I gave people all the stuff they really needed, social security checks, utility bills, TV guides. Hello listener. Ken Reed here, TV guidance counselor. Welcome. This is a little bonus episode. This is an episode I recorded live at the Great Northeast Comic Con back in March. My guests were Gina Shawk, who was announced, and then a surprise guest, Greg Hawkes of the Cars. I'm a huge fan of both those bands. If you're a patron of the show, you already heard this one. You got this a couple months ago, but you you plebs in the regular public. I would enjoy this eventually as well. And Northeast Comic Con has another show coming up soon, so go to necomacons.com. I'm not sure if I'll be at this one, I think I'm somewhere else, but always check that out. They have really cool guests and if you're in the New England area, it's a fun show. But anyway, here's this bonus episode. I hope you enjoy it. They're again, really cool guests, and this was a fun chat. And if you have as little as a dollar a month to pledge towards the show, you can go to patreon.com/tvguyscounselor. You could have got this early, you get other stuff early. It's fun. It's like a secret club. No Dakota rings. Although that would be really cool merch. I'll look into it. No would buy it and I'd spend a lot of money and then lose it, but whatever, it's still be cool to have. Anyway, please enjoy this bonus episode this month, and I hope you're well. Here it is, live from Northeast Comic Con in March 2024, Gina's shock of the go-gos and Greg Hawks of the Cars. This is a pretty good surprise, right? Hello. Everyone's got two for the price of one. Check one, two. Greg had to be in town. He said he'd come over and hang out. Like fantastic. I haven't seen him for a while. Always good to see my buddy. I can't. To get Gina's book. All right, check. Do you have a microphone? Did the cars and go-gos ever tour together? No, but I'll tell you, we didn't. I did do a, we did tour together, but I was not, the cars weren't involved, but I was. He's with the go with the motels, all the motels, and we played the motels. So when I have a good story about Greg, the first time I met him, and this, it was a really memorable thing for me, that people have asked me, what is some of the, what shows were really memorable, and I have to say, playing Boston Gardens, I met Greg, I met the cars. They were all there at the show afterwards, and it was like, I've always been a huge cars fan, and I was really knocked out and really excited to meet Greg. The rest of the band. Wow. Do you remember that? No. I do. Oh, you're supposed to say yes, and you're excited to meet Greg. Look, that happens to me so many times, I'll be like, you're wrong, I'm like, no, I remember that. But there's so much of that era that I don't remember. Me too. It's good to get reminders. It is. It is. People, and you go, oh yeah. I know. I remember that. From somewhere. Yeah. Did you guys manage to be, you know, starting the music industry in this, really, oh, oh, that was you. Oh, well, you're the drummer. In this really transitional period where you could come from places that weren't New York and weren't L.A., like you grew up in Baltimore, a major way out to L.A., and be arena rock bands, but come from a totally different background of the punk world and that kind of stuff, which hadn't happened since, like, the '50s. I mean, I, my experience, I don't want to know your experience, but did you grow up in Boston? Well, actually I grew up in the suburbs of Maryland, not that far from Baltimore. I grew up near a Laurel, Maryland, near where Columbia is. Columbia, Maryland, where I saw my first concert. My summer job was working at the Maryweather Post Pavilion when I was in high school, and I was, like, either a ticket taker or an usher, and then the second summer I graduated to work in backstage, and I would have the guest list and just let people in who were on the guest list. So, this is crazy. Our stories are intertwined in a crazy way, because my first concert ever, though I went to at the age of 11, was my brother took me to see Led Zeppelin open for The Who, and it was at Maryweather Post Pavilion in Columbia. And then, like, 11 or 12 years later, the Go-Go's played there. Crazy, man. And the cars did play at Maryweather Pavilion. He did. It would have been Heartbeats City Tour when driving. '84? '84, '45? And what's that? Heartbeats City was '84? '84 or '05? Yeah. Probably the tour was probably '85. But since you mentioned your first concert, I got to mention my first concert. Yes. '64, the Baltimore Civic Center, Matt and I show for the Beatles. Whoa! Oh! Oh, my God. Oh, my God. I know. My dad, I got to tell the story, because my dad worked at NSA, the national security agency, came home one day and said, "Well, I've got tickets to go see the Beatles, but if you want to go, you've got to sign up for another year of piano lessons." And it worked out, right? Yeah. So it was like win-win. Wow! And the Civic Center. Is that all? None of the Civic Centers, where I always went to see all my shows. I'd take the bus from Dunnock, where I grew up and I'd go down to the Baltimore Civic Center, and that's where 90% of the shows that I saw as a kid were playing. Because one of the first fans I were replaying, and you backed up Edith Massey, right, speaking of Baltimore? Oh, Edie. Yeah, from John Warders' films. Yeah. She. I mean, if it wasn't for Edie, I don't know that the Go-Gos would be what they are. They wouldn't. I wouldn't have been in the band. I mean, yeah. Edie had a thrift store in Fels Point, and I would visit her all the time, and she asked me if I wanted to be in her punk band, and I said, "Yeah." And the first time I had ever been on a plane, I was 21. We flew to L.A. and did shows in San Francisco and New York City. And that is what changed my life, because I've been to New York plenty of times, you know? But I wanted to get to the West Coast. I wanted to get to L.A. in San Francisco, because the music scene was happening big time, like in the late '70s. So '78, yeah, I went and when I got back from doing the little tour with Edie, I then knew that I had to leave. I was positively going to leave Baltimore, and I didn't figure out, you know, I went to, I'm sorry, it's a long story, but anyway, I made my decision to stay in L.A., and it worked out really well. But it's, again, it's sort of John Waters, who is sort of a proto-punk in a lot of ways as a filmmaker, is sort of doing a punk rock approach to movies, and sort of also influence the music by, you know, having, you know, play these, Edie, play these punk. We were all outcasts. Yeah. We were all, like, the weirdo punch, which was great to be a good company, you know? I didn't know that story, that's an awesome one. Yeah, I mean, we could thank John and Edie for the go-go's. Wow. Wow. Because that's really how it happened, and I met him at a party. They came to my house that weekend, played a couple songs, and Monday, I quit two bands that I was in, and they fired a drummer, and that's when it really started going. And Kathy had already been in at this point, right? No, Kathy was not in the band. Kathy was in, like, in 1980-something, the end of '80, maybe, I think, when, yeah. I joined in summer '79. Okay, so you were a year before Kathy, and then Kathy was, yeah, and that's the lineup most people probably. Yeah, yeah. The Beauty and the Beat lineup. Yeah, that's right. That's right. When you were recording that, if I remember correctly, didn't the producer make you play everything slower? Like, wasn't that a problem? Yeah, no, because the go-go's were a punk band in LA. We were part of the punk scene, and, you know, that's our roots, that's who we were. And so when we got in the studio with Richard Goddard, who had written many great songs, my boyfriend's back, a ton of great songs. I want candy. Well, yeah, well, well, anyway. So, yeah, Richard was producing us, and, you know, what we really needed was a songman to make sure our songs were there, because you got to start with that. And Richard went through the songs, and the first thing he said to me, "Gina, slow them down." You're going so fast, I can't grab hold of the melody, it's just going, but they're good, I know it's good, it's just going way too fast, slow it down. So I slowed everything down. You could actually hear what Belinda was saying, and you could appreciate, you know, all the guitar riffs, and the drum hooks, and so forth. Yeah, that sort of girl group pop stuff, all of a sudden, you can see it. Oh, my God, like, I was just so used to playing really fast. It was the time, it was the time, it was the scene, it was something that I was really into made a hundred percent to me. Yeah, yeah. Because then the car's also-- Like, can we play it as fast as the Ramones? Right. Oh, he loved all the folks. Yeah, yeah. Well, two, three, four. Yeah, right. I was always ever a strange spot, too, when they're, like, you obviously weren't a punk band, but, like, Rick is producing suicide, and bad brains, and you guys curate an episode of the Midnight Special, I think. Oh, yeah. Where you had suicide come on and play on the Midnight Special. Suicide. Really? Right. Belinda Lovitch. Yes. Ah, remember her. I know, the cars were asked to do the Midnight Special, and we weren't crazy about doing the whole, like, Wolfman Jack thing, and so we actually said, if we could be, you know, we could pick the guests and not have a certain wolf person that we would do it, and to our surprise, they agreed. Yeah. Yeah. Yeah. Yeah. So many-- because I was, you know, I'm a punk kid, and I was in punk fans, and, like, so many people I know talk about, like, the moment they saw a band that connected with them on TV, and a bunch of times it's the go-go's on SNL, and a lot of times it comes up when you guys did the Midnight Special, and they saw Lena Lovitch, and suicide on NBC, and they're like, "What the hell is this? I love it." I love it. And I imagine you guys get that a lot, too, when you see, like, people have seen you on those things that-- because the visual aspect was what was new. Oh, yeah. And then MTV really, really, that changed everything, because then all of a sudden you had-- you could put a face to everything you were hearing, and it made you feel like you knew everybody in the band, and, you know, I get it. It was a magical time for music. It really was. Yeah. Everything changed in the early '80s, and, you know, I'm appreciative that the go-gos were happening at that point, like, you guys, too, you know? Yeah. Video changed it all. MTV, really. Did you guys have trouble finding, like, bands to play with? Because you were kind of-- there was-- you weren't one thing or another at that time, sort of, like, the classic rock people love the cars, but new wave people like the cars and pumpkins like the cars. And the same with the go-gos. Like, there was a pop audience, but also you still kind of kept some of that punk crowd. Yeah, especially early, our first tour, we opened for a lot of different groups. Like, we opened for farner, we opened for-- we opened for the kinks, a couple of what to watch. That works. But sometimes it would be-- like Bob Seager or something that wasn't really necessarily that compatible. Right. Right. And then later on, when we had people open for the cars, Nick Lowe did a tour, XTC did some shows. One of their only-- then they stopped playing live, not soon after that, right? Oh, yeah. Because I know-- I think it was after that record they did with Todd Rungren. Yeah. The-- which-- Andy Partridge was like, "I can't play Ivan." No. The two of them still are, like, worlds apart. I bet. I bet, right? Because Andy was, like, very meticulous, kind of, little crazy, so, and Todd Rungren had the same thing. So, yeah, they didn't matter. Yeah, the size of Todd was, "This is how we're going to do it." And Andy Partridge would not be the guy that's going to follow somebody. Yeah. Because the-- the Go-Go's also, you kind of hit big in England a little bit before you started coming, really hitting the US, right? Well, no, no, that's-- that's a misconception. We-- we went to England thinking, "Oh my God, we're going to go and we're going to break big over there," because they're way ahead, the English music scenes way ahead of the scene here in the States, when, in fact, we went over there and we were a big flop. And we were opening for-- we were there for, like, three months, and we were opening-- we opened for the madness, their entire tour of the UK, and the specials UK tour. We opened for both of them, and then we come back into London and we do shows in London. And we, like, they didn't like us. It was really difficult, but during that process-- what's that noise? Hey! During that process-- It's just the train that turns down the hall. During that process, we got a-- we got a chance to do a single on stiff records. And we did-- we got to beat with how much more on the B side. And, you know, like I said, nothing was happening in England. Well, unbeknownst to us, it was that-- that-- that import on stiff records was doing really well in the club circuit in the States. So we came back and there was a real buzz about the Go-Go's, and then all of a sudden there were a lot of, like, real record companies interested in-- in maybe sinus, but it still was super tough to get a deal, because we were all girls. Like-- They played all your own instruments-- They played all your own instruments-- They played all your own stuff, and they didn't, you know, didn't have faith in that. Because there hadn't really been any-- really hugely successful, all female bands. And record labels, if you know anything about that-- record labels, when they have a hit with a band, they want to find, you know, a hundred other people exactly like that, because they figure, oh, well, we got the formula worked out. Let's just keep doing that, and we'll milk it till it dies, and we'll move on to something else. But-- Yeah. No one wants to be the first to take a risk, but they'll be the last. No. Yeah, exactly. So-- Did Nick Lo produce that? Because he was kind of the stiff and house producer. No, but-- no, but we were friends with Nick. We used to hang out with him. He used to go out with Carling Carter. We hung out a lot. Is there-- so then, you know, do the Go-Go's, do the Cars by, like, the mid to late '80s, and then you had the mid with Vince DeGeneres, I think, right? Didn't you do a mid with Vince DeGeneres? Oh, yeah. House of Shock was with Vince. I met him in LA, and it was if the Go-Go's broke up from '85 to '90, and then in '90, we've been back together since 1990, and I wanted to keep doing music, so I put together House of Shock, and we did-- all right, it was great. Capital Records did one show, got a record deal. That was awesome, so I was on a roll. Yeah, because Vince, people-- Ellen DeGeneres is a realtor. Oh, yeah. So Vince happened to be-- Curities here. Yes. This comedian, this young comedian named Ellen, was his sister, and she was just trying to break into the stand-up comedy scene in LA. He was on the Daily Show later, I think, after that, as well. Yeah, Ellen paved the way for him to get into, because he was actually in the comedy. You know. There's a lot of crossover. Comedians want to be musicians, musicians want to be-- Actors want to be musicians, musicians want to be actors. Although, as a comic, I've never opened a rock show. I've never had a good experience as a comedian opening a rock show. Oh, my God. Never fun. Bless his heart. You just reminded me of Paul Rubens, was Pee Wee Herman. Yeah. And we had him open for us when we played the Greek theater. We did the three nights of the Greek, and we loved Paul, and we wanted him to play with us. And he didn't. He had a really tough time. No. They did not get him. You know. He was like, "Oh, my God. What am I going to do? Then I don't understand what I'm trying to do." We thought he was brilliant. People looked at him like he's some nut. Well, people don't watch music like they watch comedy like it's like, "You have to shut up and listen, and you can't pay attention." Yeah. Well, Paul had so much more happening for him, brilliant writer. Is that the one that's on The God Bless the Go-Go's Disc, the Greek show? Is that the live show that's on that? No. Okay. No, no, no. I think you're thinking of Return to the Valley of the Go-Go's, where we even have cassette tapes of rehearsals on that, which is really kind of cool. We look for everything in all the drawers in our house and stacked in the closet. We pulled out all the stops for that record to get all this really weird stuff that true fans would love. Surfing and spying? Yeah. All this crazy stuff. Yeah. Is there an underrated cars track or a ghost track that you feel like was one of your favorite songs? You can't believe it wasn't a big hit or it was like a song. People don't mention much. The one car song that I thought should have been a single that wasn't is from Candio called Double Life. It's just, I always thought it sounded like a single, but it's, I would never really, never released this one. For me, we still play this song live, it's a song called From What Ropes. And it is a slam and punk tune. We love to play that. James Bondage song, right? Yeah, yeah. Really a fun song and I wish we still talk about maybe trying to record that, but I don't know. >> That was from '79. >> Any questions for Greg or -- or, yeah, we got them all up here. >> Okay. >> First of all, Greg, I just saw you at the raw growth country, opera house. I'm sorry. >> Okay. >> Yeah, yeah, yeah. >> Very friendly and great to end. And I recommend it highly for people to go see you again. >> Wow. I should have given you the microphone for that. >> We learned a lesson here today. >> So the thing is, you're touring and you're original. And it was a great show that you put on. >> Thank you. >> Thank you. So, Gina. >> Yeah. >> So, since you've just been recently inducted into the rocker hall of fame. >> Finally. >> With today, with the list coming out recently and the voting going on right now, I have it on my phone, but you probably already know. Who do you think the best nominee or who should be the top nominee going from the fan vote in the rocker hall of fame right now? >> Share. >> Share. >> Yeah. >> Gina and I are both voting members now, by the way. >> Yeah. >> Once you're in, you can vote. >> Once you're in, you can vote. And I think Cher should definitely be in. Come on, man. She's been-- >> I forget who else is even-- >> Farner. >> Oh, I was in with black Sabbath, but he's not in a-- >> Already. >> He's in with Sabbath, but not on his own. >> Okay. >> Okay. >> Well, I think Peter Frampton should be in. >> Oh, yeah. Peter Frampton. >> Yeah. Who else? And I was like, where are you? You've got to be kidding me. >> Did you guys ever play any of those big jams for the rocker hall of fame? >> You know, when the cars were inducted, what was it, 2018, they didn't have a jam at the end. And I don't know. I don't know whether it was just the show was going to be too long, but they didn't even talk about it. >> That's the problem with the show always going-- >> Yeah. >> We practiced the jam for two goddamn hours with like, you know, 20 people on stage. And then when it was time to do it, Jay-Z had talked too long and we didn't get to do the fucking jam. And after all that Sweatman trying to figure out the drum parts that would work with Taylor, it was when I was with the drums, Taylor talking to the Foo Fighters. And, you know, I mean, we didn't remember you got to do it. So that was the end of that. >> And I think we'd all want to have seen that rather than Jay-Z talking too long. >> Oh, my God. Yeah. That stage was loaded with talent, man. And you know who got inducted and I really love underrated craft work. I love craft work. >> I would do write-in votes for craft work. >> I love it. >> And it's a crime that devotes not in-- >> Yeah. >> I can't believe that. Yeah, craft work, even like, people don't realize, like, Africa bombata's entire thing was from craft work, like, early hip-hop is craft work. >> Yeah, oh, yeah. It's so influential. >> You bet. You bet. >> On me, personally, on my whole keyboard style. e-boards style. It's like, "Takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka, takka," you know, from craft work. It's like, did you ever get to meet any of those guys? Did you ever get to meet any of those guys? No. Was it conscious? Was it a conscious thing? It was conscious and I was hoping that it wasn't so overtly conscious. Really? That people would say, "Oh, he just stole that." Rip it off the craft work. Yeah, yeah. But that was definitely the inspiration. For that kind of sequencer. I love that. I love it. I love it. Keyboard. It was very unusual. It was not with rock music. You were playing like, you know, E.L.O. since or something, but nothing like that. The song can itself. I was trying to do the craft work thing. I love that. So rhythm. This is the fan ballad this year. It's Aussie, Foreigner, Peter Frampton, Dave Matthews Band, Cher, Lenny Kravitz, and Mariah Carey. Cooling the gang, Oasis, Chinedo Connor, Shade, James Addiction, Mary J. Blige, Tribe Called Quest and Eric B and Rakim. Wow. It's good. I don't know what to say. That's an odd mix. With any bands that you guys either got to play with or got to see when you were on tour that you were like, best show you've ever seen, blown away, couldn't believe you got to see. I mean, the Beatles was pretty good. Devo. Devo. The way they did the one tour where they had treadmills on stage and they would be like walking in place, but then they would stop. It was so well choreographed and the videos were like all in sync. It was like seeing a little Broadway production. So visually it was visually insane. They were a decade at least ahead of everyone else with that stuff and they were sort of with that same mentality. Oh my God. I was such a huge fan. I saw the first time I saw them, they played at the Santa Monica Civic Center and we were starting to really happen and I was standing on the side of the stage. This is all the original members and there was a point where they take off the yellow raincoats and they rip them off and I remember I ran out on stage and grabbed the drummer Alan's raincoat, which I still have. Nice. Nice souvenir. You bet. Speaking of souvenirs, what are some other souvenirs that you have from the biggest days or the things you hold on to forever from shows like that? Well, first of all, I saved everything from the Go-Go's. I have every tour book. I have every laminate pass, every poster, every ticket. I have every ticket to every concert I ever went to. Wow. And I would just put them in a box in my drawer when I'd come home. And I mean, all I can say is I am the biggest music fan that you will probably ever meet or one of them because I love music so much. It's just in every fiber of my being and I go to see shows as much as I possibly can. I just love it, man. What a great thing to be doing and still doing. It's wonderful, right? Yeah, I agree. Totally. Being able to have a long-lived music career is rarity, especially in the health. I know, right? Yeah, it's amazing. We're lucky. I mean, people, our fans, the cars, the Googers are iconic. Everybody will know our name, the name of our bands. We made our mark and we did something. And we're still here. We're still here, Greg. How much you, Greg? Do you have any mementos or anything you've kept? I still have a lot of stuff. I probably sold half of it to Gary. You would have to have people in this room. Some things, but no, I've still got a lot of mementos and a lot of laminate passes, but not all of them. That's for sure. Oh, I saved everyone. You have some great posters for me. I just recently found our tour books, but the ones for the band where it says, okay, lobby 930, airport, you know, the flight, is it a weather or weather? Yeah, yeah, yeah, it's an area. It's an area, right? That was the word that was escaping me. Do you have a question? I'm sorry. I just was, as I said, I have all my tour books and my partner, Wendell, was putting everything up on the table. And I was just taking a minute to look at them and I opened it up and I was like, "Jesus Christ, take these and put them away." I had some choice words to say about my band members, you know, when I was pissed off or when I'd get off stage, I'd write how the show went that night. I'd, you know, critique myself and people in my band. And I was like, "Oh my God, if we had sold this and somebody had gotten ahold of this and put it on the internet, nobody in that band would be talking to me." Because it's like a family, like you can say about things about your family when someone else does it. But only, like, we're allowed to do it with each other, but nobody else can. You know, it's your family. You can say, "You bastard, I'm gonna kill you." And if somebody else does it, you're like, "Don't you talk to my brother like that?" Would you have some really cool posters and stuff in your house? Oh, yeah, I got, yeah, I saved all the posters so I could get my hands on. Yeah, it's been wonderful. Any other questions for Gina? As a child of the 1980s, I love both your bands. Greg, I knew Ben Orr, you know, so it's, I love both of you. Was there any interesting experience you had during the '80s? Because I was the MTV era of the making of your videos for both of you? Or a favorite video that you did? Well, for me, my favorite was "You Might Think," which is the one with Rick on his heads on a detour and he turns into a fly. Oh, yeah! And it just, it was just, it had that whole video, special effects, cartoony, kind of look to it, and just, I remember it as being both visually, like, rewarding, and just, the act of doing it was fun to do. I think that was the first video to win Best Video MTV. Yeah, it won the very first, very first ever video of the year. Oh, wow! And we went to the awards show and the video was actually nominated in, like, five categories and we kept losing. And the one that kept winning was "Thriller" by Michael Jackson. They're going to lose to one though, and, you know, okay, we can see which way this is going. But then, much to our surprise, when it actually came to video of the year, you might think, squeaked in. Wow! Interesting. I love talking about this. Oh, it's my favorite video. I think it's something else clicks and you just start remembering all this stuff. It's like we got to beat that video was very, like, running gun, very low-budget kind of shooting. Oh, well, then we got to beat video was, you know, Miles Copeland, who had IRS records, was so cheap. Oh, my God. We made that first record for $60,000 and it wasn't easy. You know, like, the first video, I think, we had money, leftover money from a police budget for a video. We used that to do Art of Lucio. We got to beat. He didn't have to pay to get that video done because it was part of the GoGo's Live of Pacific Palisades. Yeah. Oh, Palace Verde Eyes, Palace Verde Eyes School, GoGo's Live. So he just cut, we got to beat out of that live show. That was the next video. Yeah, he was tight. Yeah, because I think, like, vacation is the first video I remember seeing. That was the first one where we actually put big-budget money. We finally had, you know, the money finally started trickling down to the band. Woo, boy. It takes a lot. Another story. Any other questions for Gina? Greg? Thank you both so much for being here. I am a huge fan of both your bands. I've seen you both perform many times. And I was thinking about the differences between the live experience of seeing the GoGo's in the cars. And GoGo's are very high energy, you know, with Gina. The cars not so much, right? I was like, Greg, I saw the cars on your last tour in the '80s, the door-to-door tour. And, yeah, you did not speak to the audience, really, and I loved it. There was a giant robot on stage, but the cars, you stood there and played the songs perfectly. But I thought it was a very different approach. I was wondering, was that a conscious approach? Yeah, it was kind of a conscious approach. I mean, it was a definite conscious approach. Whether or not it, whether or not it was a good decision, I don't know. Yeah, yeah, yeah. But, but... Well, it was kind of like an intention. I mean, to go back to craft work, they play very cold. They're playing robots, you know, it's sort of their thing. And then the GoGo's, you'll see your live, and you're like, you're a rock band. Like, I saw sparks last year, and I'm like, they're a heavy rock band when you see them live. They're fantastic. But on record, they're much less heavy and much less comes from that point. I know Rick, in particular, was, wouldn't have been comfortable doing, chattin' up the audience, basically. And if Ben started doing it, he didn't like that. Rick wouldn't allow that. Yeah, I mean, he's not Wayne Newton, you know, he's not up there doing shoot-singer. Yeah, yeah, yeah, yeah. Those lead singers. Oh, boy. Yeah, you got to deal with them. Maybe just have one or two more questions for Greg or for Gina? Oh, yep. Hey there. Howdy. Nope, nope. I saw you. This is really a question, I guess, like a stream of thought thing. Both of your bands are two of my favorite bands of all time. I was so glad, Greg, when you guys played the House of Blues back in, I think, 2007. There you go. There's something like that. 2011. 2011. That's record. That was such a great record. Oh, thanks. And I was so glad you guys did that. It was like no time had passed at all between the '80s. Wow. I was so glad you guys did that tour because I never got to see you back in the '80s. So thank you. And thank you for the music. Well, thank you. And Gina, thank you for the music. Sure. Loved your band so much. And I have to tell you, you're one of my daughters' favorite, my 17-year-old daughters' favorite bands. Yeah. She has a record player in her room now, and she has all my Go-Go's records. Love it. Vano is king. Vano is king. He's back. He's back. You said. She took my Go-Go's records and she loves them. She's one of the first records she ever heard, I think, was a talk show. Loves that. But I just wanted to also ask, Greg, do you have a memory at all of playing at Live Aid? Because I always remember watching you guys at Live Aid. You may have, I don't know if you already talked about that or not. Yeah, I do. I do. It's funny. The first memory that comes to mind is we did four songs. One of them was the song "Heartbeat City." Yep. On that song, on two of the songs, I had keyboard sequencers going. Like the whole intro of "Heartbeat City" was set up on a sequencer and the band played live to the sequencer. And so there was a point where Rick is supposed to start the vocal and he forgets to sing the first line of the song. And since it's sequenced, you can't just vamp. It's okay. We'll just go round again and wait until the singer comes in. But I remember him looking at me with that look. I was supposed to come in there, wasn't I? And I was going, yeah. And I've been to his credit, his first line was actually the second line of the song. So he caught himself and we didn't have a car crash, so to speak, when the chorus would come in. It's like a damn approach. You're all pros. You had to make it work. Because live everywhere, I don't know. That was like one of the most watched. It was like live via satellite all over the world. There was like 10 billion people watching this thing. Did you guys do the Us Festival? Did you play that? No. We did one of them. Because that was also like massive. More people were there, right? Like no one plays concerts now to a tenth of that many people at once. So that's going to be a crazy amount of pressure. Yeah. That was the big Steve Woztann from Apple. That was like his big party. That's right. It's when Richard Blade came on on stage and was wearing tiny shorts. Everyone got quite strong. I just saw him. He's so sweet. I like Richard. His book is great. Oh no, I was just going to say I'm so glad you're both in the rock and roll Hall of Fame now. It's about time. Thank you. Oh my god. Do you get a special badge or anything that you can like? No, they put a tattoo on your ass. I get free admission. And you play a mean ukulele. Greg, what's that? You play a mean ukulele. Well, thank you. I have your Beatles cover album of ukulele. Thanks. Which I think that I love it. So anyway, thank you. Awesome. Thank you. One more question. Yeah. Gina, how did the runaways or vixen all girl bands influence you or affect you or were there any other all girl bands that were part of, you know. Honestly, there were no all girl bands that affected my playing or was my musical taste. It was, I, you know, music to me is not about gender or color or, I mean, it just, you close your eyes and what you hear moves you or it doesn't. But you have a point because, you know, because we weren't all girl band, nobody wanted to fucking sign us. So yeah, that's an issue. But we never thought, the band, we never thought about the gender card, you know. And when I was growing up, I just listened to whatever it was I liked. I have the runaways album, but, you know, I was influenced more by the stones or zeppelin or Leonard Skittard or, you know. Yeah, I mean, I listen to everything. And I never, I don't never listen to vixen. I think they were after kids anyway. Yeah, yeah, yeah. But of course, I've got a good girl's school. A good friend's with Joan and I adore her and, you know, she's awesome. Because she was punk scene, she produced the germs first record. Yeah, yeah, yeah. She was kind of in that crowd. And we got together, like in '79 and '80, and we won't go to each other's shows. And then Kenny got her and took her to the East Coast and, you know, revived her career and made her happen. And they've been together ever since. Oh yeah, it still does black heart. Yeah, I just saw them play. They opened for Brian Adams, like, I don't know, six months ago or whatever. And she's better than ever. She sounds really good. That was her voice sounds better than it ever has. So anyway. Do you have a favorite drummer a little time? You know, I have so many favorite drummers and it kind of sucks to even name one. Just like when I was a kid, though, I really felt like I was influenced by Charlie Watts and John Bonham. They were two drummers that were completely different, but I love their style. But, oh my God, the list goes on and on of incredible drummers that are out there even, you know, now. There's so many. I mean, I have to sit here for an hour, you know, naming who they are. But you're constantly being sort of influenced and like impressed by new people. Oh my God. Because guess what? You are influenced by everything you see in here in a 24 hour period. It seeps into your subconscious and it comes out, however it does. For me as a musician, when I hear that other music or something, I know it's coming out when I create, you know, and it's this hodgepodge of all these things that I hear, you know, and it comes out as something that Gina Shock does. How about you guys? Are my drumming or my songwriting or singing or whatever it may be? Do you have a favorite keyboard player? Oh, boy. Well, other than like craft work, who, you know, I would, I would refer. Not even keyboard so much as like the way the Beatles used keyboards. Organ players, you know, Paul played the intro to Strawberry Fields. Just that in itself is like so iconic and magical. Yeah. So Greg, you're playing for the song. You're not about just putting, putting parts in to fit them in there. You're not trying to shine. Yeah, because it's keyboards not a rhythm instrument but the way that it's a layer. Keepers is a very rhythmic instrument, by the way. It can be. I mean, I think it is, I just, I think it's fair rhythm. It's all percussive. Sorry, yeah. Yeah. I mean, I think it was something like Runaway where the keyboard, that's the best part. It's the best part. I love tell-star. Yeah. How's the rising sun? Yeah. Yeah. And Runaway. Yeah. That's so creepy. Yeah. Yeah. You remember that stuff, right? Amazing. Well, thank you so much, you guys. We're talking, do you know what we'll be over there? Go talk to our buyer book. Definitely go in and autograph and thank you guys so much. Please, thank you. Yay. Thanks, guys. Thank you. Yeah. Yeah. Thank you. Bye, guys. Bye, guys. [music] [music] [music] [music] [music] [music] There you go, little bonus. Thank you. How great are they? Huge Go Girls fan. Huge Cars fan. I hope you enjoyed that. There'll be more to come. Again, if you're a, how much said there'll be more to Kai. I don't even know what that would mean. That's, that sounds like a name of some sort of '90s Grunge Band album. There'll be more to Kai or even, all right. I'm going down a tangent here, going down a tangent. I need coffee. Thank you, guys, for listening. If you have a dollar a month and you want to be a patron, I would really appreciate it. Patreon.com/tvguidescounselor or if you have a moment to leave a review of the show, wherever you listen to the show. Also, if you listen on YouTube now that Google Podcast has gone away, let me know. I'm curious. TVguidescounselorgmail.com, Canada, I can read.com, and Kenneth W. Reed at TVGuides on all the social media or on Patreon, you can just send me a message and say hello. Anyway, thank you so much, and please be here next week for a brand new edition of TVguidescounselor. [Music]
