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

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.

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.

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.

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.

Sonny and Gogo are not yet quite thirteen but are plunged into a series of events which would challenge adults. They are made aware of inequalities in societies which in our world are perpetuated, but in theirs must be dealt with quickly and with compassion. The societies of the Islands draw, consciously or unconsciously, on the teachings of King Arthur based on the honouring of women and the defence of the weak. Time in the Archipelago is not linear, so theoretically communication across the bands of time is possible. A modern-day admirer of King Arthur is dubbed a Knight and requested to defend the weak. In this book the boys begin to realize what it must mean to grow up and take up the responsibilities which fall on the shoulders of all those who accept the basic challenge of growing up.

Hannah lives in Zimbabwe during the reign of Robert Mugabe; it's a country of petrol queues and power cuts, food shortages and government corruption. Yet Hannah is lucky. She can afford to go to school, has never had to skip a meal, and lives in a big house with her mum and their Shona housekeeper. Hannah is wealthy, she is healthy, and she is white. But money can't always keep you safe. As the political situation becomes increasingly unstable and tensions within Hannah's family escalate, her sheltered life is threatened. She is forced to question all that she's taken for granted, including where she belongs.

In “Further Adventures of Sonny, Gogo, and Tobo” the boys were older and growing in their understanding of the world, or that is to say, their two worlds, ours and the archipelago of islands in the sky where Gogo and Tobo lived. One day on a visit to our world Gogo had met Sonny and they had become fast friends. From then on Gogo would take Sonny back to his home nearly every weekend. In this third book the boys are older again. The twelfth birthday is a significant mile-stone in the Islands. Along with their regular schooling children must start to train for the work they will do as adults. Sonny receives a wholly unexpected offer. If he accepts he must face three tests of his aptitude for such a life. In “Sonny and the Heroic Deeds” we read about the challenges he and Gogo face together. They evaluate their sensitivity in handling a deeply emotional issue, their understanding of economic realities in the Islands, and look at a personal dilemma which can be resolved only by outside intervention. These tests reflect the realities faced by young people everywhere as they emerge from the protective chrysalis of childhood.