But the Go-Go’s used punk as a starting point, not a destination. They weren’t afraid to not only rock but to pop too. Ms. Wiedlin and the guitarist Charlotte Caffey in particular began writing songs that were Brill Building-worthy with their clever lyrics and unabashed hooks.
When a critic uses the phrase “not afraid to” in reference to an action that is usually regarded as a sell-out or compromise or phony or narcissistic, look out! It’s a clever rhetorical device to try to convince you that up is down, what is in is out, and that selling out is really a way of not selling out, because we’re all being ironic and sophisticated here. We heard it when Abba, a shallow pop band, was compared to the Beatles. Really.
So, here, we are told that the Go-Go’s were actually courageously and audaciously taking the safest possible course. They were artistically pandering to the pop crowd.
Which is why Margot Olavarria left the band, claiming that they had sold out in a “cutthroat” drive towards commercial success.
They were “Brill Building-worthy”. The Brill Building is famous for putting out product– not art. Pre-packaged musical pap. Muzak. Crap. Music by assembly line. Neil Diamond and Carole King and Gerry Goffin. Everybody’s doing the locomotion.
Where else do we hear this phrase? Not afraid to enjoy fast food. Not afraid to admit she likes Justin Bieber. Not afraid to slap on some makeup and a miniskirt and high-heels and dazzle the despised paparazzi! Oh, so sassy! So saucy!
I know a young woman who basically reeked Christian virtue, principles, truth, authenticity. She veritably sneered at women of questionable morals and at pop culture in general. She was bullied in school by class-mates who thought of her as Miss Goody Two-Shoes. Then I heard that she was planning a trip to Greece and had purchased the sexiest bikini ever, because, like, she was not afraid to be sexy. More like quite happy to sell out if she could make it sound like something admirable. She was cheered on by her friends: you go girl! She felt liberated! Empowered! In control of her own sexuality!
Just like those girls she used to sneer at.
What we are really hearing is the critic attempting to justify her admiration of music she tacitly admits is mediocre.
Three words: They. Kicked. Ass.
Oh please. Evelyn Mcdonnell, sounding desperate, makes it loud and clear that her fondest aspiration for the Go-Go’s was for them to be loud and abrasive, just like a male band. You think the Ramones kick ass? Well, the Go-Go’s are just as loud!
With Margot Oliveriea in the band, the Go-Go’s aspired to punk. The minute they were led to believe they could have a lot more success as a mainstream pop band, they switched gears and Olavarria was fired for resisting.
And yes, we will pose in our underwear for Rolling Stone Magazine– and then complain that RS exploited them (I don’t know how the photographer managed to get their clothes off without them noticing). (Actually, I will note they later made their complaint more specific– aware, perhaps, of the inconsistency– by citing the headline: “Go-Go’s Put Out”.)
Wikipedia, by the way, rather shamelessly offers this gem:
During this period, the Go-Go’s became America’s sweethearts and started building a fanbase.[9]
Punks don’t do “sweethearts”. Authentic bands don’t do “sweethearts”. Kick-ass bands do not do “sweethearts”. Artists don’t do “sweethearts”.
Olivia Newton-John does sweethearts. Justin Bieber does sweethearts.
Gottehrer [Producer of the Go-Go’s first album]: They didn’t talk to me for a minimum of three months. Might have been six. Miles [Copeland, IRS Records Executive], I think, threatened to kill me: “You’ve ruined them. I gave you a punk band and got back this pop crap?”
[whohit]The GoGos Sell Out Again[/whohit]