For W's Directors Issue, NoahBaumbach and DebbieHarry revisited the singer's favorite New York haunts. “The East Village was perfect for us—the hippies and the musicians,' Harry says. “It was the Mecca for the new rock scene.' Read more, here.
—a die-hard Blondie fan who cast Harry in this project—calling the shots. As millennial record store employees fail miserably in their attempts at nonchalance in her presence, and a local restaurant owner falls all over himself trying to shake her hand, it becomes clear that Harry is in many ways the patron saint of the neighborhood, an emblem of a time beforeAt the intersection of First Avenue and East 10th Street in Manhattan’s East Village, Debbie Harry’s eternal haunt.
When Harry first moved to New York, in 1965, after a storybook postwar childhood in Hawthorne, New Jersey, she landed here, in a $67-a-month apartment on St. Marks and Avenue A. In addition to stints as a waitress at Max’s Kansas City, a secretary for the BBC, a bikini bartender, and a, she worked in a head shop two doors down from the surprisingly still kicking Ukrainian diner Veselka, where she stops today to sit for a few photos.
The feeling, as Baumbach sees it, has always been mutual. When he was growing up in Brooklyn, in the late ’70s and early ’80s, “pretty much everyone was listening to Blondie,” says the director, who considersthe band’s 1978 breakthrough, “really the record of my childhood.” It was the first album he ever bought, from a shop called Soundtrack near his home in Park Slope.
Equally enduring has been Baumbach’s sense of his place in it. Though he’s lived in Manhattan for years now, and—even beforeracked up six Oscar nominations—had inarguably made it here, in the Frank Sinatra sense of the phrase, New York remains, he says, somehow “home and fantasy, totally familiar and yet aspirational at the same time.” In his movies, the city often plays an outsize role, more significant than simply a setting.
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