just the smell of the
record store mixed with you know, lysaw in the instants
like to try to well, wouldn't head shops wouldn't back

(20:15):
then in the sixties, wouldn't sell we'd that because they
were they were too big a target, you know, they
would just sell the the stuff. I got it. Yeah,
so I was. I was in the head shop the
day before it opened, talking to a girl and all
I know that was us and we talked to each other.
But three years later, four years later, I guess that

(20:38):
was like sixty nine or sixty or seventy or something
like that. Um, then you know, everybody knew each other,
and I had friends and one of my friends, you know,
it's it's very long story, but a mutual friend said,
I heard about this band is playing called the Stilettos
Girls singers, go see them. And that was Debbie and

(20:59):
two other girls. So that was it. Did that band
have any any kind of startup or success Debbie, you
and the other two girls? Well yeah, I mean we
had a small amount of notoriety, I suppose in an interest.
I don't think there was any uh, real reality as
far as you know, a professional career or you know,

(21:21):
recording or anything like that. Everything we did was some
stuff with the dolls. We did stuff with the dolls.
Remember later on Yeah you guys. You guys sang back
up in a couple of dolls shows and so yeah,
all right was that two? Yeah baby? Or I think
there's a picture of us at eight two eighty two
was another club that that existed sort of in a

(21:44):
even darker way than Max's or CBGBs. It was an
old transvestite club from the nineteen forties. Yeah, it was
very gangster. It was. It was number eight to the
third Street, I guess, or something like that. Second first

(22:05):
all the way east. It was in a basement. It
was that was a great scene. A lot of bands
played there, Bowie went there, All this stuff went on that.
There's not a lot of infor okay, so um. One
of my favorite kind of underground New York labels was
Private Stock. Well, you know, a lot of legendary records

(22:29):
were on there, and I especially for hip Hoperus there's
like incredible break beats on there. But I gotta know, like,
how did what was it like dealing with Larry Utelry.
Larry had come out of like the Brill Building, seeing
he had been he had been a part of Bell
Records with with I think Seymour and yeah, they were

(22:51):
all play partners at one point and then they split
went through different ways. Marty Marty Thou you know, managed
to dolls all through their hey day and the first
records and all that stuff before before McLaren picked up
on him, and uh, Larry was you know, it was
kind of a vanity project for him. I mean, I

(23:11):
think his daughter Jody, who was like the press person,
had a better idea what was going on in the
reality of the streets and music you know that was
coming out of the streets. Larry was like you know Larry,
you know, the guy with the open shirt and a
big gold chains. He did what he liked. He was

(23:32):
friends with you know that that one Freaky Valley. Yeah,
Frankie Valley was on the label, right, Yeah, that was
their big act. And Peter Lemon Jello, man, you Peter Leveragelo.
Peter Lemon Jello was like his m O R m

(23:53):
O R singer. But the girls liked him because he
was like sexy, you know, thing that hops. And then yeah,
then they had the baths open also on the label,
which is Walter Walter Walter. It was an odd place

(24:14):
to be for us. It was very odd and uh,
which try you know, we we live in a time
now which you know, literally you can create a fully
produced and realized album on your laptop. Um, but what
what is the process of getting a demo? Like, okay,

(24:37):
you're going to start a band now, I mean at
any point are you guys like, hey, we're just hanging
around doing the scene, or you guys like actively like
we were trying to get a record deal. Yeah, I
mean that was the goal was to get the music out.
Everybody knew, I mean we all grew up with records
and records being very important to us, so that was

(25:00):
of course a goal. But in New York, so there
was I don't know, a hundred bands instead of a
hundred thousand bands the way now, you know, so that
made that made a big difference. I always wanted to
know this, um, and I know it's a captain obvious question,
but what was what was the actual reason why you

(25:23):
guys settled on the name Blondie. We have been trying
to pick out a name, and uh, I mean, you know,
you search for a name, and we called ourselves Angel
and the Snake for a few months, and um that
that was sort of uh you know, it wasn't really

(25:46):
it would have been a good name for nowadays, but
at that point for a metal band, yeah maybe, you know, yeah,
well we wanted to be a metal band, but I
I don't know if we even had that much of
a I don't know what we what we wanted to
be anything. Well, I was working up as a beautician.
I was working in New Jersey as a beautician, and

(26:08):
you know, during a slow hours, um, you know, we
would do each other's hair and so one day they
did me and I was, you know, had blonde hair
and walking to Chris's house, you know, I was getting
you know, some street noise, Hey, blondie, blondie, and I
just said, oh, okay without at work, and that was that. Okay.

(26:31):
I always thought it was a blondie. Dad would well
it became that. Yeah, we were aware of that, and
you know, and those guys never bothered us for all
all the time. They never it was never any yo
like no, I mean, there was never any complaints about
us commendeering the name or anything from the comic people.

(26:53):
You mean that, I thought you meant just. I thought
you meant just in New York. Everybody forget about that ship.
We got bothered a lot in New York. To be fair,
I did say to the guys, you know, when when
we started getting you know, official attention, that they should
all bleach their hair, you know, and be like wrestlers,

(27:15):
you know, and the guy should all have blonde hair,
and we don't have blonde hair. But no, nobody wanted
to do it. Just while we're on the name Blondie.
So by now, of course we all know your name
is deb Debbie Harry, but people must have been calling
you personally Blondie, Uh this whole time? Is that the

(27:36):
the longest bother you? Or is that something that you
just gotten U ste or do you say, hey, my
name is Debbie. You know what do the band is Blondie. Well,
I think there was that, you know, kind of the
definition thing. For a while. I didn't mind, especially being
cold Blondie, because I had the blonde hair and you know,
basically you know, um, I guess little boys get cold

(27:59):
that too, you know, hey, Blondie. But usually you know,
little girls with my coloring, you know, are are cold
Blondie very often. So it didn't really bother me. It
did bother me, you know that we had to sort
of identify ourselves constantly. But I think that you know,
you know, I guess it's something that you know, you learn, right,

(28:20):
you learn that you have to identify yourself well. As
I said the top of the show, people will often
lump you guys in with the punk movement or the
new wave movement. You know, it's kind of like I
I didn't necessarily think that you were either, because for me,
at least with the first the first three records, like

(28:44):
from the self titled Record to Parallel Lines, you know,
there's there's a heavy sort of post. I guess you
could say wall of sound feel in there, like in
terms of like a very updated like an updated kind
of specter is thing going on? So for you, was

(29:04):
it always an eye rolling thing? If you know critics
that obviously weren't on the scene, that were like hanging
around to seat, Like was it weird to get typecast
to be part of a movement that really I don't know.
I think between you guys and the police, like even
though you're you're lumped in with this move movement, you

(29:25):
guys really weren't that level of punk to me, Like,
you guys were more of a stylish at least my my,
how how it looked to me when I was like
nine or ten years old. I think I think that
I think the punk form is much more defined nowadays,
and you know, and twenty onward. You know, you got
all these fans, you know, Surfboard and Amil and the

(29:46):
Sniffers and all these guys are very defined in their punkness,
you know, um back, I mean when you think about
you know, us in television and talking Heads and Patty,
it was very diverse that kind of sound, and it
wasn't so. I mean the Mounds were very much in

(30:09):
their own groove of the thing, but they were they
were specifically them, you know, yeah, I mean there was
a rockabilly there, you know, was the sort of art rock,
you know, blues. It was all a punk scene and
and incorporated a lot of different styles of music which uh,
you know we were actually experimenting with, you know, and

(30:31):
trying to pull in you know, references that you know
sort of befitted um a girl singer and you know,
a rock band, and and with you know, attitude. You know,
I think for me, I wanted to be a punk.
I felt like I had enough attitude. But punk definition

(30:53):
was very much like a lifestyle thing wave the way
a hippie was. You know, it was, you know, it's
like realistic and about do it yourself, very much about
do it. You're still too and you know, and then
there was, uh, there was a backlash against all the
real heavy MLR stuff that was happening in the mid

(31:14):
seventies then, and that was you know, above ground you
know whatever, you know, the win to rostas of course
pretty you know for us, you know, at that time, socially,
who were your peers of that movement, like were you
friendly with the Rams of New York were very close

(31:36):
to we are Rowans and the Dolls. There was kind
of there were kind of two camps at CVS of
the art rock people in the pop rock people, and
we were kind of in the pop rock side, you know.
And it was a band called Miami's. It was band
called the Fast Um you know those people. Yeah, Johnny

(31:57):
Heartbreakers were great band, all that stuff. You know. I
believe that my band was the third, the second or
the third to last act uh to play at CBGBs.
I gotta note was that bathroom always filthy the bathroom.

(32:19):
The bathroom used to be upstairs and the stage used
to be on the on the left facing facing the stage,
and then it moved to the right, and the bathroom
moved downstairs and got it even worse. It wasn't It
was probably a little less gross when it was upstairs. Yeah,
I see any any fond memories there. I hate being

(32:40):
that person that's like like salivating over like again these
folklore stories of clubs of your and you guys are
just like whatever, we showed up and we played. But
you know, at any point during that period did you
know that this was like the zagys of of the
scene or again, was it just hey, Thursday night, we're playing. Yeah, no,

(33:03):
we were pretty much in the moment, you know. And
what I always also say is everybody, every single person
I knew, I would say, this is New York is
so horrible. I just got to get out of here.
I can't stand it anymore. But nobody left. And there's
this great Blue Reed monologue where he talks about how

(33:23):
awful it is in New York for him, but how
much more uncomfortable he is everywhere else. Still that that
was that pretty much. But yeah, I mean lots of
crazy Ship went down to Steavies all the time. Max's too.
It was you know, well, it went through stages, you know,
stages of development because it wasn't like a full on,

(33:46):
you know, big club scene from the start. You know,
it was a big bar with you know some you
know Bowery guys, you know, um alkies and stuff that
hung out at this bar. And then for some reason,
Hilly you know, started having music and uh, you know,

(34:07):
I have suspicions about you know, there used to be
a club, a club restaurant on Ninth Street, right off
of sixth Avenue between fifth and six and it was
called Hilly's. I I somehow think that Hilly was involved
with that. And he had a couple of bars. Yeah,

(34:28):
I think he had one that was like downstairs from
Truity Heller's too at one point. Yeah, yeah, yeah, he
had a couple of bars around town, and he had
he was a single role, so he had a he
had a country single on the jukebox in CB that
I don't really hear people talking about too much. I
don't remember what heck it was, but it was there. Now,

(34:49):
it's great for clubs, you know, I mean it's always
been that way. It's great. How often is the rotation?
I know that for me in Philadelphia there's really only
at least for the roots, like maybe if you're lucky,
there's like six clubs to play, because we also had
like you know, five or six major colleges there, so

(35:10):
you know, where you play a University of Penn, play
a temple play, you know, you would just go to
where the colleges were. But um, as far as rotation
is concerned, well, there was a there was a thing
where if you played at Max's, you shouldn't play at
Seabees the next weekend. Yeah, that's like, wait a week
But there were other little bars. It was like Broadway
Charlie's and a place in the Mushroom and that Monkey

(35:34):
Piicon bar and all these little things. Right across from Chelsea,
Um there was and my father's place was up in
with long Oland City that you know, stuff would come
and go. I would assume that, you know, by the time,
at least by the time you guys get the crystalists
that you know, you're not you're no longer a like

(35:57):
a local rock band, and you're also do national and
going out of state and whatnot. So yeah, all that
stuff went on, but it's still the you know. The
other thing people may not get nowadays is what a
goddamn wild West show the music industry was the touring
touring in a these days it was now it's a

(36:17):
slick you know, live Nation, all this stuff, you know,
boom you go there. I was gonna say, was there
something as a rider like okay, okay, because I asked
each act to do this for me, because I truly
want to know, you know. And the thing you mentioned
at the top about the rolexes and all that stuff, Yes,
I'm in the I'm in the hip hop generation, especially
the first generation of like post hype William videos where

(36:41):
around nine I would say that, yes, like even coming
into the game, like we came into the game with
two tour buses and a really good rider and muse
a licks and like, you know, like where where's my
where's the you know, the where's the manicures? That like
that sort so fu we were fucking we did a

(37:03):
tour of Australia. We were we were in like a
school bus man that was like a let me know,
school with like it was filled with dust, you know,
and we had we and we had like an America.
When we went on the tour with Niggy and Bowie,
we were in an RV, which was like really crappy
and falling apart. I remember too. So all that kind

(37:27):
of stuff was was yeah, all right, let's so let's
get to skip the parallel lines. Can you walk me
through the process, Like okay, so the idea of like
tour busses and good hotel lodging, like at what at
what point does that even happen or is that something
that was just invented in the nineties, Like yeah, I'm

(37:50):
gonna go with nineties because yeah, we had some man,
it was you know, there us a lot of we
briefly we we live for these nerds. Story says, don't
don't think you're like spearing us by, Like you don't
want to hear about the time when Bowie Store still
are lunch meat or something. We never added. We never
flew private. It was just no such thing. Briefly, I

(38:11):
remember it was like ten minutes when we would chep Gordon.
There was like in Europe we had a little four
seater jet for a couple of publicity dates, but that
was like, you know, two flights or something like that.
We went on the concord. We were on the We
were on the concord a bunch of times. That was.
That was nice. Yeah, I was gonna say, Sep is

(38:35):
one of my closest friends, and um, what time does
he enter manage in the bank the late seventies early eighties? Yeah, yeah,
so he was there for Parallel lines. No, No, that
was each of the beat. Okay, it was towards the
very end. Yeah, well American, I know he was there

(38:58):
from American and the Hunter, which was you know successful,
the auto American platinum plaque is uh hanging up above
the guest bedroom. So you guys, Teddy Pendergrass and Luther
Vandel's record said when I stayed at his house and

(39:20):
his guest room. So with with parallel lines at least,
which you know, many consider that to be like you're
you're your super breakthrough with it. Um, can you talk
about the making of of Heart a class a K
once I had a love and bringing that forth? Well,
it was it was all about the getting the roll

(39:41):
and rhythm machine hooked up with this role in whatever
the hell I can't remember, I should know. This head
was there mindy back in the day. No, it was.
It was all voltage pc I voltage controlled you know. Okay,
so it was pre Mitty and that was such a
huge deal. That's where the whole the whole song was
built up on since being to the rhythm machine and

(40:03):
everything was built around that. You know. We had to
we had the cord and stuff in the structure somewhat,
you know, very time consuming. Yes, I mean going in
with Chapman, it was great. The Chapman was a master
and he was at the peak of his game, and
we were also at the peak of analog too. It
was the high point of sucking analog. You know. He

(40:25):
had he had the one the digital reaver. I guess sins,
I don't know even tied or whatever that what it is.
He had that one unit. But everything else was just
like that. And I'm glad we cut to be there
at that moment too. But Chapman was great. He was
like going in with George Martin. For us, it was
like a whole you know, he was like the extra

(40:46):
member of the band. It was just it was fantastic
and we all, you know, he beat the heck out
of us. But it was great. I was gonna ask
with because the thing is is that, you know, Heart
of Glass was even more than even more than Miss You.
I feel like harder glasses, like the perfect, perfect dance
song that's not blatantly a disco song. And not to

(41:09):
say that Miss You by the Rolling Stones was a
blatant People seemed consider anything with four on the floor
to be disco. But I always wanted to know obviously
there there had to be some sort of conscious decision
like okay, let's make something accessible. Always we always sounded
like graftwork. We were referencing graph work, Okay, that was it.

(41:31):
Not not so much disco music, but I always wanted
to know the like for such a song that that
has such a steady four in the four pace, Why
was their decision to make the last bridge into seven
eight meter? I don't know if that was an accident
or not. I mean, Chapman would Chapman would edit fucking

(41:54):
slice the two inch tape with a fucking razor. We
would just kind of unheard of. You guys were playing, uh,
which sounds like one is that one little section? I kid?
I knt. I mean, I'm sure if you asked everybody,
everybody would have a different opinion. Why that came about? Um,
whether it was accidental or not, I don't know. You know,

(42:16):
harder Glass seems very accessible to play at a jam session,
but there's always that moment right after the last there's
always that more right on the course where I'm looking
at the people like, wait, are we are we about
to do to the level? We're gonna do the seven
eight part. We're just gonna act like the beginning of
the beginning, and then it's always a car crash. Well,
that's that's very gratifying. Made it all worthwhile. The drums

(42:42):
are all the drums are all pieced together the way
I disco record the days drums recorded by itself. Uh
you know the kid Yeah, yeah, kids recorded by itself?
You know. Yeah, it was that. That was the only
song like that. That was the only one who has
done like that. Was the logic behind that better mixed
to it. Mike had done some kind of disco music
and maybe be able to bring out the kick a

(43:03):
little more. I don't know. Oh, okay, okay, I see that.
I think it was his his ears, you know, I
mean that's he had. He had those ears. You know
what studio was this at parallel lines? Uh would be
para station, right, power stationed ne or plant, record plant,

(43:26):
record plant or power station. Yeah, at the time of
Parallel lines. And and now I guess also do you
do you which do you enjoy more? Playing live? We're
making records. I like recording. I'm a recording guy always.
I'm not I'm not doing a tour, but that's mostly
because of health stuff. But you know, they got to

(43:46):
replacement for me lately. But I think Debbie probably both
maybe I don't. She gets off fun doing the shows
a lot. I mean I like doing the shows. I
always love doing the shows. But I just I've been
doing recording every since was a little kid. Man. I
was screwing around with you know, old wall and sack
real to real recorders and stuff like that, and I

(44:07):
would always have a T four track that if I
could big borrow or steal. So, I mean that was
just part of my life is doing recording. I love
the laptop, digital stuff, go sitting logic for hours and
tweaking stuff. Does the music creative decisions start with the

(44:29):
two of you? Or is it an actual democracy in
which it's it's the six of you sort of? You know,
it's a monarchic democracy. So yeah, I mean, what do
you guys think? Okay, this is what we're gonna do.

(44:50):
So yeah, I mean I always managed to get up
by that time we have been I mean I okay,
So the only song that we before we recorded it,
I knew it was going to be a hit as
Titus High. I mean the other ones, I really didn't.
I wasn't sure, but I knew if we could pull
up a decent recording of Titus High that it was

(45:13):
it would be successful. Were you a fan of the
Paragon's original or yeah, the original the original ist Godhead
and by the only reggae song I ever heard as
a violin in it from that period, which is most
of the horn lines are based on the violin line.
This is I have to figure out. There's about nine
mammoth songs in E minor that that come out and

(45:40):
in uh, you know, the first the first half of
of of nine mammoth dance floor rockers in in E minor.
I will ask this much, was was good Times that
much of an influential song that It's almost like it
was it unavoidable because you know, when I asked some

(46:03):
of these people when I when I asked you know,
the other artists question, and someone will say, like, you know,
like sometimes you just so consciously go there without purposely
trying to go there, whereas like you know, Brian may
may confirm or may not confirm that another one bite
that dust was exactly what's our version of good Times? Yeah, No,
Rapture was totally homage to Shake, Okay, I know it,

(46:26):
no question about it. I was totally thinking of that
the whole the baselines of the first thing that came up. Yeah,
that was that was an extremely that was the extreme
radical thing to do, like you know, of of of
all the songs and your catalog that was super super risky.
Could you just talk about how does hip hop reach you,

(46:49):
um as a New Yorker, Like were you aware of
what was happening in the Bronx or yeah, we know
we I really wasn't that aware. We'd heard rappers delight,
you know, on the radio a couple of things. But
then we hooked up with Freddy and Freddie I guess
it's seventy seven took us up to this event at
a police athletic league up in the Bronx, and then

(47:12):
that was that was like just this eye opening experience.
You know, it was wait, wait, wait, year do you
meet five? Freddie? Probably seventy six or seven? Oh damn, okay,
a long time ago. I mean I've gone over the
date with him and trying to figure out what the
what the what year that was? And he thinks seventies

(47:33):
seven was when we went up to this thing. One
of my all time well I won't say great punishment
stories was um kind of like a fist fight that
I almost got into with my cousin because you know,
at this point it's it's uh the summer of and

(47:54):
he's singing like, we're we're I don't know where we're
coming from. We were coming from like my grandma's house.
He was walking from the corner store and going back home,
and he's singing to himself and he's like, you know,
he's be understand, Mama, that's his fast. That's as fast,
that's as fast. That's just cool. And I was like, wait,

(48:14):
why do you repeat that three times? And he's like,
because that's how the song goes. Flashes fast, flashes, fast,
flashes fast. I said, no, it doesn't, she says, and
I And so basically, my cousin never heard of Rapture,
and I never heard of The Adventures of Grandmaster Flash

(48:37):
on the wheels is steell, which, for hip hop historians
is basically the first time that the world is hearing
what cutting and scratching is. Like, you know, Grandmaster Flash
goes in the studio and he does a seven minute
open format demonstration of the records of the day, you know,
takes cheeks, good Times and Apache and and uh Rapture

(48:58):
and you know, just just the part songs at the moment,
and does a demonstration of what scratching is. You know,
because for most hip hop records, you know, you'd have
to get a band, get Keith Flip Blanc or whatever
to to redo the breaks and whatnot because technology wasn't
there yet. And so you know, of course I'm my

(49:19):
level of know at all snobbery, you know, was I
was so angered, Like he then knew he could get
my goats, so he would just sing it like anytime
you just want to funk with me, he'd just be
like fast as fast flash is fast fash flash flash,
and then we just you know, and then you know,
we got put on punishment. So you know at the time,

(49:44):
like for you, were you shocked at the reception where
you're nervous about it? Or for you, was it just
like this might be filler on the album, or like, yo,
this is gonna go to number one, Frankie, it may
major components and that's I forgot. That's yeah, it goes

(50:04):
to Paradise, Marrage is going to Frankie Crocker. Then it's
going to the world. Okay he was, he was a
big supporter, and then we're eternally grateful. Yeah, And at
that moment, did you realize you were seeing a revolution?
At the time or was it just like no, because
you know, it's funny what you said earlier about being
a fan, because I talked I was up there with
all these record company guys and people on the inside

(50:27):
of the industry, and of alsoid oh it's it's fat,
it's going to go away. That they said that about
punk too, you know, that was their favorite thing to say,
you know. And and the other thing was, so you
know when kiss when every time that there was a
technological advancement or you know update, Um, you know, I say,

(50:53):
you know, it's not gonna last. It was that was
the big thing to say, it's not gonna last. One
of the first things I did when I started working
here at at thirty Rock, uh, which, of course you
know where the Tonight Show is in SNL and all
these like legendary shows. Um, there's a giant database system
that's hooked up to all of our computers. So any

(51:16):
episode of SNL, I want to watch what it like?
You can't get it on YouTube, but I can sit
here for days go through the archives. How hard was
it for you guys to actually broker that deal so
that the Funky four plus one did the real hard
aspect of the Funkies being on the show, was trying

(51:39):
to get them to scratch and yeah, I was gonna say,
I couldn't get it done. And even it was a
moment when they even got a limousine and sent through
them uptown to get a cable. You know, they that
didn't work. They just couldn't get it done. They went
onto a tape and then they also went on the
Coral at the end of the Oh you know under

(52:00):
the credit it's still but you know, Sharrock is still
by many considered the first female rapper. You know. Yeah,
now that that that to me was a credible Coast
sign because you know, they were, to me like the epitome.
And you know, the fact that you didn't see female
mc s that much and and and they could have

(52:25):
been like, hey, go with someone to go with flashing
them or go with the Super Hill Gang, and the
fact that we're buddies with those guys. I hung out
with Rodney for many years, you know, legendary Rodney. See,
so get into it. So, how how did you meet
with Charlie Ahearn and uh, your involvement with Wild Style.

(52:49):
Are you shocked at all that suddenly not even suddenly,
well I'll say that a good fifteen years after you
create these tracks, that suddenly, like they they do become
uh sort of like a staple of hip hop culture
at least, like I was using those brakes for real,
not just for the purpose of No, No, I'm shocked.

(53:11):
I mean I I what I what I did wasn't
aware of when I told Charlie at the time, was
you know, as soon as this thing comes out, there's
gonna be a hundred Hollywood movies like this, and like
Beats Street was like immediately there after, like a bigger
budget version, you know. But um uh no, it was.
It was great. It was just all people that we worked.
But it was part of the TV Party emailue, that

(53:34):
whole thing, you know. I mean think I think Lenny
plays drums on some of that stuff. He was in
the TV Party orchestra. Yeah. I was gonna say, who's
who's the other the Blondie guys are not playing on that, right, No,
I said, no, it's just I came into the studio
with my old role in synth guitar and put tracks
on top of what was already had been recorded, which

(53:54):
was space and drums, and then Freddie did like those
sound effects of like like razors and all kind of
weird stuff that he did. So wait, who did the drums? Um?
I might be lending. I'm not sure. You gotta ask
Charlie on this. I never you know, I never got
together with I did that. I did those tracks with
Kaz and I only met kas like three years ago

(54:16):
for the first time, you know, uh yeah, yeah. And
that one track that I did with Kaz, I tried
to sink synthesizers up to the scratching by just taking
the lying out of the one of the out of
the out of the scratching track and hitting the putting

(54:37):
it into the voltage controlled input of the SIN. So
that actually is happening on I don't even know if
that's been done sin. It's a little chaotic. Yeah, I
was about to say, that's very primitive level of uh yeah,
of making that stuff. Who who has the master tapes
to those uh sessions? Charlie. I guess he's in control

(55:00):
at the whole thing. I might have I might have
copies up in the tapes. I'm not sure. Yeah, I
was about to say, down by law, it might be
like everybody, everybody gravitated towards that, and it was so
smart that they pressed the finals and gave them out
to the people who were doing the shows that were
being filmed. They all gravitated that one track two. I

(55:24):
was gonna say that, like how many copies of those
instrumentals were made initially, I don't know, fifty maybe oh okay, okay,
So then you know it's it's been repressed and be
released on like a white label thing that's like simulates
the I mean, I had guys I would go to

(55:46):
the UK and I would go I had guys come
up to me and begged me for copies the originally
you know. Yeah, you know, I think like they reprint
them at least the instrumentals like uh, you know, around
like nine. So but for the longest, um, you know,
I couldn't find any of those things. And basketball throw

(56:09):
down sequence is like the greatest goddamn thing to It's
just it's so it's never been done since, you know,
and they did a lot of takes to get that,
but it's you know, you can find it on YouTube.
It's just awesome. Hey, uh, I wanted to ask about
your your first little alling uh working with now um,

(56:34):
you did, uh backfired and cuck cuckoo? Yes, could you
talk about the process of making it? Like, had you
always wanted to do your own solar stuff? For? Oh? Well,
I think it became apparent. You know that we, you know,

(56:56):
I guess, had divergent interests, you know, with the blondie
format and as um you know in the record industry
as you will probably know that, you know a lot
of times the labels reject you know, you're changing. And
you know, Chris and I were, you know, we liked

(57:19):
a lot of different things, and um, we especially liked
Chic you know, he liked Nile and Bernard and Donna's summer.
So you know, I guess we just got to know
to know Nile a little bit. Bernard was a little
more quiet. Nile was, um, I was out there, you know,

(57:41):
he was very social and yeah. Yeah, so one of
the first times we met him, he was going on
about how much he loved EVO, which was you know,
and and he see to this day he says he
wasn't didn't know much about rap music and that we
the ones who introduced him. So I set he's the

(58:04):
proprietor of right, Yeah, I mean there's there's that's that's
a common story where you know, when he was alive, Um,
I'd always tease Prince about the fact that, you know,
Prince Prince um is very is a very famous lurker
on the internet. You know, would often kind of iral

(58:27):
proverbial I ral whenever I talked about you know, his
diamonds and pearls gangster rap period, you know, with a
gun mic and all that stuff. And you know, I
would tell him all the time that you were actually
more hip hop when before you were rapping on purpose,
you know what I mean, because everything about him was

(58:48):
you know, was that it was you know, he's drum programming,
he was ghostwriting, you know, he was making up his
own groups and had alias. Is like everything that was
hip hop, even down to like the women that he
chose and marketed, like all that was that was the
blueprint that hip hop built itself upon, you know what

(59:10):
I'm saying. And so oftentimes, uh, I just find it
weird that the second that he becomes aware of hip hop,
then that's sort of like that's where it got weird.
But he was, to me hip hop before he sort
of became aware of it. So you're telling the story
of of now Rogers, like really not being into it

(59:34):
even though the irony of the good times thing, can
you speak upon like the circumstances after two and the
band wanting to take a break. Was it just because
you guys were just on a tenure stretched by that point?
You just need drugs. I got really protracted illness, just

(59:56):
all kinds of crap. What's going on? You know, our
finances went to shit. Um, we got you know, we
were got victimized in a lot of places. We found
out this accountant we had two years we've made the
most money to pay our taxes, just trying to get
us at the tax shelters. Yeah, it's just his standard

(01:00:16):
show biziness bullshit. You know. You know at this point
when you're celebrating, uh, your entire history, Like for you,
what's the what's the biggest lesson that you've learned? Oh jeez,
well there's a lot, you know, just relax for yourself,
don't trust anybody, um, you know, just the basic stuff.

(01:00:40):
And it's all gonna sound so cliche. We we love
clises on this show, like because to me, it's about
the creative process, but it's also about you know what
what have you learned in hindsight? You know, I mean,
I just love the fact that you saved all those demos. Um. Yeah,
I for one wasn't too sentimental with the demo. I

(01:01:01):
was smart enough to not throw them away. But now
I'm going through the painstake and process of just going
through trash Ben after trash Ben after because I know,
like in ten years, I'm gonna have to, yeah, make
some make some sort of sense of it. So can
you just talk about the process of finding these things?
And that was long and arguous, you know. I just

(01:01:24):
we did Are the the last Bloody album. We had
at the Magic Shop and Steve there, you know, the
place where Bowie did Black Star, you know, his last
He did his last two records there and phenomenal amouth
and stuff came out of that place, and so we
really looked a last band to record there. And Steve
there has the record tape salvaging company also, you know,

(01:01:50):
he bakes the tapes and stuff, so that that was easy.
We just I just turned it over to him and
our manager taught me over the other thing. And you know,
I would get these millions of the little fragments on
dropbox and with the stuff and so yeah, it's just
cool whatever. So, um, Chris, what was like the coolest

(01:02:13):
thing that you found? Um in the archives person you know,
like personally to you where you were, where you were
excited what you found. Did we have a version of
the Moonlight Drive by the Doors that we recorded in
the studio while we were doing either the first or
second album, which is really great, But they whoever was

(01:02:37):
sitting in the control room didn't hit record at the
top of the song, so they did the job. They
did a good job coming in after the engineers, after
the first movement. But uh, and it's you know that
I don't know that I was aware that that existed
even but out there. Well, and that's on the box set. Yeah,

(01:02:59):
that's on the box it. Yeah, that's it's cool thing. Um,
did you fade it in on the box set or
did you just started start? It starts with some drums,
but you know, it misses the whole little intro section.
First first, first, yeah, fired him. Could you briefly talk
about um, So at one point you guys were gonna

(01:03:20):
work with Georgio Moroder. Yeah, well Georgio didn't want to
put up with the band bullshit. And all the Eaglemania
and us having to play things a hundred times to
get it right and all that stuff. He's like, he's
just wants to go in there and get it done.
I want and done. So you're saying that your your
process was more meticulous in terms of like wanting to

(01:03:42):
do because you guys are super tight as a band.
I was gonna ask like, no, no, I quite the opposite,
the opposite. We were slobby and we'd have to go
over shot a lot to get it done. I mean
by you know, after a while. By now people have
their skills honed. But in the early Blondie days it
was pretty funky. Well, I mean, you know, by the

(01:04:05):
way that you execute it Call Me at least, uh,
you know, you guys were airtight by then, you know.
So Yeah, but called Me has Called Me has a
lot of Georgios session guys on it as well as
the band you know. Yeah, I mean Clemson in there
for sure. Uh. I've not even on who's what in

(01:04:28):
that track? Okay, I see, but I do want to know.
In closing, um, just where are you now as far
as like creativity is concerned. And still we just finished
the twelfth record with n Congleton and that was that's
very exciting. Um, it's a little it's a little more
raw than the previous one. I'm listening to the mixes

(01:04:54):
coming back. It's great. I'm excited to get it out
in the world. When when you uh, when do you
propose that that will be? Uh? Next year? Next year? Okay,
I have a final question. Question you don't mind, Um,
it's it's kind of uh. I asked a lot of
people from your generation, especially um, about their final record

(01:05:18):
collections from from your past. You still have your Yeah,
I still haven't, but I don't, you know, I'm happy
to listen to the digital stuff at this point. You know,
it's like digital. I do a lot of photography still,
and I'm not gonna go back to film, you know,
I mean, I like films. Nice, but it's also kind
of it's kind of like a fat dish. But you

(01:05:41):
still have returned. Yeah, but I haven't put anything on
it in ten years or whatever. You know. Yeah, you
know it's nice. He still has this collection. You know
a lot of people. Yeah, no, I got playing stuff.
I got Charles Manson's record, I get the first pressing. Really, yeah,

(01:06:03):
what was I watched I was like just watching some
dumb TV show and they clothed with a Charles Manson song.
What the heck was that? I can't remember? Yeah, But
for you, okay, So for you, what's what's in your
your top five records of all time? Oh man, well
that's a lot. You know what John Faye he is?

(01:06:25):
I know John Yeah, John Paye's like superhero me. I
saw him play and talked him briefly. Um, top five
beyond that just you know, standard stuff, what you consider.
You know, when Bowie records, Like I was at Studio

(01:06:45):
fifty four and when James Brown Brown has a double
no I saw, I saw one of those shows. It's
funny you say that for James Brown fans. I will
personally say that the thing that I admire most about
James Brown is that he doesn't know mediocrity. So either

(01:07:06):
either he will be the the the the height of
perfection or it's it's the worst ship ever. And as
a kid, as a kid, I remember saving like seeing
James Brown live at Studio fifty four, and you know,
this is when I'm first starting to discover breakbeats and everything.

(01:07:26):
So I was like, oh man, look at the cover
he's sweating it's gonna be real good. And I brought
it home and I was like, ah, this is the worst.
So I was a one. I was at one of
those shows. I don't know if it was the one
they're on the record, but Cain remember yeah, I've and
fifty four. Well, you know, Chris, I want to thank you.
We we had a technical difficulty and we lost fell out,

(01:07:50):
we got lost in the either but anything haven't we
want to get together and bullshit. I be happy to
also my pleasure. Yes, definitely your You're a legend and
I appreciate thank us so on behalf of Sucker Steve
and and I'm paid Bill and my ear and take
a little. This is a quest Love of Quest Love Supreme,
and thank you Chris and Debbie for going over your

(01:08:13):
history with us. And we really appreciate it. And we
will see you next time, next go round of course,
Love Supreme all right, m h M. Quest Love Supreme
is a production of my Heart Radio. For more podcasts

(01:08:38):
from my Heart Radio, visit the I Heart Radio app,
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