Entertainment
Summer Spirit Festival to Pay Homage to Homegrown Go-Go Groove
WASHINGTON INFORMER — With a history boasting roots can be traced to the early 70s, replete with free, family-friendly outdoor concerts in Anacostia Park in Southeast, the musings of determined grassroots activists including one D.C. transplant named Marion Barry and gifted musicians known for spitting out lyrics that inspired while African-like cadences kept the beat – on overturned buckets not snare drums, the season’s annual go-go groove party is poised to make its return.
By D. Kevin McNeir
With a history boasting roots can be traced to the early 70s, replete with free, family-friendly outdoor concerts in Anacostia Park in Southeast, the musings of determined grassroots activists including one D.C. transplant named Marion Barry and gifted musicians known for spitting out lyrics that inspired while African-like cadences kept the beat – on overturned buckets not snare drums, the season’s annual go-go groove party is poised to make its return.
The 2019 Summer Spirit Festival, presented by the dynamic duo of Carol Kirkendall and Darryll Brooks, professionally known as CD Enterprises, Inc., have long-proven that they have a penchant for putting on a concert second to none. And that’s what they promise to bring once more on Saturday, Aug. 3 at the Merriweather Post Pavilion in Columbia, MD.
Their tagline, perhaps, summarizes their mission best: “Not just another concert but an event.”
“We pride ourselves in running a great show with great sounds, lights and a show that starts on time,” they said. We want the show to be special for our customers.”
Brooks says it’s always like a big family returning home for the holidays.
“We haven’t changed our stripes or our mission since we started doing our thing in 72,” he said. “My crew’s been here. In the early days, Chuck Brown [the godfather of go-go] was always there giving us his support. And as youngsters came aboard, we mentored them, we taught them the nuances of the business and we gave them opportunities to leave basement and backyard parties and do their thing on the big stage. Many of those youths have gone on to great careers and made their mark all over the world. Things like that, success stories similar in nature, are what have kept us going,” Brooks said while his business partner nodded her head in agreement.
This year’s lineup includes: Anthony Hamilton, Raphael Saadiq and Jhene Aiko but with an emphasis on paying tribute to D.C.’s own form of music, go-go, there will be local entertainers like Backyard Band, Sirius & Company (Ms. Kim & Scooby), Be’La Dona featuring Sugar Bear and many more. There may even be a few surprise guests, so those who plan to attend should get to the venue early and prepare to stay until the last downbeat falls.
“We’re featuring footage from ‘Go-Go Live and celebrating the Go-Go Posse’s ‘D.C. Don’t Stand for Dodge City,’” Kirkendall added.
“We cannot let that spirit that’s the foundation to go-go ever be stripped away from D.C.’s Black community,” Brooks said. “Not even this second wave of gentrification has the power to strip us of our identify, our mark on this city that has since spread throughout the nation and across the globe. We aren’t going anywhere and neither is our music.”
This post originally appeared in The Washington Informer.
Activism
OP-ED: AB 1349 Puts Corporate Power Over Community
Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.
By Bishop Joseph Simmons, Senior Pastor, Greater St. Paul Baptist Church, Oakland
As a pastor, I believe in the power that a sense of community can have on improving people’s lives. Live events are one of the few places where people from different backgrounds and ages can share the same space and experience – where construction workers sit next to lawyers at a concert, and teenagers enjoy a basketball game with their grandparents. Yet, over the past decade, I’ve witnessed these experiences – the concerts, games, and cultural events where we gather – become increasingly unaffordable, and it is a shame.
These moments of connection matter as they form part of the fabric that holds communities together. But that fabric is fraying because of Ticketmaster/Live Nation’s unchecked control over access to live events. Unfortunately, AB 1349 would only further entrench their corporate power over our spaces.
Since Ticketmaster and Live Nation merged in 2010, ticket prices have jumped more than 150 percent. Activities that once fit a family’s budget now take significant disposable income that most working families simply don’t have. The problem is compounded by a system that has tilted access toward the wealthy and white-collar workers. If you have a fancy credit card, you get “presale access,” and if you work in an office instead of a warehouse, you might be able to wait in an online queue to buy a ticket. Access now means privilege.
Power over live events is concentrated in a single corporate entity, and this regime operates without transparency or accountability – much like a dictator. Ticketmaster controls 80 percent of first-sale tickets and nearly a third of resale tickets, but they still want more. More power, more control for Ticketmaster means higher prices and less access for consumers. It’s the agenda they are pushing nationally, with the help of former Trump political operatives, who are quietly trying to undo the antitrust lawsuit launched against Ticketmaster/Live Nation under President Biden’s DOJ.
That’s why I’m deeply concerned about AB 1349 in its current form. Rather than reining in Ticketmaster’s power, the bill risks strengthening it, aligning with Trump. AB 1349 gives Ticketmaster the ability to control a consumer’s ticket forever by granting Ticketmaster’s regime new powers in state law to prevent consumers from reselling or giving away their tickets. It also creates new pathways for Ticketmaster to discriminate and retaliate against consumers who choose to shop around for the best service and fees on resale platforms that aren’t yet controlled by Ticketmaster. These provisions are anti-consumer and anti-democratic.
California has an opportunity to stand with consumers, to demand transparency, and to restore genuine competition in this industry. But that requires legislation developed with input from the community and faith leaders, not proposals backed by the very company causing the harm.
Will our laws reflect fairness, inclusion, and accountability? Or will we let corporate interests tighten their grip on spaces that should belong to everyone? I, for one, support the former and encourage the California Legislature to reject AB 1349 outright or amend it to remove any provisions that expand Ticketmaster’s control. I also urge community members to contact their representatives and advocate for accessible, inclusive live events for all Californians. Let’s work together to ensure these gathering spaces remain open and welcoming to everyone, regardless of income or background.
Activism
Oakland Post: Week of December 31, 2025 – January 6, 2026
The printed Weekly Edition of the Oakland Post: Week of – December 31, 2025 – January 6, 2026
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Activism
Oakland Post: Week of December 24 – 30, 2025
The printed Weekly Edition of the Oakland Post: Week of – December 24 – 30, 2025
To enlarge your view of this issue, use the slider, magnifying glass icon or full page icon in the lower right corner of the browser window.
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