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Parallel Lines & Transversals Worksheet

Written By Sunday, October 16, 2022 Add Comment Edit

1978 studio album by Blondie

Parallel Lines
The band members of Blondie standing behind a black and white wall. Debbie Harry (standing center right, with her clenched hands on her hips) is seen wearing a white dress while the rest of the band wears business suits with a black tie.
Studio album by

Blondie
Released September 23, 1978
Recorded June–July 1978
Studio Record Plant (New York City)
Genre
  • Popular rock
  • power popular
  • new wave
Length 39:06
Characterization Chrysalis
Producer Mike Chapman
Blondie chronology
Plastic Letters
(1977) 		Parallel Lines
(1978) 		Eat to the Beat
(1979)
Singles from Parallel Lines
  1. "Picture This"
    Released: August 26, 1978
  2. "I'g Gonna Honey You Too"
    Released: September 1978
  3. "Hanging on the Telephone"
    Released: October 30, 1978
  4. "Heart of Drinking glass"
    Released: January 3, 1979
  5. "Sun Girl"
    Released: May 1979
  6. "1 Way or Some other"
    Released: May 14, 1979

Parallel Lines is the third studio album past American rock band Blondie, released on September 23, 1978, past Chrysalis Records to international commercial success. The anthology reached No. 1 in the United kingdom in February 1979 and proved to be the band's commercial quantum in the Us, where it reached No. 6 in Apr 1979. In Billboard magazine, Parallel Lines was listed at No. 9 in the peak pop albums year-end nautical chart of 1979. The anthology spawned several successful singles, notably the international striking "Eye of Glass".

Background [edit]

"Musically, Blondie were hopelessly horrible when we first began rehearsing for Parallel Lines, and in terms of my mental attitude they didn't know what had hit them. I basically went in there similar Adolf Hitler and said, 'You are going to brand a great record, and that ways you're going to start playing improve.'"

—Mike Chapman, in an interview for Audio on Sound, recalling Blondie's initial musical inexperience[1]

Blondie'due south second studio album Plastic Letters was their last album produced by Richard Gottehrer, whose sound had formed the basis of Blondie's new wave and punk output. During a tour of the west coast of the Us in back up of Plastic Messages, Blondie encountered Australian producer Mike Chapman in California. Peter Leeds, Blondie'south manager, conspired with Chrysalis Records to encourage Chapman to work with Blondie on new music. Drummer Clem Burke recalls feeling enthusiastic about the suggestion, believing Chapman could create innovative and eclectic records. However, pb vocalist Debbie Harry was far less enthusiastic virtually Chapman'southward involvement as she knew him only by reputation; co-ordinate to Chapman, her antagonism towards him was because "they were New York. [He] was Fifty.A.". Harry's cautiousness abated after she played Chapman early cuts of "Heart of Glass" and "Sunday Girl" and he was impressed.[ii]

Recording [edit]

In June 1978 the ring entered the Tape Plant in New York to record their third album, and kickoff with Chapman.[two] However, Chapman constitute the band difficult to work with, remembering them as the worst band he always worked with in terms of musical ability, although praising Frank Infante equally "an amazing guitarist". Sessions with Chris Stein were hampered by him existence stoned during recording, and Chapman encouraged him to write songs rather than play guitar. Similarly, according to Chapman, Jimmy Destri would testify himself to be far amend at songwriting than every bit a keyboardist and Clem Burke had poor timing playing drums. As a upshot, Chapman spent time improving the band, especially Stein with whom Chapman spent hours rerecording his parts to ensure they were right.[one] Bassist Nigel Harrison became and so frustrated with Chapman'south bulldoze for perfection that he threw a synthesizer at him during recording.[two] Chapman recalls the atmosphere at the Record Plant in an interview for Sound on Audio:

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, actually juvenile in their arroyo to life—a classic New York underground rock band—and they didn't give a fuck about anything. They just wanted to take fun and didn't desire to work also hard getting information technology.[ane]

Chapman took an unorthodox approach when recording with Harry whom he describes as "a groovy vocalist and a great song stylist, with a beautifully identifiable vox. However ... as well very moody". Chapman was far more cautious of demanding much from Harry equally 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.[1] During a day of recording, Harry sang two atomic number 82 parts and some harmonies, less work than she did previously with Gottehrer. This was due to Chapman encouraging her to be cautious virtually the style she sang, particularly to recognise phrasing, timing and attitude.[ii]

Blondie recorded Parallel Lines in six weeks, despite being given half dozen months by Terry Ellis, co-founder of Chrysalis Records, to do then.[1] [2] For the drums, a traditional set-up was used and Chapman fitted Neumann microphones to the toms, snare and hi-hat, also as several to a higher place the site. When recording, Chapman would get-go with the bass track, which was difficult to tape at the fourth dimension, by way of "pencil erasing". Chapman explained in an interview for Sound on Audio, "that meant using a pencil to hold the tape away from the head and erasing upwards to the kick drum. If a bass part was ahead of the kick, you lot could erase it so that it sounded like it was on top of the boot. That's very like shooting fish in a barrel to practice these days, merely back and then it was quite a procedure just to become the bottom end sounding nice and tight." A combination DI/amp method was used to record Harrison's bass and Destri's synthesizer. Shure SM57 and AKG 414 microphones were used to capture Infante's Les Paul guitar.[1] Male monarch Crimson guitarist Robert Fripp makes a guest advent on his main instrument on "Fade Away and Radiate".

After the bones track was complete, Chapman would record atomic number 82 and backing vocals with Harry. However, this process was hampered past many songs not beingness written in fourth dimension for the vocals to exist recorded. "Sunday Daughter", "Picture This" and "One Way Or Some other" were all unfinished during the rehearsal sessions. When recording song parts, Chapman remembers asking Harry if she was fix to sing, simply for her to reply "Yeah, just a infinitesimal" as she was still writing lyrics down. Chapman notes that many "classic" songs from the album were created this mode.[i]

During the last session at the Tape Plant, the ring were comatose on the floor only to be awakened at six o'clock in the morning past Mike Chapman and his engineer Peter Coleman leaving for Los Angeles with the tape tracks.[2] Despite Blondie'due south belief that Parallel Lines would resonate with a wider audition, Chrysalis Records was not equally enthusiastic and characterization executives told them to start once more, but to exist dissuaded by Chapman's balls that its singles would bear witness pop.

Music and lyrics [edit]

According to music journalist Robert Christgau, Parallel Lines was a popular stone album in which Blondie achieved their "synthesis of the Dixie Cups and the Electrical Prunes".[3] Its manner of "state-of-the-art popular/rock circa 1978", every bit AllMusic'southward William Ruhlmann described information technology, showed Blondie deviating from new wave and emerging every bit "a pure pop band."[iv] Ken Tucker believed the ring had eschewed the "brooding artiness" of their previous albums for more than hooks and pop-oriented songs.[five] Chapman afterward said, "I didn't brand a punk album or a New Wave album with Blondie. I made a pop album."[six] The album's eleven pop songs have refined melodics, and its sole disco vocal, "Heart of Drinking glass", features jittery keyboards, rustling cymbals past drummer Clem Burke, and a circular rhythm.[7] 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".[8]

Lyrically, Parallel Lines abandoned what Rolling Rock mag'southward Arion Berger called the "cartoonish postmodernist referencing" of Blondie's previous new moving ridge songs in favor of a "romantic fatalism" that was new for the band.[7] "Sun Girl" deals with the theme of teen loneliness. Music critic Rob Sheffield said that the lyric "dusty frames that still go far / die in 1955", in "Fade Abroad and Radiate", is the "best lyric in any stone'n'roll song, ever, and it's even so the ultimate statement of a band that always establish some pleasance worth exploiting in the flashy and the temporary."[9]

Championship and packaging [edit]

Parallel Lines took its name from an unused runway written by Harry, the lyrics of which were included in the kickoff vinyl edition of the album. The cover sleeve image was photographed by Edo Bertoglio and was chosen past Blondie'due south manager, Peter Leeds, despite being rejected past the band. The photograph shows the band posing in matching dress suits and smiling broadly in contrast to Harry who poses defiantly with her easily on her hips while wearing a white dress and high heels.[2] According to music announcer Tim Peacock, the comprehend became "iconic – and instantly recognisable".[10]

Release and promotion [edit]

The album was released by Chrysalis in September 1978,[ten] to international success.[11] The album entered the Billboard album chart the calendar week catastrophe September 23, 1978 at No. 186, reflecting retail sales during the survey menstruum ending September ten, 1978.[12] In the United Kingdom, it entered the albums nautical chart at No.13, eventually reaching the no.1 spot in February 1979 subsequently the band had scored hits with the singles "Moving-picture show This" (United kingdom #12), "Hanging on the Telephone" (UK #v), and "Heart of Glass" (UK #1). "Lord's day Girl" was released in the UK as a fourth unmarried from the anthology in May 1979 and too reached no.1, and Parallel Lines became the UK'southward biggest selling anthology of the year. Blondie embarked on a sold-out tour of the UK and appeared at an autograph signing issue for Our Toll Records on Kensington High Street; according to Peacock, it "descended into Beatlemania-esque chaos when the band were mobbed by thousands of fans".[ten]

Parallel Lines was besides a commercial success elsewhere in Europe, Australia, and the U.s., where the band had struggled to sell their previous records. "Heart of Glass" became their start number-1 hit on the American Billboard Hot 100, with aid from a promotional video directed by Stanley Dorfman depicting Blondie in a functioning of the song at a stylish nightclub in New York. The single was "responsible for turning the band into bona fide superstars", Peacock said.

Disquisitional reception [edit]

Retrospective professional person ratings
Review scores
Source Rating
AllMusic [iv]
Blender [13]
Christgau's Record Guide A[fourteen]
Encyclopedia of Popular Music [15]
Entertainment Weekly B[xvi]
Pitchfork 9.7/10[17]
Q [18]
Rolling Rock [7]
The Rolling Stone Album Guide [19]
Slant Magazine [twenty]
Spin Alternative Record Guide 10/10[21]

The album was met with universal acclaim from critics.[x] Writing in The Village Vox in 1978, Robert Christgau said although Blondie still could non write a perfect hit single, the record was a consequent comeback over Plastic Messages.[3] Years later, he wrote in Blender that it was "a perfect album in 1978" and remained and so with "every song memorable, singled-out, well-shaped and over before you lot go antsy. Never again did singer Deborah Harry, mastermind Chris Stein and their able iv-man accomplice nail the ring'due south signature paradoxes with such unfailing flair: lowbrow grade, tender sarcasm, pop stone."[22] New York Times critic John Rockwell named Parallel Lines the eighth best anthology of 1978.[23] Daryl Easlea from BBC Music, who felt the record combined power pop and new wave styles, credited Mike Chapman'southward production and flair for popular songwriting for helping make Parallel Lines an extremely pop anthology in the U.k., where it was a number-1 hit and charted for 106 weeks during the late 1970s.[24] Q mag called the anthology "a crossover smash with sparkling guitar sounds, terrific hooks and centre-eights more memorable than some groups' choruses."[eighteen]

In a retrospective appraisal of 1970s mail-punk albums, Spin magazine's Sasha Frere-Jones said Parallel Lines may take been "the perfect popular-rock record" and Blondie's best album.[25] Christian John Wikane from PopMatters later called it "a creative and commercial masterpiece by Blondie ... indisputably 1 of the bang-up, classic albums of the stone and coil era."[26] In the opinion of Pitchfork critic Scott Plagenhoef, the anthology popularized "the look and sound of 1980s new moving ridge" with classic songs that showcased the depth and complexity of Harry's sexuality and singing.[17] Sal Cinquemani from Slant Magazine was as well impressed by her singing, which he felt varied from "purring similar a kitten and then building to a mean growl", and cited "Middle of Glass" as the album's best track because of her "honey-dipped vocal".[xx]

In 2000, Parallel Lines was voted number 57 in Colin Larkin'southward book All Time Top 1000 Albums.[27] Three years later, it was ranked at number 140 on Rolling Rock 'southward listing of the 500 greatest albums of all time,[8] maintaining the rating in a 2012 revised list;[28] an accompanying essay said the album was "where punk and New Moving ridge broke through to a mass U.S. audition".[8] It has as well been placed at number 18 and 45 on NME 's 100 Best Albums of All Fourth dimension (2003)[29] and 500 Greatest Albums of All Time (2013) lists,[thirty] respectively; number 7 on Blender 's 100 Greatest American Albums of All Time;[31] number 94 on Channel four's 2005 list of the 100 greatest albums of all time;[32] and number 76 on Pitchfork 's listing of the best albums from the 1970s.[33]

Reissues [edit]

The album was reissued and remastered in 2001 along with Blondie'south back catalog and featured four bonus tracks: a 1978 demo of "Middle of Glass", alive encompass of T. Rex'due south vocal "Blindside a Gong (Become It On)" and ii live tracks taken from the Motion picture This Live alive album.[34]

On June 24, 2008, an expanded 30th Anniversary Edition of the album was released,[35] which featured new artwork[36] and bonus tracks along with bonus DVD.[37] The liner notes once again featured lyrics to the unfinished "Parallel Lines" song. The Parallel Lines 30th Ceremony Edition included the 7″ unmarried version of "Heart of Drinking glass", the French version of "Sunday Girl" and some remixes, plus a DVD with albums, promo videos and TV operation.

The ring likewise launched a world tour of the same proper name to promote the re-release and celebrate the event.[38]

Track listing [edit]

2008 deluxe collector'south edition bonus tracks
No. Title Length
xiii. "Heart of Drinking glass" (seven″ unmarried version) iv:ten
xiv. "Sunday Girl" (French version) (from "Sunday Girl" 12″ single) 3:04
fifteen. "Hanging on the Telephone" (Nosebleed Handbag Remix) (from Beautiful: The Remix Album) 6:14
sixteen. "Fade Abroad 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 Phone"
3. "Motion picture This"
4. "Sunday Girl" (live on Height of the Pops)

Notes [edit]

  • The anthology version of "Centre 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 Meaty Classics Gilt CD release (Capitol Special Markets USA GSZ 1062) features the original version with the disco version every bit a bonus track.
  • A promotional CD of the album was given away free with the British paper The Post on Sunday on December 5, 2010, including the bonus tracks "What I Heard" and "Girlie Girlie" from the band'southward 2011 anthology Panic of Girls.[39]

Personnel [edit]

Credits adjusted from the liner notes of Parallel Lines.[40]

Blondie [edit]

  • Jimmy Destri – electronic keyboards
  • Frank Infante – guitar, co-atomic number 82 vocals on "I Know but I Don't Know"
  • Chris Stein – guitar, 12-string, Due east-bow
  • Nigel Harrison – bass
  • Clem Shush – Premier drums
  • Deborah Harry – vocals

Additional personnel [edit]

  • Mike Chapman – production, backing vocals on "Hanging on the Telephone"[a]
  • Pete Coleman – production help, technology
  • Grey Russell – technology assistance
  • Steve Hall – mastering at MCA Whitney Studio (Glendale, California)
  • Robert Fripp – guitar on "Fade Away and Radiate"
  • Edo Bertoglio – photography
  • Ramey Communications – fine art direction, design
  • Frank Duarte – illustration
  • Jerry Rodriguez – lettering
  • Kevin Flaherty – production (2001 reissue)

Charts [edit]

Certifications and sales [edit]

Notes [edit]

  1. ^ In the documentary Blondie's New York... and the Making of Parallel Lines (2014), Mike Chapman states his additional vocals were overdubbed to the outro of the vocal. He also proves this by playing the master track isolated during the interview in his studio.

References [edit]

  1. ^ a b c d eastward f one thousand Buskin, Richard (June 2008). "Blondie 'Hanging on the Telephone'". Sound on Sound. Cambridge. Retrieved July 1, 2014.
  2. ^ a b c d eastward f grand Porter, Dick; Needs, Kris (2012). Blondie: Parallel Lives (1st ed.). Omnibus Printing. ISBN9781780381299.
  3. ^ a b Christgau, Robert (October thirty, 1978). "Consumer Guide". The Village Vocalization. New York. Retrieved June thirty, 2013.
  4. ^ a b Ruhlmann, William. "Parallel Lines – Blondie". AllMusic . Retrieved June 30, 2014.
  5. ^ Tucker, Ken (Nov 3, 1982). "Parallel Lines". Rolling Rock. New York. Retrieved July nine, 2012.
  6. ^ Bangs 1980, p. 62.
  7. ^ a b c Berger, Arion (June 8, 2000). "Blondie: Parallel Lines". Rolling Stone. New York. p. 129. Archived from the original on Apr i, 2007. Retrieved July 25, 2016.
  8. ^ a b c "500 Greatest Albums of All Time: Parallel Lines – Blondie". Rolling Rock. New York. November 18, 2003. Archived from the original on December 20, 2010. Retrieved June 30, 2013.
  9. ^ Sheffield, Rob (January 1995). "The Go-Get's: Return to the Valley of the Go-Go's / Blondie: The Platinum Collection". Spin. Vol. 10, no. 10. New York. pp. 72–74. ISSN 0886-3032 – via Google Books.
  10. ^ a b c d Peacock, Tim (September 23, 2018). "How 'Parallel Lines' Led Blondie Straight To The Top". uDiscover . Retrieved Dec three, 2018.
  11. ^ "Blondie". AllMusic . Retrieved March 16, 2016.
  12. ^ Whitburn, Joel (2001). Top Popular Albums 1955–2001. Menomonee Falls, Wisconsin: Tape Research Inc. p. 80. ISBN0-89820-147-0.
  13. ^ Weiner, Jonah. "Blondie: Parallel Lines". Blender. New York. Archived from the original on August 18, 2004. Retrieved July 25, 2016.
  14. ^ Christgau, Robert (1981). "Blondie: Parallel Lines". Christgau's Record Guide: Rock Albums of the Seventies. Ticknor and Fields. ISBN0-89919-026-X . Retrieved June 30, 2014.
  15. ^ Larkin, Colin (2011). "Blondie". The Encyclopedia of Popular Music (5th concise ed.). London: Omnibus Printing. ISBN978-0-85712-595-8.
  16. ^ Weingarten, Marc (September 21, 2001). "Blondie: Blondie / Plastic Letters / Parallel Lines / Eat to the Trounce / Autoamerican / The Hunter". Amusement Weekly. New York. p. 85.
  17. ^ a b Plagenhoef, Scott (August 1, 2008). "Blondie: Parallel Lines: Deluxe Edition". Pitchfork . Retrieved July 9, 2012.
  18. ^ a b "Blondie: Parallel Lines". Q. No. 182. London. October 2001. p. 143.
  19. ^ Coleman, Marker; 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 . Retrieved September 23, 2011.
  20. ^ a b Cinquemani, Sal (Oct 7, 2003). "Blondie: Parallel Lines". Camber Magazine . Retrieved June 30, 2014.
  21. ^ Sheffield, Rob (1995). "Blondie". In Weisbard, Eric; Marks, Craig (eds.). Spin Alternative Tape Guide. Vintage Books. pp. 49–50. ISBN0-679-75574-8.
  22. ^ Christgau, Robert (September 2008). "Blondie: Parallel Lines". Blender. No. 73. New York. Retrieved June 30, 2013.
  23. ^ Rockwell, John (Dec 22, 1978). "The Pop Life". The New York Times . Retrieved May 26, 2020.
  24. ^ Easlea, Daryl (2007). "Blondie Parallel Lines Review". BBC Music. Retrieved June 30, 2014.
  25. ^ Frere-Jones, Sasha (November 2001). "Destination Unknown". Spin. Vol. 17, no. xi. New York. p. 137. ISSN 0886-3032 – via Google Books.
  26. ^ Wikane, Christian John (July iii, 2008). "Blondie: Parallel Lines". PopMatters . Retrieved June 30, 2013.
  27. ^ Larkin, Colin (2000). All Time Superlative 1000 Albums (3rd ed.). Virgin Books. p. 61. ISBN0-7535-0493-6.
  28. ^ "500 Greatest Albums of All Fourth dimension". Rolling Stone. New York. May 31, 2012. Retrieved September 18, 2019.
  29. ^ "NME Writers' All Time Top 100 Albums". timepieces.nl. March 2003. Archived from the original on September 17, 2014. Retrieved July 11, 2012.
  30. ^ "The 500 Greatest Albums Of All Time: 100–1". NME. London. Oct 25, 2013. Retrieved October 19, 2020.
  31. ^ "100 Greatest American Albums of All Time". Blender. New York. Archived from the original on November 12, 2010. Retrieved July 11, 2012.
  32. ^ "Radiohead top C4 albums poll". Music Week. London. April xviii, 2005. Retrieved January xiii, 2014.
  33. ^ "The 100 Best Albums of the 1970s". Pitchfork. June 23, 2004. p. three. Retrieved Baronial 22, 2017.
  34. ^ "Parallel Lines [album]". deborah-harry.com. Archived from the original on February four, 2014. Retrieved February 4, 2014.
  35. ^ "Blondie Jubilant 30th Birthday Of 'Parallel Lines'". Billboard. May 20, 2008. Retrieved February iv, 2014.
  36. ^ "'Parallel Lines' 30th Anniversary collector's edition artwork". deborah-harry.com. Archived from the original on February 4, 2014. Retrieved February iv, 2014.
  37. ^ "'Parallel Lines' 30th anniversary collector's edition press release (May 2008)". deborah-harry.com. Archived from the original on Feb 4, 2014. Retrieved Feb 4, 2014.
  38. ^ "Blondie To Fete 'Parallel Lines' 30th Anniversary With Tour, Reissue". Billboard. May 7, 2008. Retrieved January 31, 2014.
  39. ^ "Free download of "Female parent" now available!". blondie.cyberspace. Dec five, 2010. Retrieved July xi, 2012.
  40. ^ Parallel Lines (liner notes). Blondie. Chrysalis Records. 1978. CHR 1192. {{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
  41. ^ Kent 1993, pp. 37–38.
  42. ^ "Austriancharts.at – Blondie – Parallel Lines" (in German). Hung Medien. Retrieved July 6, 2017.
  43. ^ "Acme RPM Albums: Outcome 4774a". RPM. Library and Archives Canada. Retrieved July 6, 2017.
  44. ^ "Dutchcharts.nl – Blondie – Parallel Lines" (in Dutch). Hung Medien. Retrieved July 6, 2017.
  45. ^ Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki: Kustannusosakeyhtiö Otava. ISBN978-951-1-21053-5.
  46. ^ "Offiziellecharts.de – Blondie – Parallel Lines" (in High german). GfK Entertainment Charts. Retrieved July 6, 2017.
  47. ^ "Classifiche". Musica e dischi (in Italian). Retrieved May 31, 2022. Select "Album" in the "Tipo" field, blazon "Blondie" in the "Artista" field and press "cerca".
  48. ^ "Charts.nz – Blondie – Parallel Lines". Hung Medien. Retrieved July 6, 2017.
  49. ^ "Norwegiancharts.com – Blondie – Parallel Lines". Hung Medien. Retrieved July half dozen, 2017.
  50. ^ "Hits of the Earth". Billboard. Vol. 91, no. 23. June 9, 1979. p. 95. ISSN 0006-2510 – via Google Books.
  51. ^ "Swedishcharts.com – Blondie – Parallel Lines". Hung Medien. Retrieved July vi, 2017.
  52. ^ "Official Albums Chart Top 100". Official Charts Company. Retrieved February 21, 2020.
  53. ^ "Blondie Chart History (Billboard 200)". Billboard. Retrieved July 6, 2017.
  54. ^ "Official Scottish Albums Nautical chart Top 100". Official Charts Company. Retrieved June 16, 2018.
  55. ^ "Official Physical Albums Chart Meridian 100". Official Charts Company. Retrieved February 21, 2020.
  56. ^ "Official Vinyl Albums Chart Tiptop 40". Official Charts Visitor. Retrieved February 21, 2020.
  57. ^ "Jaaroverzichten – Album 1978" (in Dutch). Dutch Charts. Retrieved Feb 21, 2020.
  58. ^ Scaping, Peter, ed. (1979). "Top 200 LPs in 1978". BPI Year Book 1979 (4th ed.). London: British Phonographic Industry. pp. 182–85. ISBN0-906154-02-2.
  59. ^ Kent 1993, p. 431.
  60. ^ "1979 Top 100 Albums". RPM. Vol. 32, no. 13. Dec 22, 1979. ISSN 0315-5994 – via Library and Athenaeum Canada.
  61. ^ "Top 100 Anthology-Jahrescharts – 1979" (in High german). GfK Entertainment. Retrieved February 21, 2020.
  62. ^ "Height Selling Albums of 1979". Recorded Music NZ. Retrieved February 21, 2020.
  63. ^ "Meridian Albums 1979". Music Week. December 22, 1979. p. 30. ISSN 0265-1548.
  64. ^ "Billboard 200 Albums – Year-End 1979". Billboard. Archived from the original on May 22, 2020. Retrieved Feb 21, 2020.
  65. ^ "Chart File – Acme 100 Albums 1980" (PDF). Record Mirror. Apr 4, 1981. p. 38. ISSN 0144-5804 – via World Radio History.
  66. ^ "Billboard 200 Albums – Year-Cease 1980". Billboard. Archived from the original on Dec two, 2020. Retrieved February 21, 2020.
  67. ^ Adams, Cameron (May 13, 2015). "Bang-up albums to only reach number ii in Australia". The Daily Telegraph. Sydney. Retrieved April 9, 2019.
  68. ^ "Canadian album certifications – Blondie – Parallel Lines". Music Canada. June 1, 1980.
  69. ^ "Dutch anthology 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.
  70. ^ "New Zealand album certifications – Blondie – Parallel Lines". Recorded Music NZ. Nov 11, 1979. Retrieved May 23, 2019.
  71. ^ Harris, Bill (November 17, 2006). "Queen rules – in album sales". Jam!. Archived from the original on June 29, 2012. Retrieved Oct xix, 2020.
  72. ^ "British anthology certifications – Blondie – Parallel Lines". British Phonographic Industry. February vi, 1979.
  73. ^ "La pop-star che fa impazzire i teenagers – Arriva Debbie dei Blondie". La Stampa (in Italian). May 25, 1981. p. 32. Retrieved March 20, 2021. Tra l'altro, il cosciente tentativo di rendere la loro musicati piii commerciale possibile ha funzionato, dal momento che solo negli Stati, Uniti ne sono state vendute un milione e mezzo di copie
  74. ^ "American anthology certifications – Blondie – Parallel Lines". Recording Industry Clan of America. June half-dozen, 1979.
  75. ^ a b "Foreign Acts Win Yugoslavia Awards". Billboard. Vol. 94, no. 42. October 23, 1982. p. 74. ISSN 0006-2510 – via Google Books.
  76. ^ "Blondie'south New York... and the Making of Parallel Lines". BBC Four. August 25, 2017. Retrieved Feb 12, 2021.

Bibliography [edit]

  • Bangs, Lester (1980). Blondie. Simon & Schuster. ISBN0-671-25540-ane.
  • Kent, David (1993). Australian Chart Book 1970–1992 (illustrated ed.). St Ives, N.S.Westward.: Australian Chart Book. ISBN0-646-11917-6.

Further reading [edit]

  • Olliver, Alex (September 20, 2017). "The New York punk albums you need in your record collection". Louder.

Parallel Lines & Transversals Worksheet,

Source: https://en.wikipedia.org/wiki/Parallel_Lines

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