Beat by Lornell Kip; Stephenson Charles C.;

Author:Lornell, Kip; Stephenson, Charles C.; [Lornell, Kip; Stephenson, Charles C.;]
Language: eng
Format: epub
ISBN: 9781604732412
Publisher: UP of Mississippi
Published: 2009-09-15T05:00:00+00:00

5 Entrepreneurs

I am establishing a management company. …I see this as something strategic for Go-Go in general and not just for me. Because, a lot of entertainment groups right now are coming in packs. There’s strength in numbers. You look bigger and better when you come as a package, as opposed to just one. If I say, “I got Junkyard [sic]” that’s okay. But, if I say, “I’ve got Junkyard, Optymistic Tribe [sic] and Little Benny,” they’re going to say, “Damn, you all are hard.” …That’s my new strategy going into 2000.1

Moe Shorter, former Junk Yard Band manager

The people involved with documenting, disseminating, and promoting go-go are mostly local residents. The overwhelming majority of them are also African Americans. These are the people who earn a living by promoting go-go events, running clubs, providing security and protection for the musicians (and clubgoers), and/or selling “gear.”

The entrepreneurs who control the business side of go-go are often multitalented. The many roles played by these (mostly) men frequently overlap, especially in the realms of promoting, recording, and managing bands. Max Kidd, for example, has a long and complex history with black music in general, and go-go in particular, in Washington, D.C.—a run that stretches back to the early 1960s. Among other things, Kidd has been a record producer, a promoter of go-go acts, and a producer. The film Good to Go showcased Kidd, portraying him (quite rightly) as a key figure in the go-go scene. Tom Goldfogle and Becky Marcus operate Liaison Records, which is both a record company and a record distributor, but Goldfogle also serves as Chuck Brown’s manager. Charlie Fenwick owns one of the most active studios in the metro area but has also managed bands as well as played in them.

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