The Go-Go’s

by

The Go-Gos were much more than a sexy album cover (lucky for me my sisters bought it!).

These punk rebels turned pop royalty were the first “All-Girl” band to write their own songs and play their own instruments.

And, as Jane Wiedlin puts it:

“We went from playing dive bars to Madison Square Garden in just a year.”

Trailer for “The Go-Go’s”

Watch “The Go-Go’s”

You can watch XYZ for rent on these services (it was about $4 last I checked but Amazon had a weird thing where it was waiving that and thus was free when I checked (on Sept. 19, 2024)

You can find the latest streaming options at https://www.justwatch.com/us/movie/the-go-gos-2020

Ratings:

  • My Rating: 93/100
  • IMDB Rating: 7.4/10
  • Rotten Tomatoes Ratings: 94/100 (Users); 98/100 (Critics)

Release Date: August 1, 2020 (it’s unrlelated but this is also Jerry Garcia’s birthday!)

My Review of “The Go-Go’s”

The Go-Go’s had all the fame, but the real story is even wilder.

“The Go-Go’s” documentary chronicles the rise and fall of one of rock’s most trailblazing bands.

Directed by Alison Ellwood (she also directed the awesome “History of the Eagles” which I rank 95/100!), the doc showcases their journey from punk rockers to ’80s pop icons, changing the music industry along the way.

The doc dives into the nitty-gritty of their personalities, challenges, and chaos behind the glittering facade.

The Go-Go’s weren’t just another girl group. They were the first all-female band to write their own songs, play their instruments, and reach #1 on the Billboard charts.

The film starts in L.A.’s punk scene of the late ’70s, where the Go-Go’s origins were anything but glamorous. It feels gritty and authentic as we’re thrown into dive bars with chaotic energy.

We meet key members like Belinda Carlisle, Jane Wiedlin, and Charlotte Caffey—all misfits who found unity in music. Their raw, unpolished start gave them an edge.

Before they became MTV darlings, they were surviving off ramen, crashing on friends’ couches, and playing in grimy clubs.

Rise to fame, fast and messy

When “We Got the Beat” exploded, the band skyrocketed into stardom. The Go-Go’s debut album Beauty and the Beat hit number one on the charts in 1981, staying there for six weeks.

This success made them the first all-female band to achieve such a feat—breaking barriers not just musically but culturally.

But success came at a cost. Pressures mounted, and cracks started forming within the group. Jane Wiedlin reflects on how much tension arose once they hit the big leagues, driven partly by the industry’s tendency to pit women against each other.

Sex, drugs, and broken promises

It’s a familiar rock-and-roll story of indulgence, but seeing it from the perspective of women battling a male-dominated industry makes it unique. The Go-Go’s had to fend off sexist attitudes while balancing internal drama and personal demons. Ellwood brings out how deeply they struggled with the industry’s expectations.

There’s a raw moment where they recount being pressured to maintain a “wholesome” image, even while indulging in the same excesses as their male peers. Iconic moments like their chaotic tours with Madness and The Police stand out.

They partied hard, often outdoing the boys.

By the time they released their third album Talk Show, infighting, creative differences, and personal issues had taken their toll. Caffey’s battle with heroin addiction almost derailed the band at its peak.

You can’t make this $hit up:

At the height of their fame, The Go-Go’s—one of the biggest bands in the world—weren’t making enough money to cover basic expenses. Carlisle reveals the absurdity of flying coach and sleeping in dingy motels, despite selling out arenas.

The fall and revival

Ellwood brings the drama of their breakup into focus without sensationalism. By 1985, the Go-Go’s disbanded, victims of their own success, along with the pressures of managing their rockstar lifestyles.

It’s hard not to feel for them as they recount the implosion.

Carlisle’s solo career took off, but the void left by the band’s breakup is palpable. However, the doc doesn’t end on a sour note. The Go-Go’s made a comeback in the early 2000s, proving their influence wasn’t a one-time phenomenon.

Legacy and impact

The documentary underscores how much of a trailblazer the band was for women in music. From their DIY punk beginnings to mainstream success, they’ve inspired countless female artists like Bikini Kill, Hole, and The Donnas.

Their story is a reminder of how far we’ve come—and how far there still is to go.

At 98 minutes, Ellwood packs in an impressive amount of footage—both vintage and current. The editing feels tight, blending past and present beautifully. You can’t help but get swept up in their songs again.

Classics like “Vacation” and “Head Over Heels” soundtrack this candid, often bittersweet, tale. The Go-Go’s are incredibly honest about their personal struggles.

From Carlisle’s revelation about rehab to Wiedlin’s battles with self-esteem, nothing is sugarcoated.

Unseen moments

Even hardcore fans will discover new nuggets. For instance, drummer Gina Schock discusses how she underwent open-heart surgery at the height of the band’s fame.

She kept it secret, fearing it would jeopardize their success.

The documentary also reveals how they were nearly dismissed after their first audition in England.

Label execs were initially unimpressed, but persistence and their unique energy eventually won them over.

Final thoughts

“The Go-Go’s” is more than just a nostalgic trip back to the ’80s. It’s a story of resilience, creativity, and defiance in the face of industry pressure.

Whether you’re a fan or new to their music, this documentary shows that their legacy is much deeper than just catchy hits.

It’s a testament to their grit and determination in a male-dominated world. More importantly, it’s a reminder that behind every chart-topping song, there’s a real, often messy, human story.

Their legacy endures—not just in music but in how they opened doors for women in rock.

Thanks for reading!

Rob Kelly, Chief Maniac, Daily Doc

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