That’s probably what motivated Carlisle to pull the biggest power move she could muster: going solo. “As a young girl,” she says, “going into a space where women owned the stage, and owned it unapologetically like they were born to be there — to me, it represented a moment of possibility.”. One of Wiedlin's friends from the Canterbury, Belinda Carlisle, intended to audition, but came down with a bout of mononucleosis and withdrew from consideration. But I had assumed The Go-Gos were an assembled band, put together by some manager (likely IRS Records head Miles Copeland, manager of the Police and brother of that band's drummer Stewart) because they were cute.
Actual violence, as opposed to mosh-pit carousing, was becoming part of the scene.
After graduating from high school in 1976, she signed up to study fashion design at a local trade school. We'll assume you're ok with this, but you can opt-out if you wish. He is said to object to the fact that they were packages, that they didn't organically come together as aspirational amateurs. “The genuine exuberance of our music gave people an escape and a respite from the meanness and greed defining the era,” Valentine wrote in her excellent recent memoir “All I Ever Wanted,” with the crisp clarity of cultural hindsight. The band didn't like it (though the image is, in retrospective, totes dorb) and it fell to Canzoneri to complain to Jann Wenner, the magazine's publisher. "It was dark, filthy and smelly," Wiedlin wrote.
Hometown. Jane Wiedlin is an American musician, singer-songwriter, best known as the rhythm guitarist and backing vocalist of the Go-Go's, a popular new wave musical band. I didn't hold it against them -- I can and will at the slightest provocation make a case for the prefabricated Monkees as a genuinely great rock 'n' roll band -- but figured someone had selected the young ladies for the band, seen they were given lessons in elocution and how to hold a bass guitar, prettied up, powdered up and sent out to conquer the world.
COMMENTS - It looks like you're using Internet Explorer, which isn't compatible with the Democrat-Gazette commenting system. Jane Wiedlin — who had just taken up her instrument — and Belinda Carlisle perform in the early days of the Go-Gos. The Democrat-Gazette commenting system is more compatible with. “It wasn’t just about the music, it was the sense of being packaged into a product,” Olavarria recalls. The persistence of sexism and double standards are the most obvious answers. At their most bacchanalian, one inebriated Go-Go received the dubious honor of being kicked out of Ozzy Osbourne’s Rock in Rio dressing room — no small feat. Hey, why not? A handful of basic open chords she could strum around a campfire. After a teaching career from 1998 to 2009, she began to freelance in writing, editing and translation.
(The film is a treasure trove of archival footage; one memorable clip shows Carlisle singing an early, punky version of “We Got the Beat” in a dingy club and taunting the crowd to dance: “Come on, don’t be too cool.”).
energy was often seen as a sign of authenticity for male punk bands. We had a lot of great times together and I wish we had done things differently. If the group had contributions from all members, “we could have supported each other and granted space for each of us to grow instead of confining ourselves to a formula with a limited shelf life.”. Since that first split in 1985, the Go-Go’s have broken up and reformed more times than the documentary has time to chronicle. To connect with Margot, sign up for Facebook today. Punk" (edited by X front John Doe, Da Capo, 2016).
"Eventually it became painfully obvious that you needed no prior knowledge to form a punk band and that we were the only kids left who hadn't done so," Wiedlin wrote. (“We Got the Beat” had the cosmic luck of coming out a month before MTV went on the air.)
That’s probably what motivated Carlisle to pull the biggest power move she could muster: going solo. “As a young girl,” she says, “going into a space where women owned the stage, and owned it unapologetically like they were born to be there — to me, it represented a moment of possibility.”. One of Wiedlin's friends from the Canterbury, Belinda Carlisle, intended to audition, but came down with a bout of mononucleosis and withdrew from consideration. But I had assumed The Go-Gos were an assembled band, put together by some manager (likely IRS Records head Miles Copeland, manager of the Police and brother of that band's drummer Stewart) because they were cute.
Actual violence, as opposed to mosh-pit carousing, was becoming part of the scene.
After graduating from high school in 1976, she signed up to study fashion design at a local trade school. We'll assume you're ok with this, but you can opt-out if you wish. He is said to object to the fact that they were packages, that they didn't organically come together as aspirational amateurs. “The genuine exuberance of our music gave people an escape and a respite from the meanness and greed defining the era,” Valentine wrote in her excellent recent memoir “All I Ever Wanted,” with the crisp clarity of cultural hindsight. The band didn't like it (though the image is, in retrospective, totes dorb) and it fell to Canzoneri to complain to Jann Wenner, the magazine's publisher. "It was dark, filthy and smelly," Wiedlin wrote.
Hometown. Jane Wiedlin is an American musician, singer-songwriter, best known as the rhythm guitarist and backing vocalist of the Go-Go's, a popular new wave musical band. I didn't hold it against them -- I can and will at the slightest provocation make a case for the prefabricated Monkees as a genuinely great rock 'n' roll band -- but figured someone had selected the young ladies for the band, seen they were given lessons in elocution and how to hold a bass guitar, prettied up, powdered up and sent out to conquer the world.
COMMENTS - It looks like you're using Internet Explorer, which isn't compatible with the Democrat-Gazette commenting system. Jane Wiedlin — who had just taken up her instrument — and Belinda Carlisle perform in the early days of the Go-Gos. The Democrat-Gazette commenting system is more compatible with. “It wasn’t just about the music, it was the sense of being packaged into a product,” Olavarria recalls. The persistence of sexism and double standards are the most obvious answers. At their most bacchanalian, one inebriated Go-Go received the dubious honor of being kicked out of Ozzy Osbourne’s Rock in Rio dressing room — no small feat. Hey, why not? A handful of basic open chords she could strum around a campfire. After a teaching career from 1998 to 2009, she began to freelance in writing, editing and translation.
(The film is a treasure trove of archival footage; one memorable clip shows Carlisle singing an early, punky version of “We Got the Beat” in a dingy club and taunting the crowd to dance: “Come on, don’t be too cool.”).
energy was often seen as a sign of authenticity for male punk bands. We had a lot of great times together and I wish we had done things differently. If the group had contributions from all members, “we could have supported each other and granted space for each of us to grow instead of confining ourselves to a formula with a limited shelf life.”. Since that first split in 1985, the Go-Go’s have broken up and reformed more times than the documentary has time to chronicle. To connect with Margot, sign up for Facebook today. Punk" (edited by X front John Doe, Da Capo, 2016).
"Eventually it became painfully obvious that you needed no prior knowledge to form a punk band and that we were the only kids left who hadn't done so," Wiedlin wrote. (“We Got the Beat” had the cosmic luck of coming out a month before MTV went on the air.)
That’s probably what motivated Carlisle to pull the biggest power move she could muster: going solo. “As a young girl,” she says, “going into a space where women owned the stage, and owned it unapologetically like they were born to be there — to me, it represented a moment of possibility.”. One of Wiedlin's friends from the Canterbury, Belinda Carlisle, intended to audition, but came down with a bout of mononucleosis and withdrew from consideration. But I had assumed The Go-Gos were an assembled band, put together by some manager (likely IRS Records head Miles Copeland, manager of the Police and brother of that band's drummer Stewart) because they were cute.
Actual violence, as opposed to mosh-pit carousing, was becoming part of the scene.
After graduating from high school in 1976, she signed up to study fashion design at a local trade school. We'll assume you're ok with this, but you can opt-out if you wish. He is said to object to the fact that they were packages, that they didn't organically come together as aspirational amateurs. “The genuine exuberance of our music gave people an escape and a respite from the meanness and greed defining the era,” Valentine wrote in her excellent recent memoir “All I Ever Wanted,” with the crisp clarity of cultural hindsight. The band didn't like it (though the image is, in retrospective, totes dorb) and it fell to Canzoneri to complain to Jann Wenner, the magazine's publisher. "It was dark, filthy and smelly," Wiedlin wrote.
Hometown. Jane Wiedlin is an American musician, singer-songwriter, best known as the rhythm guitarist and backing vocalist of the Go-Go's, a popular new wave musical band. I didn't hold it against them -- I can and will at the slightest provocation make a case for the prefabricated Monkees as a genuinely great rock 'n' roll band -- but figured someone had selected the young ladies for the band, seen they were given lessons in elocution and how to hold a bass guitar, prettied up, powdered up and sent out to conquer the world.
COMMENTS - It looks like you're using Internet Explorer, which isn't compatible with the Democrat-Gazette commenting system. Jane Wiedlin — who had just taken up her instrument — and Belinda Carlisle perform in the early days of the Go-Gos. The Democrat-Gazette commenting system is more compatible with. “It wasn’t just about the music, it was the sense of being packaged into a product,” Olavarria recalls. The persistence of sexism and double standards are the most obvious answers. At their most bacchanalian, one inebriated Go-Go received the dubious honor of being kicked out of Ozzy Osbourne’s Rock in Rio dressing room — no small feat. Hey, why not? A handful of basic open chords she could strum around a campfire. After a teaching career from 1998 to 2009, she began to freelance in writing, editing and translation.
(The film is a treasure trove of archival footage; one memorable clip shows Carlisle singing an early, punky version of “We Got the Beat” in a dingy club and taunting the crowd to dance: “Come on, don’t be too cool.”).
energy was often seen as a sign of authenticity for male punk bands. We had a lot of great times together and I wish we had done things differently. If the group had contributions from all members, “we could have supported each other and granted space for each of us to grow instead of confining ourselves to a formula with a limited shelf life.”. Since that first split in 1985, the Go-Go’s have broken up and reformed more times than the documentary has time to chronicle. To connect with Margot, sign up for Facebook today. Punk" (edited by X front John Doe, Da Capo, 2016).
"Eventually it became painfully obvious that you needed no prior knowledge to form a punk band and that we were the only kids left who hadn't done so," Wiedlin wrote. (“We Got the Beat” had the cosmic luck of coming out a month before MTV went on the air.)
A new documentary about the Los Angeles band explores the punk roots that came before its pop sheen, and the power dynamics that led to its split. “Margot really was great.
Gehman gave Wiedlin a flyer to a new club called The Masque, which was in the basement -- a one-time nuclear fallout shelter -- of the Pussycat Theater, which focused on screenings of "Deep Throat." But the same personal chemistry that fueled the group’s rocket ship ascent is also what made them combustible. "Yup, the Canterbury was like a dormitory – a dormitory with heroin, rape and plenty-loud punk rock music," she wrote. Famously, Wenner is rumored to object to the way the Monkees were put together, cast first as actors on a TV sitcom. Today's Paper Latest Elections Coronavirus Covid Classroom Cooking Families Core values Story ideas iPad Weather Newsletters ... "So Belinda, Margot Olavarria and I … Plenty of journalists fixated on the creation myth that the Go-Go’s “couldn’t play their instruments” when they started out — though the same sort of scrappy, D.I.Y. -- "Living in the Canterbury," The Go-Gos. But the Go-Go’s fused those two impulses together most seamlessly for mass consumption. “But we did it all ourselves.”, Of course, the Go-Go’s were hardly the music industry’s first commercially dominant girl group (with their dozen No. Wiedlin had a job at a downtown sweatshop; she wrote punk poetry, smoked crystal meth and saved coins to buy food. "At this time I was still pretty immersed in the whole glitter-rock thing (which, like punk rock, was equal parts look, music and attitude). He showed her the two basic barre chord forms, and explained that all she needed to do was to move the shapes up and down the neck to have all the chords she'd ever need to write songs. Log In. But opting out of some of these cookies may have an effect on your browsing experience. These cookies do not store any personal information.
That’s probably what motivated Carlisle to pull the biggest power move she could muster: going solo. “As a young girl,” she says, “going into a space where women owned the stage, and owned it unapologetically like they were born to be there — to me, it represented a moment of possibility.”. One of Wiedlin's friends from the Canterbury, Belinda Carlisle, intended to audition, but came down with a bout of mononucleosis and withdrew from consideration. But I had assumed The Go-Gos were an assembled band, put together by some manager (likely IRS Records head Miles Copeland, manager of the Police and brother of that band's drummer Stewart) because they were cute.
Actual violence, as opposed to mosh-pit carousing, was becoming part of the scene.
After graduating from high school in 1976, she signed up to study fashion design at a local trade school. We'll assume you're ok with this, but you can opt-out if you wish. He is said to object to the fact that they were packages, that they didn't organically come together as aspirational amateurs. “The genuine exuberance of our music gave people an escape and a respite from the meanness and greed defining the era,” Valentine wrote in her excellent recent memoir “All I Ever Wanted,” with the crisp clarity of cultural hindsight. The band didn't like it (though the image is, in retrospective, totes dorb) and it fell to Canzoneri to complain to Jann Wenner, the magazine's publisher. "It was dark, filthy and smelly," Wiedlin wrote.
Hometown. Jane Wiedlin is an American musician, singer-songwriter, best known as the rhythm guitarist and backing vocalist of the Go-Go's, a popular new wave musical band. I didn't hold it against them -- I can and will at the slightest provocation make a case for the prefabricated Monkees as a genuinely great rock 'n' roll band -- but figured someone had selected the young ladies for the band, seen they were given lessons in elocution and how to hold a bass guitar, prettied up, powdered up and sent out to conquer the world.
COMMENTS - It looks like you're using Internet Explorer, which isn't compatible with the Democrat-Gazette commenting system. Jane Wiedlin — who had just taken up her instrument — and Belinda Carlisle perform in the early days of the Go-Gos. The Democrat-Gazette commenting system is more compatible with. “It wasn’t just about the music, it was the sense of being packaged into a product,” Olavarria recalls. The persistence of sexism and double standards are the most obvious answers. At their most bacchanalian, one inebriated Go-Go received the dubious honor of being kicked out of Ozzy Osbourne’s Rock in Rio dressing room — no small feat. Hey, why not? A handful of basic open chords she could strum around a campfire. After a teaching career from 1998 to 2009, she began to freelance in writing, editing and translation.
(The film is a treasure trove of archival footage; one memorable clip shows Carlisle singing an early, punky version of “We Got the Beat” in a dingy club and taunting the crowd to dance: “Come on, don’t be too cool.”).
energy was often seen as a sign of authenticity for male punk bands. We had a lot of great times together and I wish we had done things differently. If the group had contributions from all members, “we could have supported each other and granted space for each of us to grow instead of confining ourselves to a formula with a limited shelf life.”. Since that first split in 1985, the Go-Go’s have broken up and reformed more times than the documentary has time to chronicle. To connect with Margot, sign up for Facebook today. Punk" (edited by X front John Doe, Da Capo, 2016).
"Eventually it became painfully obvious that you needed no prior knowledge to form a punk band and that we were the only kids left who hadn't done so," Wiedlin wrote. (“We Got the Beat” had the cosmic luck of coming out a month before MTV went on the air.)
