When Toto spotted Gogo's empty cage, he knew he was in trouble. Would you like to help Toto find Gogo?

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.

Being Gogo Breeze -- Mass-mediated elderhood -- The grandfather's voices -- Obligations on and off air -- On air: beyond charity -- Off air: private service -- Women and children -- Between feminisms and paternalisms -- Children's voices -- Coda -- Radio obligations -- Appendix A: confronting mill owners -- Appendix B: helping Miriam Nkhoma

The Beat! was the first book to explore the musical, social, and cultural phenomenon of go-go music. In this edition, updated by a substantial chapter on the current scene, authors Kip Lornell and Charles C. Stephenson, Jr., place go-go within black popular music made since the middle 1970s—a period during which hip-hop has predominated. This styling reflects the District's African American heritage. Its super-charged drumming and vocal combinations of hip-hop, funk, and soul evolved and still thrive on the streets of Washington, DC, and in neighboring Prince George's County, making it the most geographically compact form of popular music. Go-go—the only musical form indigenous to Washington, DC—features a highly syncopated, nonstop beat and vocals that are spoken as well as sung. The book chronicles its development and ongoing popularity, focusing on many of its key figures and institutions, including established acts such as Chuck Brown (the Godfather of Go-Go), Experience Unlimited, Rare Essence, and Trouble Funk; well-known DJs, managers, and promoters; and filmmakers who have incorporated it into their work. The Beat! provides longtime fans and those who study American musical forms a definitive look at the music and its makers.

Illustrated in rich pastels, this child's-eye view of an important milestone in South African history allows young readers to experience every detail of this eventful day.

HORROR AT ITS SIDE-SPLITTING BEST! Victor Gischler is a master of the class-act literary spoof, and his work has drawn comparison to that of Douglas Adams, Kurt Vonnegut, and Thomas Pynchon. Now, Gischler turns his attention to werewolves, alchemists, ghosts, witches, and gun-toting Jesuit priests in Vampire a Go-Go, a hilarious romp of spooky, Gothic entertainment. Narrated by a ghost whose spirit is chained to a mysterious castle in Prague, Gischler's latest is full of twists and surprises that will have readers screaming -- and laughing -- for more.

Living in a small resort town where her family runs a restaurant, eleven-year-old Sarajane meets and befriends an unusual girl with a mysterious past.