Why on earth was this not Blondie’s debut single? Too meta for the times, I guess. It didn’t even make the album, initially. It’s obviously a great song, so it wasn’t a quality thing. I imagine Debbie Harry might have wanted to deflect the kind of attention that would prevent the band being taken seriously, and comparing herself to “Marilyn and Jean, Jayne, Mae and Marlene” would not have been the way to do that. It’s a tough call, striking a balance between owning your status as a sex symbol, and being governed by it. Harry has kept that balance with remarkable grace over the years. For the most part, she’s had fun playing with gender tropes, winking at both the femme fatale and the wilting wallflower. But it can’t have been easy, and I understand her reluctance, as a fledgling in the music industry, to release a song that appears to invite being viewed – and judged – as a fantasy figure in a long line of fantasy figures. Now, of course, it’s a clever mission statement from a woman who’s redefined what it means to be a platinum blonde. Platinum blonde isn’t just a fashion; it’s a concept of womanhood, one that doesn’t necessarily benefit the woman wearing it. Or, if it benefits her, it does so at the implied expense of other women. Debbie Harry has been one of the few blonde icons whose blonde identity isn’t inexorably entwined with tragic victimhood. Her image wasn’t forced on her by a male Svengali. It wasn’t a facade to cover crippling self hate, or a disguise in which to escape from a horrible life. It wasn’t a survival strategy, used to float more or less unharmed across the hostile waters of systematic patriarchy. No, Harry would be blonde, and she would be sexy, but she wouldn’t accept that it’s a woman’s burden to suffer willingly or be punished. If blondes are supposed to have more fun, Debbie Harry is going to have more fun.