The Go-Go People’s Plan
Teaching for Change is pleased that our Teach the Beat program is included in the “The Go-GoPeople’s Plan.” Pursuant to Section 3 of the “Go-Go Official Music of the District of Columbia Designation Act of 2020,” D.C. Act 23-218, the plan outlines the city's strategy to support, preserve, and archive Go-Go music and its history.
Below is the Introduction to the plan by Charles Stephenson, co-author of The Beat: Go-Go Music from Washington, DC.
I am honored and pleased to be able to provide the introduction to the aptly named, “The Go-Go People’s Plan,” which provides a blueprint for the future of go-go in Washington DC. With 40 years plus of this music genre’s birth and evolution in the nation’s capital, this truly is a seminal moment in the history of Washington, DC. The Go-Go People's Plan is forward-looking to ensure go-go music’s cultural niche is preserved and promoted, while it thrives as the official music of Washington DC for generations to come.
We all know about how Chuck Brown introduced go-go music to the city of Washington, DC. We all know about the social and political struggles endured by go-go musicians through the years.
After over four decades of playing music, go-go musicians have raised and kept thousands of DC's citizens busy during challenging times. It is important that these go-go pioneers’ recordings, artifacts, and memories be preserved and shared with future generations and all visitors. As the city’s Martin Luther King Library and the soon-to-be-designed, constructed, and opened Go-Go Museum and Café become the repositories of these important moments in history, the plan that follows is key to ensure that the city’s commitment to go-go music is valid.
To preserve the music, it is important to pass on to future generations the ability to play and appreciate the music. Establishing mentoring opportunities, rehearsal and recording spaces for music students and emerging musicians are valuable attributes of this plan. Ongoing education is paramount. To continue the success of “Teach the Beat,” a program that has been developing go-go music curriculums with DCPS teachers is key.
With “Teach the Beat,” several classes were held with go-go musicians sharing the history, social significance, and the musical theory of go-go music over the last decade.
Finally, promoting go-go music in venues throughout the city will ensure the official music of Washington DC survives. Seeking out various platforms and venues throughout the city to present, embrace and film go-go music events will be monumental. It will help validate the economic value proposition that supporting go-go music events will add to future revenue for the city.
The development of destination events surrounding go-go would bring city coffers millions of dollars. This effort combined with partnering with city promoters, restaurants and clubs can open up enormous business opportunities. Cities such as New Orleans, Nashville, and Austin have shown their creative and business side by working with local musicians to showcase their individual city music genres.
In African American culture we honor the ancestors who are responsible for important moments in history. I can’t list them all, but the spirits of Chuck Brown, Maxx Kidd, Miss Mack, and Little Benny must be invoked. They must be uplifted, as it is on their shoulders we stand. The People’s Plan is a magnification of the work and contributions of many, past and present, that go-go culture is the pride of Washingtonians.
Respectfully yours,
Charles C. Stephenson, Jr.
Past Chair of the DC Commission on the Arts & Humanities
Co-author of The Beat: Go-Go Music from Washington
DC Member, Advisory Committee of Don’t Mute DC