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Afterword: Go-Go 2001 Kip: I see a cloudy and uncertain future for go-go as we enter the twenty -first century. Some of the bands—most notably my current favorite, Rare Essence (I'm listening to RE 2000 a lot right now)—continue to produce creative and interesting music. Their support in D.C. provides them with steady work, but how long will they want to hang with it? Charles: That's a good question. Matter of fact, that is the question, because I believe Rare Essence represents the best future for go-go. Unfortunately, I do not see any other band on the circuit that can represent go-go nationally or internationally. Go-go's future in D.C. may be secure, because I believe bands will always get work and be able to perform . However, the larger question is, what band can take the sound national or get a major deal? The answer is Rare Essence! Kip: The problem with RE is that with the influence of hip-hop and rap over the last 20 years, go-go bands like Junk Yard, NEC, and Jigga are closer to the current black pop mainstream. This sound is not the sound of RE (good as they are) and it seems to me that if a go-go band is really going to cross over, then it will be a "younger" group. More to the point— how do you get this distinctive "regional sound" out into a larger world that is ruled by corporate America? Charles: I see your point, but go-go bands must be able to present themselves in a manner that is consistent with national entertainment's norms. Bands must have an image and a musical direction. In addition, they must be able to record CDs that conform. Their recorded songs must have a theme, a musical hook, and be "radio-friendly." I do not see any of the current bands who fulfill all of these criteria. Another thing... I do agree that today's groups should be closer to emerging hip-hop and R&Bartists, however, RE does fit that mold. Kip: On the subject of "radio-friendly," what good does it do if local radio stations all but ignore go-go? Except for Go-Go Rudy on WKYSFM and his Sunday evening show, go-go receives no regular airplay in D.C. in 2001! You can have the most highly crafted go-go record, complete with melodic and rhythmic hooks and creative lyrics, but if it 230 The B e a t receives no airplay then the sales of the compact disc featuring that song are limited. What's more, Go Go Rudy's show seems to play more selections from P.A. tapes than from contemporary (or older) commercial releases. What's with that? And don't get me started with Cathy Hughes and her (now national) radio empire. She used to be a homegirl, supporting go-go, but now that she's got a huge corporation to run—D.C.'s homegrown music is suffering because it's not regularly played on the stations that she owns. I know that I'm ranting on, but if go-go is to thrive (not only creatively) in this new millennium,we do have to be concerned with its commodification so that the music can find at least a small niche in the commercial marketplace. Charles: You raise some very interesting points, however, I maintain that go-go musicians must structure their songs and recordings in a manner that can help as opposed to hurt. We both know how radio works. It is no different in this town than anywhere else across the nation. Radio plays what they perceive to be hits or good songs. If the recording cannot be purchased then it has little chance of being played. Therefore, distribution and marketing are very important when it comes to tunes being played on the radio. In years gone by, local groups could work the streets. This meant that you could have your tunes played at discos and events. This rage would then translate into a tune being labeled "hot," which would force local radio to air the tune. I am not clear to what extent this is happening today. Kip: But you know, Charles, the issues related to radio airplay are merely symptomatic of a greater underlying malaise. While the airplay is undeniably lacking, so are the venues available to bands and the commercial record releases...

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