Go-go is the conga drum-inflected black popular music that emerged
in Washington, D.C., during the 1970s. The guitarist Chuck Brown,
the "Godfather of Go-Go," created the music by mixing sounds
borrowed from church and the blues with the funk and flavor that he
picked up playing for a local Latino band. Born in the inner city,
amid the charred ruins of the 1968 race riots, go-go generated a
distinct culture and an economy of independent, almost exclusively
black-owned businesses that sold tickets to shows and recordings of
live go-gos. At the peak of its popularity, in the 1980s, go-go
could be heard around the capital every night of the week, on
college campuses and in crumbling historic theaters,
hole-in-the-wall nightclubs, backyards, and city parks.
"Go-Go Live" is a social history of black Washington told
through its go-go music and culture. Encompassing dance moves,
nightclubs, and fashion, as well as the voices of artists, fans,
business owners, and politicians, Natalie Hopkinson's
Washington-based narrative reflects the broader history of race in
urban America in the second half of the twentieth century and the
early twenty-first. In the 1990s, the middle class that had left
the city for the suburbs in the postwar years began to return.
Gentrification drove up property values and pushed go-go into
D.C.'s suburbs. The Chocolate City is in decline, but its heart,
D.C.'s distinctive go-go musical culture, continues to beat. On any
given night, there's live go-go in the D.C. metro area.
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