Belinda Carlisle on Punk, Survival, and <em>Once Upon a Time in California</em>
From the sweaty punk clubs of Los Angeles to the glittering heights of MTV fame, Belinda Carlisle’s journey is a remarkable story of reinvention, survival, and self-discovery.
First emerging from Los Angeles’ late-’70s punk scene, Carlisle briefly served as the drummer for the legendary punk outfit, Germs. Soon after, she found her breakout spotlight as the magnetic frontwoman of The Go-Go’s — the all-female band that rewrote rock history with their blend of new wave bite and effervescent pop hooks. Their breakthrough cemented her as a cultural force, but Carlisle’s reinvention as a solo artist in the mid-1980s expanded her legacy even further. With hits like “Heaven Is a Place on Earth” and “Mad About You,” she became one of the defining voices of an era, her soaring vocals and radiant presence shaping the soundscape of MTV and beyond.
Yet Carlisle’s story extends far beyond chart success. Her career reflects resilience, transformation, and the pursuit of authenticity — whether navigating the excesses of fame, confronting personal struggles, or embracing a global stage that took her from Los Angeles to the world stage of international pop stardom.
Most recently, Carlisle released her latest solo record, Once Upon a Time in California, a personal covers album that serves as both tribute and time capsule, offering ten lovingly reimagined classics that shaped her youth in Southern California. Produced in Los Angeles by longtime collaborator Gabe Lopez, the record includes heartfelt takes on Burt Bacharach and Hal David’s “Anyone Who Had a Heart,” Gordon Lightfoot’s “If You Could Read My Mind,” and The Hollies’ “The Air That I Breathe,” which debuted as the lead single accompanied by a nostalgic music video. Describing the project as a “full-circle moment,” Carlisle reflects on the California of her dreams — a landscape of innocence and creative freedom that fueled her earliest musical ambitions.
Now five decades into her illustrious career, Belinda Carlisle stands not only as a pop icon but also as a figure of lasting influence: a reminder of how music, reinvention, and unapologetic individuality can carve out a legacy that resonates enduringly across generations.
KP: You grew up in Southern California during such a pivotal cultural moment in the city, as your latest album reflects. How did such a sun-drenched, rebellious environment shape you as both a woman and an artist?
BC: Well, I'm not sure it was California, but I was born a contrarian and always loved rebelliousness. I do think that the California radio back then certainly shaped my taste in music.
KP: Speaking of being contrarian, before forming The Go-Go’s, you were briefly a drummer in the Germs, one of the most influential bands in American punk. How did that first come to be, and what did that raw punk energy teach you about identity and expression?
BC: It was the punk scene, and you could learn as you went along — that's how the Germs happened, as well as almost all of the LA punk bands from the late ‘70s. I think the scene encouraged authenticity and the ability to be fearless.
KP: How do you feel your early experiences in the transgressive LA scene affected your sense of belonging as a woman in what is very often a male-dominated industry? Did it feel that it did?
BC: I never thought in terms of gender, but the industry definitely did, and that did make it difficult to get signed. It was annoying, but that didn't discourage us.
KP: The Go-Go’s made history as being the first all-female band to top the charts while writing and playing their own songs. Did you know how groundbreaking that was at the moment? What do you feel were some of the greatest challenges that you faced as women while being the first to ever do it?
BC: We never thought in terms of gender. We didn't realize in those times that what we were doing would be considered important. During our success, we had no issues really — we were lucky. No one messed with us ;) Never did we ever compromise ourselves, and we kept true to ourselves as far as image, music, and everything else. We were lucky in that respect. The big challenge for us was just getting signed.
KP: You’ve spoken about experiencing imposter syndrome, saying, “When The Go-Go’s album went to number one, I remember sitting in my kitchen, and I was on a bender, thinking, ‘I can’t believe it, I don’t deserve this…’ I think it had to do with my issues from growing up and feeling uncomfortable in my skin.”
I think that’s something that many people, but especially women, face, and it’s definitely an uphill battle. What ultimately allowed you to move past that overwhelming sense of self-doubt and undeservedness? What advice would you lend to women who are struggling with the same?
BC: I had impostor syndrome for years, even when I was at the top of my game in my solo career. It just took time and working on myself in the 12-Step Program, as well as therapy… Getting to actually love myself and feel deserving.
“Success obviously used to be about selling records — now it's about happiness.”
KP: You said that there were times that The Go-Go’s would run offstage crying due to the abuse of men in the crowd, but after a while, you learned to fend it off and give it back. How did you all find such strong inner voices along the way, and when did the hurt turn to motivation?
BC: That only really happened when we were touring in the UK — we had two big things against us: that we were American and that we were girls. Those tours were really tough, but we would really just laugh it off. Most of it was stupid and juvenile, not really hurtful. I think that we just supported each other, which made those kinds of experiences easy to deal with.
KP: You went through such intense early years of fame — facing battles with addiction, body image, and the pressures that came with such massive success. What helped you find your center again and reclaim your sense of self?
BC: I would say that it took time — growing up and working on myself. I also had a great support system of friends and family.
KP: What advice would you offer to women who are navigating similar struggles today?
BC: To be true to yourself and to follow your instincts as to what is good for you. I made mistakes in the past where I didn't listen to that inner voice. Also, in an industry that is all too eager to sexualize women, don’t go that route.
KP: On that note, in a chat with The Guardian, you said something fascinating, which I very much connected to. In speaking of the younger female artists today that you — as a band — watched perform at the Billboard Awards, you said, “We’re no prudes — we’ve seen everything and done everything. But it was so sexualized. It’s an industry run by men. I don’t see the empowerment in sexualizing music that women perform.”
There is a very, very thin line between self-empowerment for women through hyper-sexualization and simply catering to men, one which, at times, seems absolutely indistinguishable. Perhaps the only way to really tell the difference is to know where the concept is originating from.
How do you feel young female artists today can truly own their power without getting caught in that trap?
BC: I don't know, because I never really had any problems with that. I always was very proud and felt that I had to keep my dignity intact. I wanted to keep it intact. I don't think the way that the younger female artists today are groomed is very empowering — it grabs attention, but only for a minute. Ultimately, it's cliché and boring. I would tell them to think ten years ahead — how would you look back on your career if you sold yourself out like that?
KP: After The Go-Go’s, you launched a very successful solo career, which leads us to today. Through all of these highly impactful decades of music, how has your concept of success changed, if it has at all? What does success mean to you now at this stage of your life?
BC: As far as my career goes, my success now is really doing what makes me happy — it used to be making everyone else happy! I was on a hamster wheel for so long, and it was the only thing that I knew. Success obviously used to be about selling records — now it's about happiness.
KP: Your new record, Once Upon a Time in California, is a reflection of your Californian upbringing as well as a “heartfelt tribute to the vintage pop culture that shaped [your] musical identity.” What stirred you to begin working on such a sincere, momentous ode to California right now? When you listen to these songs in particular, what memories or emotions come rushing back?
BC: All of the songs on this album mean something to me; they bring back bittersweet memories of the California in my dreams. I was lucky to experience that. My taste in music was definitely shaped by growing up in such a magical time and place.
KP: In speaking of the record, you refer to a California that “doesn’t really exist anymore.” What do you miss the most about that time and place, beyond the music? Are there any modern myths about your hometown that you would like to dispel?
BC : I miss the innocence and simplicity.
KP: You describe the era that the record celebrates as having a sense of energy and innocence that felt magical. In a world that feels so different, so broken and dull, how do you try to keep that enchantment alive in your own personal way? How can we, as women at large, try to find magic in such a downtrodden world?
BC: I have always been able to create an environment that feels magical. Thankfully, I've traveled and lived in about eight different countries around the world since 1994, and that's always kept things interesting.
One's environment is created by their thoughts and actions. You can create any kind of world that you desire — what's inside is reflected on the outside. What you put your attention on grows. This has been my experience.
KP: Once Upon a Time in California feels very much like a love letter to your younger self as much as it is to the place. What is one thing that you would tell your younger self, if you had the opportunity?
BC: You are perfect the way that you are.
KP: Going back to the concept of a broken world, you’ve been open about practicing Buddhism for many years, which is beautiful. How has it shaped the way that you see both yourself and the world around you?
BC: Chanting is a daily practice. Pranayama and yoga are daily practices as well. All of this has absolutely changed my perspective on everything.
KP: What advice would you lend to women about life, work, or love?
BC: Carpe diem.
KP: What do you feel makes a provocative woman?
BC: One who follows her heart.
Photography: Albert Sanchez
