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The Past, Present and Future of DC's Hip-Hop Movement" by Sidney Thomas
Diamonds In The Raw will take you on a trip through Washington DC's inner-city streets in search of talented musicians struggling to survive in a game where the odds are stacked against them. For the first time ever, step into the world of the DMV! Diamonds in the Raw: "The Past, Present and Future of DC's Hip-Hop Movement" By Sidney Thomas Order the book from the publisher Booklocker.com https://www.booklocker.com/p/books/11554.html?s=pdf or from your favorite neighborhood or online bookstore. Copyright © 2009-2021 Sidney Thomas Paperback ISBN: 978-1-64719-331-7 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, recording or otherwise, without the prior written permission of the author. Published by BookLocker.com, Inc., St. Petersburg, Florida. Printed on acid-free paper. BookLocker.com, Inc. 2021 (#6) The Go-Go Rappers The go-go industry was so dominant in the DC area that hip- hop music had a difficult time becoming established. So by neces- sity, the most talented rappers in DC gravitated towards the go-go scene. Many rappers during the 80’ and 90’s got their chance to shine by rapping on stage with the go-go bands. Tony Blunt, P.O.P. (Prince of Poetry), Hechinger Mall Zhigge and Fat Rodney were some of the names that dominated the go-go/rap game. On the national level, hip-hop was growing by leaps and bounds and the more records that were sold, the more hip-hop cul- ture became interlaced with popular culture. -
UNDERNEATH the MUSIC Ellington
ABSTRACT Title of Document: UNDERNEATH THE MUSIC Ellington Rudi Robinson, Master of Fine Arts, 2008 Directed By: Professor, Jefferson Pinder, and Department of Art I see my work as an expression of a young man growing up in a household of music, books, and highly influential people. During the crack era that becomes prevalent under the tenure of President Reagan. The influences of the past will be the guides to surviving in a time when many friends parish as victims from the abundance of violence. The influences and tragedies are translated into motifs that are metaphors combined to create forms of communication. The hardwood floors, record jackets, tape, and railroad tracks provide a catalyst. These motifs are combined and isolated to tell an intense story that is layered with the history of the Civil Rights Movement, hip hop culture, drugs and music. The work is a conduit to release years of pain dealing with loss and oppression. It is also a vehicle to celebrate the philosophy that joy and pain are synonymous with life. UNDERNEATH THE MUSIC By Ellington Rudi Robinson Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Fine Arts 2008 Advisory Committee: Professor Jefferson Pinder, Chair Professor Patrick Craig Professor Margo Humphries Professor Brandon Morse Rex Weil © Copyright by Ellington Robinson 2008 Preface The smell of the coffee bean aroma surrounded by the books and music, the phone rings. “Good afternoon, thank you for calling Borders Books and Music, how can I help you?” “El! What’s up man, I have some bad news.” This is an all too familiar greeting. -
Council of the District of Columbia Committee of The
C OUNCIL OF THE DISTRICT OF COLUMBIA C O MMITTEE OF THE WHOLE COMMITTEE REPORT 1350 Pennsylvania Avenue, NW, Washington, DC 20004 DRAFT TO: All Councilmembers FROM: Chairman Phil Mendelson Committee of the Whole DATE: December 17, 2019 SUBJECT: Report on Bill 23-317, the “Go-Go Official Music of the District of Columbia Designation Act of 2019” The Committee of the Whole, to which Bill 23-317, the “Go-Go Official Music of the District of Columbia Designation Act of 2019” was referred, reports favorably thereon, with amendments, and recommends approval by the Council. CONTENTS I. Background and Need .................................................................1 II. Legislative Chronology ...............................................................3 III. Position of The Executive ...........................................................4 IV. Comments of Advisory Neighborhood Commissions .................4 V. Summary of Testimony ...............................................................4 VI. Impact on Existing Law ..............................................................6 VII. Fiscal Impact ...............................................................................6 VIII. Section-by-Section Analysis .......................................................7 IX. Committee Action .......................................................................7 X. Attachments .................................................................................7 I. BACKGROUND AND NEED Bill 23-317, the “Go-Go Official Music of the District -
Go-Go, Yesterday and Today
Brown and the Soul Searchers, Trouble Funk, Lead Go-Go, Yesterday Head, Hot, Cold Sweat, Cro Magnum Funk, Stacy & the Soul Servers, Class Band & Show, Mouse and Today Trap, The Shadows, and go-go icons including Ice Berg Slim and Big Tony, began to add the "live" by Iley Brown II features of go-go to their shows or recordings: he early 1970s in Washington, D.C., choreography, smoke and fog machines, go-go marked the beginning of a new musical dances, and extended instrumental solos including T sound that was still untitled. Basements in the trademark cowbells, whistles, and drum and neighborhoods throughout the city were convert conga solos added to known radio songs popular ed into after-school stages and rehearsal halls for ized by local radio stations. Radio hits that became budding bands and musicians. In many parts of go-go hits were "Family Affair" by Experience the city, an organist would meet up with percus Unlimited, "Run joe" by Chuck Brown, and sionists and drummers, who "Trouble Funk Express" by in turn would know of a Trouble Funk, which is a horn player. Bands were cob take from "Trans Europe bled together, and bonds Express" by Kraftwerk. were formed. In live performances audi To satisfy audiences of ences engaged the bands in teenagers, young adults, and call-and-response segments grown-ups, local "funk" of songs, usually during bands would play the radio percussion breaks ranging hits of Mandrill, Kool & The from a three-minute teaser Gang, New Birth, Average - a short percussion solo White Band, or Herbie with strains of the radio Hancock, among others. -
Natalie Hopkinson Go-Go Live The Musical Life and Death of a Chocolate City Natalie Hopkinson
Go-Go Live ★ The Musical Life and Death of a Chocolate City ★ Natalie Hopkinson Go-Go Live The Musical Life and Death of a Chocolate City Natalie Hopkinson “Natalie Hopkinson knows the music, the heartbeat, and the people of Washington well, but Go-Go Live: The Musical Life and Death of a Chocolate City is much more than a book about D.C.’s indigenous sound. It is a vital, lively, and ultimately inspiring look at the evolution of an American city.”—George Pelecanos, writer and producer of The Wire and Treme “Taking us into the little-studied terrain of go-go, the cousin of hip-hop born and bred in Washington, D.C.¸ Natalie Hopkinson reveals go-go as a lens for seeing, in stark colors, how the economy, politics, and especially the drug trade have traduced black communities around the world.”—Henry Louis Gates Jr., Alphonse Fletcher University Professor, Harvard University 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. -
RFP for Design-Build Services
D.C. DEPARTMENT OF GENERAL SERVICES REQUEST FOR PROPOSALS DESIGN-BUILD SERVICES FOR THE CHUCK BROWN MEMORIAL September 24, 2013 Proposal Due Date: October 18, 2013 by 2:00 p.m. EDT Preproposal Conference: October 3, 2013 at 3:00 p.m. EDT to be held at: Frank D. Reeves Center 2nd Floor Community Room 2000 14th Street, NW Washington, DC 20009 Contact: Thomas D. Bridenbaugh Leftwich & Ludaway, LLC 1400 K Street, NW Suite 1000 Washington, D.C. 20005 Phone: (202) 434-9100 Solicitation Number: DCAM-14-CS-0059 Executive Summary The Department of General Services (“Department” or “DGS”) is issuing this Request for Proposals to engage a design-builder to provide design-build services for the Chuck Brown Memorial, to be located on the western side of Langdon Park which is located at 2901 20th Street, NE, Washington, DC. The District desires to create a lasting and meaningful memorial to Chuck Brown, and the Department has commissioned a concept design for the memorial which is attached hereto as Attachment A (the “Concept Design”). The design-builder engaged through this procurement will be required to further develop the Concept Design and to construct the memorial no later than May 1, 2014 (the “Project”). In general, the Project will include a memorial wall made from concrete with a metal screen with photo images of Chuck Brown, and which lists Chuck Brown’s discography in metal lettering; a minimum of five (5) large outdoor interactive instruments embedded in a concrete pad, to be located adjacent to the existing playground; lighting directed at the memorial wall and memorial entrance wall; signage with raised metal lettering; landscaping (including cherry trees) and sod; new sidewalks and pervious pavers; storm water management initiatives; and decorative treatment to the exterior of the existing electrical buildings on the site. -
2400 Tulane Ave. 822-9907
915 .. ·~ . new tnustc• Ivan Bodley 37 TargetzAnd it Burns "Okay all ofyou rock and roll hopefulls and Exploding out of Chattanooga, TN. not cookie/and morons, let me tell you a few things unlike their infamous locomotive, And it about my favorite industry. " - Joe Burns, produced by former R.E.M. producer Pop-o-pie Don Dixon, is another massive debut lp. Their uniquely targeted song "Ring of Fire" It is easy to adopt Joe's cynicism about this is a much-covered song from the Carter wild and crazy business we call "music" but I Cash family's repertoire and immediately hope I can offer some spark in the void that is gives the listener insight as to just where the industry we call "recording." these four young men are shooting from. I am often asked, "Hey, Ivan, what's Their sound conjures up images of the Alarm, new," and am equally often reduced to a Mignight Oil and other new music rockers shivering mass of molten cholesterol as my while remaining unique and innovative. brain overloads at the sheer volume of the Cruzados Cruzados new releases each week. So I've spent some A major label debut for this four man outfit time meditating high atop our broadcast formerly known as the Plugz, Cruzados is tower to collect my thoughts so I can offer quickly indentified as a fusion of several West only a few of my favorites. Coast sounds including Mexican, surf rock, What is This What is This punk and good old rock and roll. This project Now reduced to a trio, this Hollywood is amazingly accessible and well produced, based outfit combines tasteful and effective not unlike a harder rocking yet smoother elements of funk, rock and soul to create their cruising Los Lobos. -
Diggin' You Like Those Ol' Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America
Diggin’ You Like Those Ol’ Soul Records 181 Diggin’ You Like Those Ol’ Soul Records: Meshell Ndegeocello and the Expanding Definition of Funk in Postsoul America Tammy L. Kernodle Today’s absolutist varieties of Black Nationalism have run into trouble when faced with the need to make sense of the increasingly distinct forms of black culture produced from various diaspora populations. The unashamedly hybrid character of these black cultures continually confounds any simplistic (essentialist or antiessentialist) understanding of the relationship between racial identity and racial nonidentity, between folk cultural authenticity and pop cultural betrayal. Paul Gilroy1 Funk, from its beginnings as terminology used to describe a specific genre of black music, has been equated with the following things: blackness, mascu- linity, personal and collective freedom, and the groove. Even as the genre and terminology gave way to new forms of expression, the performance aesthetic developed by myriad bands throughout the 1960s and 1970s remained an im- portant part of post-1970s black popular culture. In the early 1990s, rhythm and blues (R&B) splintered into a new substyle that reached back to the live instru- mentation and infectious grooves of funk but also reflected a new racial and social consciousness that was rooted in the experiences of the postsoul genera- tion. One of the pivotal albums advancing this style was Meshell Ndegeocello’s Plantation Lullabies (1993). Ndegeocello’s sound was an amalgamation of 0026-3079/2013/5204-181$2.50/0 American Studies, 52:4 (2013): 181-204 181 182 Tammy L. Kernodle several things. She was one part Bootsy Collins, inspiring listeners to dance to her infectious bass lines; one part Nina Simone, schooling one about life, love, hardship, and struggle in post–Civil Rights Movement America; and one part Sarah Vaughn, experimenting with the numerous timbral colors of her voice. -
Swingin' Through the Music Capital
Proofed by: phadkep Time: 10:46 - 01-19-2007 Separation: C M Y K HIGH-RES PROOF. IMAGES ARE RIPPED. FULL PROOF INTEGRITY. Product: SOURCE LayoutDesk: SOU PubDate: 01-21-07 Zone: DC Edition: EE Page: RDTRIP C M Y K M8 SOURCE 01-21-07 DC EE M8 CMYK M8 Sunday, January 21, 2007 DC x The Washington Post RoadTrip Swingin’ Through the Music Capital WHERE: Alexandria and Washington. Chuck Brown mixed funk with Latin C O N percussion to invent go-go at the N WHY: A lizard king in Old Town, de-funked venues and a military E C long-gone Maverick Room. T IC man. U “Bustin’ Loose” by Chuck Brown T A V E N U HOW FAR: About 17 miles, or one hour with stops. E DISTRICT OF COLUMBIA The house where Duke Ellington was delivered n Washington, the military and presidents seem to garner was torn down to make room for a post office. all of the big monuments, while the area’s musicians are re- “East St. Louis Toodle-Oo” by Duke Ellington duced to the record bin. But not always. On a magical tour of musical landmarks, fans can pay homage to local per- The rowhouse that contains formers, and as a bonus, we’ve supplied a playlist to help re- Beat Records Crooked KALORAMA ROAD e graced the create that live experience (see map for song selections). used to be a commun Singing sensation Marvin Gay , now vacant. 11TH ST. I performance space called Madam al M Howard Theater Let’s start at the end, beautiful friend. -
Go-Go Forever
mtv news FEATURE GO-GO FOREVER THE RISE, FALL, AND AFTERLIFE OF WASHINGTON, D.C.’S ULTIMATE RHYTHM 06/14/2017 MTV ERICKA BLOUNT DANOIS Ericka Blount Danois is based in Baltimore and writes about music and culture. Her first book, 'Love, Peace and Soul,' about the show 'Soul Train,' was published in 2013. We had made plans to walk the more than 10 treacherous blocks to the show that Saturday autumn night in the Chocolate City. So we walked from my friend Cheryl's building on 14th and Fairmont Streets all the way to The Black Hole, one of the most popular go-go spots in town, strolling past hustlers and the infamous Clifton Terrace projects as we went. We weren't in heels, like most girls going to nightclubs. We wore New Balance tennis shoes with our Guess jeans. At The Black Hole, you had to be prepared to run at any moment. In Washington, D.C.'s 1980s go-go scene, The Black Hole was what CBGB was to punk rock, what The Paradise Garage was to dance music. You couldn't call yourself a true go-go head if you'd never stepped past its hefty bodyguards after wading through the mass of bodies stretching down Georgia Avenue whenever a show was happening. It was a hole in the wall, really — a former car garage that regularly packed in excess of 400 sweaty teenagers. And it was our spot to hear uncut go-go, dance all night, and be seen. Dancing there was the closest thing that a non- churchgoer could find to catching the spirit at a Pentecostal church, and as close to a juke joint as a saved soul could experience. -
The Ibex - Tower of Power Remembering Terrence Johnson Women in Go-Go Go-Go Anthology Part 3 of 3
www.tmottgogo.com January - March 2000 The Ibex - Tower of Power Remembering Terrence Johnson Women in Go-Go Go-Go Anthology Part 3 of 3 40 1 Got TMOTTGoGo? PUMPIN’ LIVE GO-GO MUSIC Straight from the Go-Go Capitol of the World! Weekly drawings for FREE PA Tapes, Videos & CDs 5099 Jefferson Davis Highway (Route 1) Fredericksburg, Virginia 2 39 Available in stores NOW!!! GIMMIE THAT BEAT! 25 YEARS OF GO-GO MUSIC Go-Go music is Washington, D.C.’s unique contribution to American popular culture. Since its emergence in the middle 1970s, Go-Go has been the District’s single most New Dimension Band Jigaboo Band important voice for indigenous African American expressive Beyond The Beltway Str8 Given U That culture. But it is more than just music. Go-Go is an event encompassing dance, verbal arts, and dress as well. On Saturday, April 15, 2000 the Music and Recreation Coming up in the next issue... Division of the D.C. Pulbic Library will host a conference, “Gimmie That Beat! Twenty-Five Years of Go-Go on the Streets of Washington, D.C.” Musicians, writers, scholars, Exclusive and entrepreneurs will examine the role of Go-Go music in interview with Lawrence “The this city over the past twenty-five yars. The conference is Maniac” West funded by a grant from the Humanities Council of Washington, D.C. with additional support provided by the Phyz Wunders Malcom X Foundation and the Africana Studies Program at the George Washington University. Go-Go Reunion II Celebration at Wilmer’s Parks Featuring special performance by O1P! plus, more.. -
February 2016 | Page 1
TMOTTGoGo Magazine | February 2016 | Page 1 99 & KATO: THE RADIO EXPERIENCE ONE TIME FOR“ YOUR “MIND!!! 99andKatoRadio.com TMOTTGoGo Magazine | February 2016 | Page 2 99 & KATO: THE RADIO EXPERIENCE • The Crooner 8 • Black History Fun Facts 12 • The Wanda Pratt Story 14 • #SandyStillSpeaks in Baltimore 18 • She’s Single... On Valentine’s Day 20 • CHD Awareness 22 • Top Boy on the UMC 24 • RIP Maurice White 28 • Frank “Scooby” Sirius 32 • Stinky Dink Pictorial 40 • Michael Muse 42 ONTENT C FEBRUARY 2016 Publisher Kato Hammond Creative Director Tahira Chloe Mahdi Marlon Green Contributing Writers Maiah Coles Jennifer Angellatta-Moore Tahira Chloe Mahdi Preston Blue Photos Michael Mustbnice Bell Preston Blue Chip Py Don Wilson Memories Are Worth Keeping Tia Warhall Graphics & Layout Kato Hammond For Advertising and Sponsorship inquiries, email us at: [email protected] tmottgogo.com tmottradio.com tmottzone.com tmottwebdesign.com © TMOTTGoGo 2016 FROM THE PUBLISHER’S DESK Kato Hammond The Crooner The club scene is crowded, but it’s not a boisterous one. Just about everyone has a drink in their hand, and is engaged in quiet conversation, or perhaps just silently enjoying the evening. Setting the mood is an old-school crooner; a gentleman all dressed up and filling the room with his witty banter and warm, jazzy singing. It’s a classy and romantic environment, helped in large part by the charismatic guy on stage. The Crooner is an American epithet that was given to singers of jazz standards, either backed by a full orchestra, a big band or by a piano. The silky-voiced singer of these senti- mental jazz favorites, particularly a male sing- er, were especially popular from the late 1920s until the early 1950s.