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Schock treatment: an interview with Gina Schock of the Go-Go’s

Drummer on her new book and upcoming Hall of Fame induction

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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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LA Blade Exclusive: L Morgan Lee, Broadway’s newest icon sings her truth

She is the first ever trans actress to receive a Tony Award Nomination & the first trans performer to be in a work that has won a Pulitzer

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L Morgan Lee exclusively photographed by Andrey Strekoza for the Los Angeles Blade June, 2022

NEW YORK CITY – “I am just a girl,” L Morgan Lee tells me. That simple statement is her self-definition, a girl taking life one step at a time.

To the rest of us, L Morgan Lee is so much more. She is the award-winning actress starring on Broadway in the hit show of the season, A Strange Loop. Her singing talent matches that of any legendary diva, she is creating landmark theatrical projects on womanhood and New York Times articles are being written about her. She is the “girl” in the spotlight now.

She is also, the first ever transgender actor or actress to receive a Tony Award Nomination.

While she is not the first trans performer to be seen on a Broadway stage, she seems to have broken the glass (or some might say, cement) ceiling of being recognized in the upper echelon of talent. She is the first transgender performer to be in a work that has won a Pulitzer. While the Pulitzer recognizes the author, whom she was not, certainly her creative input was weaved into the final book of the play.

L Morgan has journeyed a complex path to self-awareness. “For me, even in terms of being trans, the idea of being anything outside of what I was assigned at birth was just laughable and crazy to me as a child,” she says. “It just, it made no sense. It was not something that I was comfortable saying out loud to anyone or voicing. How would I be looked at by my parents, by anyone else? So, I would sit and dream. The dreaming is, I think, what forms, much of so many queer people’s lives and experiences.   Those dreams become our lifelines. I would dream and dream. I have a memory of when I was maybe six years old, in the middle of the night, looking up at my ceiling in my bedroom. Waking up soaked with tears. Saying, if I could wake up and be a girl, a girl, everything would be okay.” She adds. “That is why I am so excited to have gotten my first opportunity to be on Broadway, excited to have gotten a Tony nomination. Because I know that there is some kid somewhere, who is also looking up at the ceiling saying that same thing.”

L Morgan’s first adventure into performing was as a kid and ironically projected her future identity fluidity: she costumed up and performed “Karma Chameleon” in nursery school. She allowed herself to explore her true identity under the guise of a Halloween costume quite a few years later. She went in fully fashion glammed drag, and it changed her world forever. “The minute I did it, I felt a jolt of energy I had never felt before. I finally felt free in so many ways. It’s as if like it’s as if I finally got to breathe.”

When she started work on A Strange Loop, she had been cast under the assumption that she was a cisgender man playing female parts. As the years of work into the play went on, L Morgan’s transgender journey escalated, and she attempted to resign from the play as she realized she was no longer the person they thought they had hired. Not only were they aware, as many close loved ones can be, of her journey, but they embraced her and assured her that she belonged more than ever.

“The characters I played allowed me to, in some ways hide until I was able to be more public about who I am. And once I did that, it certainly brought another layer of depth to what I was doing. I have been that much more comfortable in my own skin. I’ve grown. Transition has settled in more. So, both my viewpoints about the show, the people I’m playing, and my lens of life in general, has evolved through the process. So, certainly the woman I am today, views the show and the script, and the characters I play in a very different way than I did when I first sat down to do it in 2015.” 

Her growth within the show, and the growth of the show itself are intertwined. Certainly, some of the magic of the show is that it is not “performed” as much as it is lived out of the souls of the actors in it. L Morgan describes, “The experience of A Strange Loop has been beautiful, complex, layered and ever evolving, for me in particular.  Every time I’ve come back to the rehearsal room with this project, my own lens has been slightly evolved or has moved forward in some ways.”

“The piece is as strong as it is because the lens itself, the lens through which the story is told, is very specific and very honest. Inside of that specificity, there are lots of complications and layers and messy stuff. There are things that you don’t ‘talk about out loud’ taboo to discuss. There are things that people see as problematic. There are so many things inside of all of that, but it’s honest and it’s human. It is a 25-year-old, who’s about to turn 26, sort of raging through life, feeling oppressed and unseen and shouting out to find how he fits into the world. It is how he can find his truest voice in a world that doesn’t really allow him to feel like he’s enough. Because it is so specific about those things the show touches so many different people.”

L Morgan demonstrated coming out as a confident transgender actress, with her vulnerabilities unhidden, on the opening night of the play and decisions she made as she stepped into the public spotlight. “I feel a responsibility. It feels like a dream, it feels wonderful. It feels exciting. It’s like everything I’ve ever asked for but the, the most poignant feeling for me is the responsibility. How could I show up for that person that needs to find me.”

“On my opening night on Broadway, we were trying to figure out what I was going to do with dress and hair and all these things. You only get a first time once. You get your debut one time. So how do I make the most of this moment? I felt raw and excited. I needed to show like the most honest and clear-cut version of me I could. I needed to show my shaved head because that’s something that’s important to me. It’s something, I almost never show. I stepped out revealed, exposed and vulnerable on the very public red carpet, speaking to cameras with my buzzed head. Our relationship with hair runs very deep, especially for trans people, and there was something about it, that just felt like, I needed to do it. That kid somewhere under the covers needs to see this trans woman who is in her Broadway debut and she’s in a pretty dress and she has a shaved head, and she seems like she’s comfortable. Then when you hear her talking about it, you hear about her vulnerability and hear that she felt nervous, and you hear that she was dealing with dysphoria and she was dealing with confidence and she was dealing with all these things that we attached to our hair and she reveals those things. Not only because they’re true but because when we reveal Our Truth, our humanness, there is universality there. There is connection inside of our vulnerability.”

While the Tony nomination escalates her Broadway experience, L Morgan does not lose sight of her mortal existence. “On the day that the Tony nominations happened, I fell apart, completely losing it in my bedroom. Then I realized, I still needed to get a couch, and clean up the apartment. I still feel regular. It’s been a wild dream and at the same time, your real life just keeps on going. I am just trying to put one foot in front of the other.”

On the night of the Tonys. L Morgan will be up against some heavy hitters. Not the least of these is Broadway Legend Patty LuPone. L Morgan is ok with that. Her dream has been to see her face in one of the camera boxes on television of the nominee hopefuls.  

“The biggest reason I do, what I do is one because I love storytelling. My experience is black, my experience is trans, but I’m just, I’m just a woman. I am a woman who had a trans experience. That’s my story. I know that somewhere there’s s a kid, as I have said, who is just like I was. It is extremely important for me to make that kid proud and make that kid feel seen and make that kid know that it’s possible.” 

“I want that kid to be able to know that most importantly, they already are who they are dreaming to be. The world is telling you something different, but you know who you are. There’s nothing wrong with you, there is nothing wrong with us. The world has never told us that we were an option.”  

“That kid needs to find my story. They need to know that we exist. It is the reason it took me so long to be public about things and to start speaking, because I wasn’t seeing enough examples. There’s a quote, ‘she needed a hero, so that’s what she became.’ I really live by that.”

She needed to see a transwoman Tony Nominee. So that’s what she became.

When they call the winner on Tony Night, it will be between a Broadway legend and Broadway’s newest icon.

However it goes, another ceiling has been broken forever, and somewhere a trans girl in hiding will realize her dream too can come true.

*********************

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For better and for worse, Oscar makes history again

The biggest queer moment of the night was Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress

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Jessica Chastain accepts the Oscar for Lead Actress (Screenshot/ABC)

HOLLYWOOD – By the time you read this, the biggest moment from this year’s Oscars will already be old news – but before we can move on to a discussion of what the wins and losses reveal about the state of LGBTQ+ representation, inclusion, and acceptance in the Hollywood film industry, we have to talk about it anyway.

When Will Smith stepped up onto that stage at the Dolby Theatre to physically assault Chris Rock – a professional comedian, doing the job he was hired to do in good faith that he would be safe from bodily harm while doing it – for making an admittedly cheap and not-very-funny joke, it was a moment of instant Oscar history that overshadowed everything else about the evening.

There’s been enough discussion about the incident that we don’t need to take up space for it here – tempting as it may be – other than to assert a firm belief that violence is never a good way to express one’s disapproval of a joke, especially during a live broadcast that is being seen by literally millions of people.

Smith, whether or not he deserved his win for Best Actor, succeeded only in making sure his achievement – which could have been a triumphant and historic moment for Black representation in Hollywood, not to mention an honorable cap for his own long and inspiring career – will be forever marred, and the palpably insincere non-apology that replaced what could otherwise have been his acceptance speech was only a textbook example of putting out fire with gasoline.

Yet that polarizing display also allows us a springboard into the much-more-important subject of queer visibility in the movies, thanks to another Smith-centered controversy (and there have been so many, really) from the early days of his career that sheds a lot of light on the homophobic attitudes of an industry almost as famous as playing to both sides of the fence as it is for the art it produces. 

Back in 1993, riding his success as a hip-hop artist-turned actor and springboarding from his “Fresh Prince of Bel-Air” fame into a movie career, Smith appeared in the film adaptation of John Guare’s critically-acclaimed play “Six Degrees of Separation,” playing a young con artist who preys on a wealthy Manhattan couple (played by Donald Sutherland and Stockard Channing), convincing them to give them money and even move into their home before they eventually discover the truth after coming home to find him in bed with a male hustler.

Unsurprisingly (it was 1993, after all), some of the play’s homosexual content was “softened” for the film version, but Smith was still called upon to perform in a scene depicting a kiss between himself and co-star Anthony Michael Hall. After initially agreeing, he abruptly changed his mind (due to advice from friend-and-mentor Denzel Washington, who warned him that kissing a man onscreen could negatively impact his future career) and refused to do the kiss, necessitating the use of camera trickery to accomplish the scene.

Decades later, Smith expressed regret at the choice, saying it was “immature” and that he should have gone ahead with the kiss – but the story nevertheless provides some insight about the pressure placed on actors in Hollywood to appear heterosexual for their audiences, no matter what.

Despite advancements, that pressure continues today – and Smith, whose unorthodox and publicly rocky marriage already has put him under an arguably unfair microscope, has also been alleged (most notoriously by trans actress Alexis Arquette, who made controversial comments about the couple shortly before her death in 2016) to be participating in a sham marriage in an effort to conceal both his own and his wife’s queer sexuality, may well have been feeling it when he was moved to assert his masculinity at the Academy Awards.

True or not, such rumors still have the potential for ruining careers in Hollywood; and while it may be a facile oversimplification to assume that homophobia was behind Smith’s ill-advised breach of decorum, it’s nevertheless a topic that goes straight to the heart of why the Academy, even in 2022, has such an abysmal track record for rewarding – or even including – openly queer actors on Oscar night.

Granted, things have improved, at least in terms of allowing queerness to be on display at the ceremony. On Sunday night, out Best Actress nominee Kristen Stewart attended with her fiancée, Dylan Miller, with the couple sharing a public kiss on the red carpet as they arrived for the festivities; the trio of female hosts – which included out woman of color Wanda Sikes alongside fellow comedians Amy Schumer and Regina Hall – called out Florida’s “Don’t Say Gay” bill with a defiant joke during their opening presentation.

Jessica Chastain – who won Best Actress for playing unlikely LGBTQ ally and AIDS advocate Tammy Faye Baker in “The Eyes of Tammy Faye” – made an emotional speech decrying anti-LGBTQ legislation and advocating for all people to be “accepted for who we are, accepted for who we love, and to live a life without the fear of violence or terror.”

Numerous participants in the evening, whether male or female, queer or straight, took the opportunity to push gender boundaries with their couture for the evening (thanks for that, Timothée Chalamet). Elliot Page, joining Jennifer Garner and JK Simmons for a “Juno” reunion, became the first trans man to be a presenter at the Academy Awards. Finally, two beloved queer icons shared the stage for the evening’s finale, as Lady Gaga was joined by wheelchair-bound Liza Minnelli, frail but full of obvious joy at being there, to present the award for Best Picture.

The biggest queer moment of the night, of course, was also one of the first: Ariana DeBose’s historic win as the first out woman to win the Oscar for Best Supporting Actress. Accepting the award (for which she was considered by far the front-runner), De Bose proudly highlighted her queerness alongside her other intersecting identities, saying “You see an openly queer woman of color, an Afro-Latina, who found her strength and life through art. And that is, I think, what we’re here to celebrate.”

The evening’s other queer nominees did not fare so well. “Flee,” the Danish documentary about a gay Afghan refugee’s escape from his homeland as a teen, made history by scoring triple nominations as Best Documentary Feature, Best International Feature, and Best Animated Feature, but it went home empty-handed. Stewart – the only other openly queer acting nominee – lost to Chastain for Best Actress, and the divisive but queer-themed “Power of the Dog” lost its bid for Best Picture to “CODA,” as well as all of its multiple acting nominations – though its director, Jane Campion, already the first woman to be nominated twice for the Best Director Prize, became the third woman to actually win it.

Of course, the Oscar, like any other award, should be bestowed upon the most deserving nominee regardless of sexuality, gender, or any other “identity” status, and it seems unreasonable to expect all the queer nominees to win – though some might feel a little reparative favoritism wouldn’t necessarily be a bad thing when it comes to balancing the scales. Even so, nobody has a chance to win if they’re not even nominated, and that’s where Oscar has repeatedly and persistently fallen short.

According to a recent report from Professor Russell Robinson, Faculty Director of Berkeley Law’s Center on Race, Sexuality & Culture, analysis of more than half a century of Academy Award acting nominations reveals that out of 68 nominations (and 14 wins) for performers playing LGBTQ roles, only two nominees – neither of whom went on to win – were LGBTQ-identified in real life.

While actors like Tom Hanks (“Philadelphia”), Sean Penn (“Milk”), Penélope Cruz (“Parallel Mothers” and “Vicky Cristina Barcelona”), and the late William Hurt (“Kiss of the Spider Woman”) garnered career-boosting acclaim along with their Oscars for playing queer characters, there are no equivalent success stories for queer actors playing straight roles – indeed, only eight openly queer performers have gotten a nomination for ANY role, queer or otherwise, in the entire history of the Oscars, and no transgender performers have ever received one at all.

While one might believe statistics like this are at least beginning to change, bear in mind that both of Benedict Cumberbatch’s two Oscar nods so far were for playing gay men, including this year’s “Power of the Dog” (the first was for playing real-life queer hero Alan Turing in “The Imitation Game”).

The topic of whether straight actors playing queer characters is appropriate at all is of course a hotly-debated one, with reasonable arguments – and queer voices in support of them – on both sides. We won’t attempt an in-depth examination of that issue here, but what is obvious even without the above statistics is that the Academy – or rather, looking at it from a wider scope, Hollywood itself – has a deeply-ingrained prejudice against queerness, regardless of how loudly it proclaims itself to be an ally.

Yes, progress has undeniably been achieved, especially within the last few years; the strong showing of films like “Moonlight,” “Call Me By Your Name,” “Bohemian Rhapsody,” and other LGBTQ-oriented titles on recent Oscar nights has gone neither unnoticed nor unappreciated.

Yet the Academy – as well as the industry it represents – has a pattern of responding to criticism over its inclusiveness in half-measures. It takes more than a hashtag to end sexual harassment of women in the workplace, no matter how many times it’s flashed on the screen during an awards show, and it takes more than a token nomination every few years to give an underrepresented population a fair place at the table, too.

This year’s ceremony was not without its missteps. The choice to bump awards from the broadcast for time while simultaneously devoting minutes to a James Bond tribute or a performance of a song (“We Don’t Talk About Bruno” from Disney’s “Encanto”) that wasn’t even nominated; accompanying the annual “In Memoriam” tribute to the year’s dearly departed with a choreographed dance and vocal performance; the insensitivity of rushing some winners (like “Drive My Car” director Ryusuke Hamaguchi, accepting when his film won for Best International Feature) to finish their speeches while letting others continue uninterrupted; these and other ill-considered decisions had already blemished the show before “the slap heard ‘round the world” ever happened.

Nevertheless, this Oscar show felt more authentic than many in recent memory. There was a raw, unpredictable quality to it, perhaps rooted in the Academy’s controversial choice to relegate several “lesser” awards to a pre-show presentation, that manifested itself in the uncomfortable response of the audience to the often sharp humor of hostesses Sikes, Schuman, and Hall – who mercilessly skewered Hollywood’s say-one-thing-do-another approach to sexism, racism, homophobia and more throughout the show, often with visible apprehension over how their jokes might land.

Nervousness notwithstanding, their presence and their comedic calling-out of industry hypocrisy, along with the willingness of the celebrities in the house to laugh about it, was an element that lifted the proceedings enough to make them not only bearable, but sometimes even enjoyable.

That doesn’t mean the Academy can rest on its laurels. While it’s become common for their awards show – and all the others, for that matter – to serve as a kind of celebrity roast, where jokes are made and laughed at about the industry’s hot-button issue of the day, the persistent problems in Hollywood can’t be corrected just by allowing its workers to blow off steam by making fun of them once a year.

The film industry thinks that by going along with self-mocking humor about its own misogyny, racism, and homophobia, it gets a pass to continue ignoring the growing demand from the public to eliminate those same toxic ingredients from its standard recipe.

Perhaps the Smith incident, based as it seems to have been in a show of masculine dominance, will prompt some soul-searching within the entertainment community over its own rampant hypocrisy. Let’s hope so, because if the Academy Awards are ever to be truly inclusive in their representation of every segment of our society, no matter who they are or who they love, that’s something that has to happen first in the movies their prizes are meant to honor.

We’ve come a long way, to be sure, but we’re not there yet.

******************

Jessica Chastain Accepts the Oscar for Lead Actress:

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First openly queer woman of color, Ariana DeBose wins an Oscar

It was DeBose’s first academy award nomination and Oscar. The awards ceremony was held at the Dolby Theatre in Hollywood

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Ariana DeBose in 'West Side Story' courtesy of Amblin Entertainment & 20th Century Studios

HOLLYWOOD – North Carolina native Ariana DeBose, who identifies as a Black-biracial queer Afro-Latina, won the Oscar for Best Supporting Actress Sunday for her portrayal of Anita in Steven Spielberg’s film adaptation of West Side Story.

The film was based on the 1957 Tony award-winning Broadway musical production directed and choreographed by Jerome Robbins with music by Leonard Bernstein, lyrics by Stephen Sondheim, and a book by Arthur Laurents.

DeBose in the category for Best Supporting Actress has previously won a Screen Actors Guild Award, a Golden Globe and a BAFTA. She was awarded the Oscar over her fellow nominees in the category including Aunjanue Ellis for King Richard, Kirsten Dunst for The Power of The Dog, Jessie Buckley for The Lost Daughter, and Dame Judi Dench for Belfast.

“Imagine this little girl in the back seat of a white Ford Focus. When you look into her eyes, you see an openly queer woman of color, an Afro Latina, who found her strength in life through art. And that’s what I believe we’re here to celebrate,” DeBose said in her acceptance speech.

“So to anybody who’s ever questioned your identity ever, ever, ever or you find yourself living in the gray spaces, I promise you this: There is indeed a place for us,” she added.

It was DeBose’s first academy award nomination and Oscar. The awards ceremony was held at the Dolby Theatre in Hollywood and were hosted by Out lesbian comedian Wanda Sykes, actors Regina Hall and Amy Schumer.

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