Narratives of Storytelling Across Cultures demonstrates how meaning found within interpersonal communication is not universal across all cultures. Miscommunication can occur when the foundations of cultural meaning within stories, as told socially and within media, vary among different cultures. Positioned within the communication and media field, this book connects issues of societal tension and political battles to media portrayals, social communication events, and power dynamics that result when people with different meanings systems attempt to negotiate "truth" among their competing narratives. After establishing the theoretical foundation of the book, contributors provide specific case studies that demonstrate underlying cultural components and complexities that lead to these issues. Tony R. DeMars and Gabriel Tait have assembled contributors with research, experience, and understanding of intercultural communication challenges in different social groups, allowing the book to take on a broader scope of intercultural communication. Scholars of communication, conflict resolution, political science, sociology, and media studies will find this book particularly useful.

Narratives of Storytelling Across Cultures demonstrates how meaning found within interpersonal communication is not universal across all cultures. Miscommunication can occur when the foundations of cultural meaning within stories, as told socially and within media, vary among different cultures. Positioned within the communication and media field, this book connects issues of societal tension and political battles to media portrayals, social communication events, and power dynamics that result when people with different meanings systems attempt to negotiate "truth" among their competing narratives. After establishing the theoretical foundation of the book, contributors provide specific case studies that demonstrate underlying cultural components and complexities that lead to these issues. Tony R. DeMars and Gabriel Tait have assembled contributors with research, experience, and understanding of intercultural communication challenges in different social groups, allowing the book to take on a broader scope of intercultural communication. Scholars of communication, conflict resolution, political science, sociology, and media studies will find this book particularly useful.

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.