Podcast Summary: Post Reports – "The kids keeping go-go music alive"

Date: December 24, 2025
Host: Sabi Robinson, The Washington Post
Guest: Marissa Lang, Enterprise Reporter

Episode Overview

This episode dives into the efforts to keep go-go music—a genre born in Washington, D.C.—alive through educational programs within DC public schools. Enterprise reporter Marissa Lang shares her experiences visiting music programs devoted to go-go, exploring the genre's significance, its roots in DC communities, and its evolving role in countering negative narratives about Black youth.

Key Discussion Points and Insights

1. Go-Go's Defining Features and Cultural Roots

• Go-go is uniquely tied to Washington, D.C. and is described as a blend of funk, jazz, hip-hop, R&B, and soul, characterized by layered percussion and a vibrant, dance-inducing loop ("It loops and it goes and goes. That's why it's called Go Go." – Marissa Lang, 02:32).
• The music is omnipresent in DC: heard at cookouts, parades, funerals, and neighborhood block parties.
• Originated in live venues during the late 1970s; Chuck Brown, known as "the godfather of go-go," named and popularized the genre.

2. The Complicated Legacy of Go-Go in D.C.

• In its early days, go-go was criminalized, seen as a source of social problems, and heavily policed. Laws and curfews targeted venues, associating the music with violence and drugs (Marissa Lang, 05:26).

"Go Go concerts were seen as this place where violence could break out at any moment and police were often dispatched to break them up...It really got a reputation." – Marissa Lang, 05:26

• The music’s criminalization parallels present-day narratives about the dangers of Black youth, showing a cyclical pattern in societal perceptions (Sabi Robinson and Marissa Lang, 06:48–07:07).

3. The Shift in Go-Go’s Image and Its New Place in Civic Life

• As early fans have grown into positions of influence, go-go’s reputation has improved. Legislation in 2020 named go-go the official music of DC, and a Go-Go museum opened in Anacostia (08:48).
• The music is now openly embraced at city-sponsored events and by political leaders.

4. Go-Go in Schools: Reviving Tradition and Cultural Pride

• Recent efforts in D.C. schools introduce go-go as both a musical and cultural curriculum. Many music teachers and administrators have personal histories with go-go, fueling their desire to pass it on (12:28).

"For me, as a D.C. native, I feel like it's very important that I pass that lineage on because I'm a part of this community...I've toured with Go Go bands." – BJ Simmons, music director, Stuart Hobson Middle School (13:00)

• Go-go classes not only teach instruments and music theory but also D.C. history and cultural heritage.

5. Student Experiences and Growing Enthusiasm

• Initially, many students viewed go-go as their parents’ or grandparents’ music. Playing it themselves fostered new appreciation and pride—students now listen to, research, and perform go-go, even sparking schoolwide enthusiasm (14:39–16:02).
• Go-go’s incorporation connects students to their city’s heritage and to one another.

Notable Student Reflections

"Being young and playing, like, music that's come down from generation to generation is actually like, heartwarming to me because I get to learn where the roots were, how the music was created, and what made D.C. bC." – Kevin Ivy, SEED School student (16:37) "Go Go is home. Go Go is family...it's impossible to be sad when Go Go's playing. Like, you just can't be sad when there are bongos." – Middle school student (16:54, paraphrased by Marissa Lang)

6. Impact and Broader Significance

• Go-go programs provide a constructive, community-focused space for DC youth, countering prevailing negative stories about teenagers in the city.
• The programs offer students a sense of ownership over D.C.-born culture and a way to claim a positive narrative for themselves.

“It's giving these kids a different way of seeing themselves in the fabric of the city...allowing these kids to imagine that there is a different path and there's a different way that they can be successful and recognized...” – Marissa Lang (18:01)

Notable Quotes & Memorable Moments

• On go-go’s endless rhythm:

  “It loops and it goes and goes. That's why it's called Go Go. It's music that you kind of can't help moving to.” – Marissa Lang (02:32)

• Historical stigma:

  “Go Go concerts were seen as this place where violence could break out at any moment...the music was associated with gang violence, with drug use, with guns.” – Marissa Lang (05:26)

• Generational handoff:

  “For me, as a D.C. native, I feel like it's very important that I pass that lineage on...” – BJ Simmons (13:00)

• Student identity:

  “Go Go is home. Go Go is family...” – Paraphrased by Marissa Lang (16:54)

• Countering negative narratives:

  “It's giving these kids a different way of seeing themselves in the fabric of the city...” – Marissa Lang (18:01)

Important Timestamps

• 00:02–01:18: Marissa’s school visits, introduction to kids playing go-go
• 02:32–03:22: Explanation of go-go’s unique sound and culture
• 05:26: History of criminalization and reputation struggles
• 08:48: Go-go becomes official music of D.C.; change in cultural status
• 12:28–13:39: Motivations for bringing go-go to schools; teacher connections
• 14:39–16:54: Student perspectives and newfound appreciation
• 18:01–19:35: Broader impacts on student pride and identity

Conclusion

This episode of Post Reports highlights the vibrant efforts by educators and students to keep go-go music alive and relevant in D.C., transforming it from a misunderstood subculture to a point of pride. The school programs are nurturing the next generation to see themselves reflected in the city’s unique cultural tapestry—ensuring that, much like the music itself, go-go's legacy just goes and goes.