Imagination Stage Presents ‘The Little Mermaid’
In collaboration with the Washington Ballet
Continues through Aug. 14
Lerner Family Theatre
4908 Auburn Ave., Bethesda
Tickets start at $10
Septime Webre didn’t plan on ‘The Little Mermaid,’ an Imagination Stage production produced in collaboration with the Washington Ballet, to be his swan song. It just kind of worked out that way.
But the 54-year-old co-choreographer says everything the Ballet has done this season — he mentions the April “Carmina Burana” performances and the “Bowie & Queen” rock show in May — as being fitting farewells. He wrapped his tenure at the Ballet this week and will join the S&R Foundation, a non-profit started in 2000 by Sachiko Kuno and Ryuji Ueno to support artists and scientists, as its artistic director.
During a Washington Blade interview, Webre — who lives in Adams Morgan with his partner of five years, Marc Cipullo — shared his philosophies, struggles and plans. His comments have been edited for length.
WASHINGTON BLADE: Why are you leaving?
SEPTIME WEBRE: I feel great about my accomplishments here. It’s grown amazingly. But particularly in the last few years, I’ve had a yearning to be in the studio a bit more. Being the director of a company, there are administration duties, PR duties, marketing duties, all that’s involved in overseeing an organization that has grown from a $2 million to a $12 million budget, so I had already been thinking that maybe another chapter would be interesting to really focus on creativity and less institution building for a while. That coincided with a blossoming of my work as a freelance artist in the last few years.
BLADE: Was the managerial aspect stultifying?
WEBRE: No. I’ve enjoyed all that institution building and felt like I wanted to do that while I was still somewhat young and energetic, or at least while my Grindr age was still young. I’m 54 but I skew young. I’m an energetic kind-of guy. So those duties weren’t stultifying, but they certainly got in the way of creating new work. In the last several years, I’ve done full-length ballets based on “The Great Gatsby,” on Hemingway’s “The Sun Also Rises,” last year I did a Washington Irving project and also “Alice in Wonderland.” These works have been much in demand over the last five or six years and I’ve also had some commissions by other companies.
BLADE: I assume the name recognition of these works helps?
WEBRE: That’s part of it but it’s also the return of narrative works in ballet after the era of modernism, which was my generation, and an aesthetic dominated by George Balanchine and Merce Cunningham. These were abstract artists and from the mid-century through the time I was dancing, serious choreographers really didn’t tackle narratives. It was not considered serious. But during my choreographic career, I began to tackle them because in many ways, it’s who I am. There’s something inside of me, this boisterous Cuban family and the brothers on the weekend, all we do is get together and drink cold Mexican beer and tell stories. So I was naturally drawn to these great books and they also happen to sell tickets.
BLADE: You were part of a larger trend with this?
WEBRE: I would say I was an early adopter of the return to narrative. … You could feel it in the air, particularly in the ‘90s. … It was a convergence of factors — the death of George Balanchine in the early ‘80s, we had been through modernism and that era and something new was needed. … Also just with the financial realities in the world, ballet companies were increasingly having to rely on box office in a financially challenging market and those story ballets sold better. … I was just on the front of a trend.
BLADE: How much of your work roughly has been choreographing vs. other duties at the Washington Ballet and did that change over time?
WEBRE: I’ve been creating a new work about every two years. That’s probably been the average. In the early years we did one a year, but they were smaller works. I would put my work into three different buckets. One is the creation of new ballet, the second is programmatic creativity, which I found really exciting. Curating repertoire, teaching, developing dancers, developing ancillary programs that are not creating ballets, but they’re really creative like the beerballet&bubbly series that brought thousands and thousands of Millennials in to watch rehearsals. … A third would be institution building.
BLADE: Did you ruffle many feathers along the way?
WEBRE: I never felt I ruffled feathers precisely, but I tried to push the envelope. I took over the Washington Ballet from Mary Day, who was 89 years old when I became the director. She was a fabulous visionary, but the company was a bit sleepy. She had a great aesthetic and she loved classical ballet and she loved new work, so there was a connection I had with her. But right away, the company began to grow. The audiences began to grow, we had standing ovations at every show the first run. In my first year, I took the Washington Ballet to Cuba, we produced a “Carmina Burana” that was, at that time, very unprecedented for us. Those first programs were so popular that a buzz developed very early on.
BLADE: You make it all sound so easy, though. What obstacles did you encounter?
WEBRE: Well, without a doubt our huge labor dispute in 2005. That was immense. We had grown so rapidly over the course of my first five years — the number of performances had probably doubled — we had grown, but the admin support hadn’t grown with it. …. We were working on a huge, new version of “The Nutcracker,” a huge project, and in the midst of that, the dancers very appropriately decided to join a union. That was the right time in our organization’s history to do that, but over the course of negotiating that first contract, which took a year, our “Nutcracker” was canceled and we lost a million dollars. The dancers were out of work for months and there was so much acrimony. We were in the Washington Post every day for 19 days, I think. …. But we were eventually able to settle it when we got the lawyers out of it. We settled in March 2006 and went back to work in April. That was a big one. …. Another challenge was in 2009 when the City Council eliminated earmarks. They rescinded that appropriation two months into our fiscal year and so suddenly we had a million dollar hole and we had to scramble. We had to cancel our “Nutcracker” orchestra to save $350,000 and we performed to taped music, just because otherwise we were not going to survive.
BLADE: What kind of learning curve did you have here?
WEBRE: I had some strong mentors and I was able to steal some of their ideas. But before this, although I had a little bit of training when I was a director for six years in Princeton, N.J., so my work there really impressed on me that you have to take your work with the audience a step further. You’re not in an ivory tower. You can’t just sort of hang the shingle and hope they’ll come and understand what you’re doing. You have to connect with them more deeply. I’d had some trial and error with that in New Jersey. So I came here with a conviction that the Washington Ballet had to connect with the social fabric of the city and we’ve done that in multiple ways with our outreach programs in Anacostia, Dance DC in public schools, beerballet&bubbly for young professionals, our Latino programs, etc.
BLADE: How have the dancers changed over the time you’ve been here?
WEBRE: About five years into my tenure here, just before the labor dispute actually, we’d never done any full-length classical ballets. No “Giselle,” “Coppelia” or “Don Quixote.” Mary Day never chose to do that because American Ballet was already doing that kind of repertoire at the Kennedy Center. I sensed a kind of unspoken inferiority complex around the organization. No one said it, but I could sense that the dancers thought we couldn’t handle it, our staff thought we couldn’t handle it, our audiences thought we couldn’t do it. A dancer’s career is so short, a dancer wants to dance the full repertory they were trained for, so I made a decision about four years in to slowly, methodically begin to introduce some full-length 19th Century classical works into the repertoire. … I think that helped us be seen as a grown-up company and that’s led to really, really high-powered dancers and a higher quality of dancer. Younger dancers today are coming in with a lot more technique and what a dancer can do now compared with 15 years ago or when I retired 20 years ago, oh my God — they’re doing all this crazy crap that hadn’t even been invented yet. Just like in athletics, the technique has risen, risen, risen.
BLADE: How has being gay affected your career or has it?
WEBRE: The dancers themselves are much less gay than the public imagines. … As I was getting into admin work and started working with board members … I actually found it to be an asset. This is going to sound very retro, but it gave me a kind of exoticism. … They were a lot of businessmen who didn’t necessarily have gay friends, so now they did and it made them feel good about themselves.
BLADE: Are classical works and pop/contemporary works strange bedfellows in the ballet world?
WEBRE: Well, “Giselle” sold significantly less well than “The Great Gatsby” or than “Bowie & Queen.” “Don Quixote” sold less than “The Sun Also Rises” or “The British Invasion.” What I found was that when classical, lofty art remained itself and didn’t get a bit dirty, it was less popular from a ticket sale standpoint. So we remained ballet, but we got down and dirty with Freddie Mercury wailing sometimes. That collision creates a buzz and a connection. … But things are always colliding and mixing in a postmodern world. I mean, I wish everyone loved “Giselle” as much as I do, but it’s also exciting because ballet is a language just like you use the same English language for Shakespeare, Emily Dickinson or Mad Magazine.
Jesse Arnholz contributed to this interview.
Camp classic ‘Mommie Dearest’ turns 40
Digital re-issue offers fans new insights, John Waters commentary
In a 2016 People magazine interview, Oscar-winning actress Faye Dunaway admitted to regretting her over-the-top portrayal of Joan Crawford in the 1981 movie “Mommie Dearest” (Paramount), newly reissued on Blu-ray and digital as part of the Paramount Presents series. Of the movie, based on the equally OTT memoir by Crawford’s adopted daughter Christina, Dunaway said, “I should have known better, but sometimes you’re vulnerable and you don’t realize what you’re getting into. It’s unfortunate they felt they had to make that kind of movie. But you can’t be ashamed of the work you’ve done.”
“That kind of movie” pretty much tanked Dunaway’s career after that. However, it also titillated and delighted countless fans upon its release and in the 40 years since. A multitude of lines have become iconic in the LGBTQ vernacular and classic scenes have become sources of endless entertainment. So, how good or bad is it?
From the minute the gloved hand of actress Joan Crawford (Dunaway) turns off her alarm at 4 a.m. and saunters into the bathroom to begin her morning routine, we know we’re in for something out of the ordinary. Dressed to kill, she heads to the studio, reading scripts and autographing photos in the back of a limo, Crawford was nothing if not devoted to her craft and fans.
She was also devoted to cleanliness, an obsession that would become one of the contributing factors in her descent. In one iconic scene, she berates a housekeeper, “I’m not mad at you, I’m mad at the dirt.”
A first-rate performer in all aspects, Crawford’s annual Christmas gift-giving extravaganza at an orphanage stirs up her desire for motherhood. Unable to conceive, the twice-divorced actress discovers she is not a candidate for adoption, despite believing she can be a mother and a father, providing both a “wonderful and advantaged life.” Her lawyer boyfriend Greg (Steve Forrest) pulls some strings and Crawford becomes mother to baby Christina.
It doesn’t take long (OK, a few years) before the cracks start to show, beginning with a birthday party for Christina (Mara Hobel, in a thankless role), complete with a carousel, an organ grinder and monkey, and a new baby brother named Christopher. Signs of tension are present in Joan’s interactions with Christina, including her bristling at her daughter’s tone of voice. When Joan catches Christina mimicking her while seated at her mother’s vanity, she flips out, butchering her hair.
Christina isn’t the only object of Joan’s aggression. Greg walks out on Joan after a disagreement, and she deals with it by cutting him out of every photo they took together. Studio head Mayer (Howard Da Silva) sends her packing, utilizing the creative differences excuse. This leads to the famous rose garden freak out (of “Tina, bring me the ax” fame). Shortly after winning the Oscar for “Mildred Pierce,” Joan discovers a wire hanger in Christina’s closet leading to the notorious “No wire hangers, ever!” beating scene.
Not even teenage Christina (Diana Scarwid), away at boarding school is safe from Joan’s wrath. After Christina is caught getting intimate with a boy, Joan removes her from the school. Back at home, where a journalist is busy writing a story about Joan, Christina and her mother have a heated argument, resulting in the classic slap sequence and the delivery of the “I’m not one of your fans” lines.
Having almost killed Christina, Joan sends her off to convent school. After graduating, Christina returns home to discover that not only has her mother remarried – to soft drink king Al Steele (Harry Goz) – but she has put her home up for sale with plans to relocate to New York. Needless to say, the mother/daughter relationship never improves, which explains Christina’s barbed-wire memoir.
Perhaps Dunaway, who worked with uneven director Frank Perry (“The Swimmer,” “Diary of Mad Housewife,” and “Play It As It Lays,” and the bombs “Hello Again” and “Monsignor”) in the past, should have known better. Regardless, “Mommie Dearest” went from shocking biopic to camp classic at light speed, and for that, we are forever grateful. Plus, with Halloween just around the corner, “Mommie Dearest” is a fab reminder of what a great (and terrifying) costume Joan Crawford can be.
In a 2015 interview with the Blade, actress Rutanya Alda, who played long-suffering maid Carol Ann in the film, talked about her surprise at first seeing the film.
“When the audience laughed, I was like, ‘Oh my gosh,’ I was kind of taken aback because I knew (producer) Frank Yablans and (director) Frank Perry’s intention was to make this really serious drama and of course it turned into this kind of camp happening right from the get go,” Alda said. “Even Paramount was caught off guard and they didn’t know how to promote it because it became such an audience experience right away. … I was actually quite pleased because the audience really got into it. It was just amazing to me.”
Alda added that Dunaway should have embraced the campy results of the final film.
“The audience of ‘Mommie Dearest’ is a great audience and I think they are disappointed that Faye has never embraced the film,” Alda said. “If I were Faye Dunaway, I would have said, ‘Look, I was great in the part, I did great things. OK, maybe I had an over-the-top performance, but it worked, didn’t it?’ … She’s really deprived herself of a great audience of people who love the movie and it’s a detriment to her. Look at all the joy she missed.”
Blu-ray special features include commentary by drag legend Hedda Lettuce and filmmaker John Waters, “Filmmaker Focus” with Frank Perry biographer Justin Bozung, short features including “The Revival of Joan,” “Life With Joan,” and “Joan Lives On,” as well as a photo gallery and the original theatrical trailer. Rating: B-
Stupid things not to do when you get old
Steven Petrow’s new book on aging is funny yet poignant
Diane Sawyer, the former ABC News anchor, gave award-winning journalist Steven Petrow some advice on what he could do to look younger. “Anchors don’t get older, they just get blonder,” she told him.
For many years, Petrow, who is gay, took Sawyer’s wisdom to heart. He had his salt and pepper hair colored. This went well, until a new colorist offered to use a new “natural” coloring process that would remove a third of his gray hair. Petrow came away “a honey brash blonde” whose hair “screamed dye job.”
This is one of the many funny, yet poignant, stories that Petrow with Roseann Foley Henry tells in “Stupid Things I Won’t Do When I Get Old: A Highly Judgmental, Unapologetically Honest Accounting of All the Things Our Elders Are Doing Wrong.”
Written by Petrow with Henry, “Stupid Things I Won’t Do When I Get Old” is part memoir and part manifesto.
Few things are more fraught with fear, anxiety and ageism than knowing that, if we live long enough, we’ll get old. Whether hetero or LGBTQ, no matter how much we love our parents, we don’t want to become like our folks when we’re elders.
Shortly after he turned 50, Petrow, who writes about aging, health, manners and civility, began to confront his ageist beliefs and vowed not to let aging limit or diminish his life.
As he reached the half-century mark and his parents “entered their sunset years,” Petrow began to make a list of what he called “the stupid things I won’t do when I get old.”
The list, which kept growing longer and longer, “proved to be a highly judgmental, not-quite-mean-spirited-but-close accounting of everything I thought my parents were doing wrong,” Petrow, now 64, writes in the book’s introduction.
Petrow first wrote about his list in a popular New York Times essay “Things I’ll Do Differently When I Get Old.” “Stupid Things I Won’t Do When I Get Old” grew out of the essay.
Petrow’s list is, by turns, laugh-out-loud funny and incredibly moving.
He vows not to, as his Mom did, “forgo a walker because it wrecked my outfit.”
In one chapter, he promises that, “I Won’t Become a Miserable Malcontent, a Cranky Curmudgeon, or a Surly Sourpuss.”
Yet, in other more serious chapters, Petrow says that “I Won’t Lie to My Doctor Anymore (Because These Lies Can Kill),” “I Won’t Burden My Family with Taking Care of Me” and “I Won’t Forget to Plan My Own Funeral.”
Petrow, a columnist for the Washington Post and USA Today as well as a regular New York Times contributor, talked with the Blade by phone and email.
Petrow, whose previous books include “Steven Petrow’s Complete Gay & Lesbian Manners,” “The Lost Hamptons” and “When Someone You Know has AIDS” (3rd edition), grew up in New York City.
In 1978, Petrow graduated from Duke University with a bachelor’s degree in history. He graduated from the University of California, Berkeley with a master’s in history in 1982.
A former president of NLGJA (the Association of LGBTQ Journalists), Petrow lives in Hillsborough, N.C. His 2019 Ted Talk, “3 Ways to Practice Civility” has been viewed nearly two million times.
Petrow was born with journalism in his DNA. His father, journalist Richard Petrow, taught journalism for decades at New York University.
“My Dad was a great teacher,” Petrow said, “He traveled – got to meet people. I wanted to do what he did.”
In 1984, Petrow was diagnosed with testicular cancer. This experience is one reason why Petrow became a health care journalist. “I wanted to focus on health and medicine to teach people how to negotiate the health care system,” he said.
Negative buzz about aging is everywhere in the culture from magazine ads to birthday cards. “We start to become invisible when we’re in our 50s,” Petrow said, “this may be even more true – ageism may come earlier for gay men, and separately, more true, for women.”
“Old age ain’t no place for sissies,” Petrow added, quoting Bette Davis.
Research shows that the damage inflicted by ageism is real, Petrow said.
When we associate getting older with negative stereotypes about aging, our lives are shortened. “This ageism is as bad as smoking,” he said, “it takes seven years off our lives.”
It can be hard for people to find support and friends when they get old. But finding support is often more difficult for many in the queer community. There is more isolation among queer people as they age, Petrow said. “Many in their 60s lost their circle of friends during the height of the AIDS epidemic.”
Petrow seeks out multigenerational friendships. “I’m open to different perspectives,” he said, “I’ve learned so much from younger people.”
Petrow thinks outside the box of generational labels (boomers, millennials, etc.). He identifies as a “perennial.”
“Perennials are curious, engaged, passionate, and compassionate,” he said, “Millennials can be perennials. Boomers can be perennials. Anyone can choose to be a perennial.”
Petrow, who is often referred to as “Mr. Manners,” became interested in manners on a blind date in the 1990s. He and his date ended up as good friends. Through this connection, a book editor asked Petrow to do a book on gay manners.
“I’ve always been a bit like the weird person who’s fascinated with collecting and reading about arcane rules,” Petrow said. Wisdom can be found in etiquette books from decades ago, Petrow said. One of his favorite finds was in the first edition of a 1922 etiquette book by Emily Post. Just as we should think before we tweet, “It cautions people,” Petrow said, “not to write love letters that could end up on the front page of the newspaper.”
Generally, manners are the same for LGBTQ and hetero people. But there are some etiquette issues that apply specifically to queer people.
For example, what is the etiquette around revealing that someone you know – a family member, friend or co-worker is LGBTQ? “This is for an individual to do for themselves,” Petrow said, “not for any of us to do for another.”
Civility and manners are important to all of us in the COVID era, he reminds us.
“Throughout the pandemic I’ve been talking about, ‘we, not me,’ which is about thinking about others before self,” Petrow said, “And that’s really the only way we will get out of this.”
Schock treatment: an interview with Gina Schock of the Go-Go’s
Drummer on her new book and upcoming Hall of Fame induction
Too much of the Go-Go’s is never enough. In the 40 years since the all-female punk band burst on the scene with its unforgettable debut album “Beauty and the Beat” to some of the band members’ solo careers that followed its break-up to its ongoing reunion and the eye-opening 2020 documentary about the band, we just can’t get our fill.
But wait, there’s more! Gina Schock, the Go-Go’s legendary drummer (she’s got the beat!), has just published a sensational coffee-table book, “Made In Hollywood: All Access with the Go-Go’s” (Black Dog & Leventhal Publishers, 2021) that features photos from Schock’s own stock, as well as her own personal recollections of her life in music. She made time for an interview before the publication of the book as well as the Go-Go’s long-awaited induction into the Rock and Roll Hall of Fame later this month.
GREGG SHAPIRO/WASHINGTON BLADE: I’d like to begin by congratulating you, as well as the rest of the Go-Go’s, on your upcoming induction into the Rock and Roll Hall of Fame. How do you feel about it?
GINA SCHOCK: It took so long for this to happen, and at first we were sort of like, “Hell’s bells! We don’t even care anymore.” Every year, we’d think “Maybe it’s gonna happen next year,” and it just wasn’t happening. Then it happens! We were all dumbfounded. We couldn’t really believe that we were nominated and then we got inducted! Everybody was pleasantly surprised. This is kind of great, kind of neat. I’m really happy about this now [laugh].
BLADE: At the same time, your memoir “Made in Hollywood: All Access with the Go-Go’s,” is being released. What did the experience of writing such a book mean to you?
SCHOCK: Actually, Gregg, it’s not a memoir. Kathy (Valentine) wrote a memoir. Mine is actually a book of photography.
BLADE: Right, but you also tell your story in the book.
SCHOCK: There’s a lot of writing in it, too. But I basically put this together because I had tons and tons of photographs. I’ve been moving them all over. Putting them in the closet here, under the bed there. I was like, “I have to do something with this. All these years of taking photos of the band.” Of course, everybody in the band was like. “Gina, you really need to put a photo book together!” I finally found the right guy to do it with and he helped me get it together, organize it, and help me work on the book. I couldn’t believe that along with the list of my credits will be photographer and author. It’s kind of mind-blowing. Things that you don’t think you’re capable of, and then when you have an opportunity to do something and maybe make a difference…certainly for The Go-Go’s. This needed to be out there. This is way long overdue; a book of photos with all of us. Photos that I’ve had that people have never seen. Also, you’re getting these photos from a band member’s perspective. With writing from one of the band members about what was going on during that period of time.
BLADE: I’m sure that looking at the pictures brought back lots of memories, but were you also a journal or diary keeper?
SCHOCK: Check this out! I don’t have a journal, but since 1978, Gregg, I have been keeping daily planners every single year. I’ve written down things that were going on during that time period. Not big, long stories, but this happened today, that happened yesterday, next week we’re going to be doing this. I used that as my reference. It was invaluable in the process. I now need to make room for them in the closet. I’ve got them all in drawers in cabinets in my office. It’s like, “OK, there’s no more room here [laughs]!” They were invaluable, like I said, in putting this together. What exact date did this happen? What was going on in November of ’83? It was important to have.
BLADE: Do you see the book as an extension of Alison Ellwood’s 2020 Go-Go’s documentary?
SCHOCK: No, but I’ll tell you that 99% of the photos in Alison’s documentary are mine.
It’s not an extension of that. This book has been in the works for decades. I just needed to find the right person to help me get it together. But when Alison was interviewing, I’d show her a photo and she would say, “Gina, can we come back and get some of these photos for the documentary?” I was like, “Of course, you can!” The majority of what you saw are my photos.
BLADE: The book is full of marvelous personal history details, such as performing with the late Edith Massey, known to many from her performances in some of John Waters’ movies. What do you think Edie would think of the book?
SCHOCK: She would be, [imitating Massey] “Oh, Gina, I’m so happy about your book! Finally, it’s about time!” Bless her heart and soul. I was doing an interview yesterday and I said, “If it wasn’t for Edie, I don’t know if The Go-Go’s would exist. Certainly not in the way that they have for the last more than 40 years. Things happen in a magical way, how it all comes together. No one really knows why somebody meets someone on that particular day at that particular time, and then something comes out of that that you can’t believe. Edie gave me the opportunity to come out to LA and San Francisco and New York and actually play in clubs. We got to play at Max’s Kansas City and CBGB’s; what a thrill that was. Then to come to LA and do three nights of the Nuart Theater and then play The Warfield up in San Francisco. That was the first time I’d ever been on a plane! After doing that with Edie, the minute I got back to Baltimore I realized it was time to make a move. It gave me the courage to believe that I could go back to any one of these places and I’m going to do something! By the way, Edie was such a lovely person. A sweetheart.
BLADE: Another scoop for the readers that I loved was the part about the Go-Go’s performing with ska in the early 1980s, leading to the collaboration with Terry Hall on the song “Our Lips are Sealed,” which was a much bigger hit for the Go-Go’s than for Terry’s band Fun Boy Three. Do you know how he felt about that?
SCHOCK: I have no idea how he felt, but I’m sure he was happy because all Terry Hall was hearing was “ka-ching, ka-ching, ka-ching [laughs].” I think Terry was quite happy about that. I would be. When Jane brought in the song, she was scared to death to play it for us because it was basically like a love letter that she readjusted a little bit lyrically and put some chords and a melody to. She played it for us, and we were like, “Jane, this song’s great!”
BLADE: We are all saddened by the recent passing of Charlie Watts, drummer for the Rolling Stones. In your book, you wrote about the Go-Go’s opening for The Rolling Stones. Can you please say a few words about what Charlie meant to you as a fellow drummer?
SCHOCK: There were two drummers that were my heroes growing up. That was Charlie Watts and John Bonham (of Led Zeppelin). Those two guys are part of the reason I started and kept playing drums. To think that many years later I actually got to meet my hero and talk to him. I got to sit on his drum kit! I talked to his drum tech!
That was one of the biggest thrills of my life. Then to be able to just open for the Stones, I mean, God! Wow, what a thrill! He was, of course, a gentleman. Very quiet kind of guy; soft-spoken. A lovely guy; very personable, very sweet. I didn’t have a lot of time to talk to him, but when I did my heart was pounding. I couldn’t believe it. Meeting David Bowie was the same sort of thing. You have such adoration for these people. The impact they have on your life in many ways, not just musically.
BLADE: You put some personal thoughts and experiences in the book, including your open-heart surgery to correct an atrial septal defect, yours and the band’s encounters with drugs and recovery, the break-up of the band and issues with songwriting revenue. Was it painful or freeing to revisit these subjects?
SCHOCK: It was a little bit of both. It brought up some really heavy things that went down. But all those things have been ironed out and taken care of. Everything is good now and it has been for many years. The songwriting splits were a big part of why the band broke up. It seemed very unfair to me. I have to tell the truth [laughs]. I have to be honest with the people that I’m working with. They are my family, and nobody can hurt you worse than somebody in your family. I think I explained it all in the book the best that I can.
BLADE: Following the original break-up of the Go-Go’s, you formed the band House of Schock with Vance DeGeneres, brother of Ellen DeGeneres. What are the chances that, aside from the Smothers Brothers, two funny people would come from the same womb?
SCHOCK: Yeah, right [laughs]? It’s crazy, right? Vance was fresh out of New Orleans and I don’t know how I met him; (through) a friend of a friend or something. We hit it off right away. I don’t like to do anything by myself, Gregg. I always want a partner in crime. I like a team! That’s why I always want to be in a band. I never want to be a solo anything. I like being in a band. I like having other people to bounce ideas off of. I’m not the greatest at anything, but I’m pretty good when you put me with somebody else who’s talented as well. Vance and I worked great together. Ellen had just come to town and she was just starting out in the comedy clubs. We’d meet and have dinner. She’d ask me lots of questions about who I thought was a good agent to see. It was very sweet to watch everything happen for her. One of the funniest things, I told this to somebody the other day, I’ll never forget this. Ellen said to me, “Gina, do you think if I make a lot of money one day, would you sell me your house [laughs]?” I don’t remember what I said, but I’ll never forget her asking me that. Because Ellen could buy a city block!
BLADE: In 2018, the Go-Go’s went to Broadway with the musical Head Over Heels, featuring the band’s music. What was that experience like for you?
SCHOCK: That was another unbelievable moment being in the Go-Go’s. To think that this punk band, so many years later, has a musical on Broadway is absurd. But it happened! It’s another crazy thing that just happened! There’s a lot of work involved, don’t get me wrong, and years and years of being in this band and working our butts off to achieve the status that we have in the industry. But it was still an incredible thrill. To meet all the Broadway actors and all, my God, those people can really sing and act! I was never a big fan of Broadway, but I am now. I was knocked out! They’re so fucking talented. It’s such a thrill to watch them interpreting our songs woven into this 17th-century short story.
BLADE: Recently, Belinda’s son (James) Duke (Mason), posted a happy birthday message to you on social media in which he referred to you as his “Auntie.”
SCHOCK: Yes! I love Dukie! I watched that little boy grow up. I just adore him. I will always be in his life. He’s very precious to me.
BLADE: When Duke came out, Belinda became a very outspoken advocate for the community. Would you mind saying a few words about your connection to the LGBTQ+ community?
SCHOCK: I don’t know what my relationship really is. All I know is that I’m who I am. I’m a musician and I will fight for anything or anybody that has had a difficult time in society. Just live your life. Society creates its own do’s and don’ts and rights and wrongs for people, which is just a load of crap to me. Everyone should be allowed to be who they are, and love who they want to love, and marry who they want to marry. Love is love; it has no gender. It’s the most important thing we can give to one another. It’s what this world needs now more than ever. Never think for a second you haven’t got the right to love whomever you fall for because love is always right. It is a human right!
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