More about Robin Gibb from Wikipedia:

Robin Hugh Gibb, CBE (22 December 1949 – 20 May 2012) was a British singer and songwriter. He is best known as a member of the Bee Gees, co-founded with his twin brother Maurice and older brother Barry. He had another younger brother, Andy Gibb, who was also a very popular singer.

Born in the Isle of Man to English parents, the family later moved to Manchester before settling in Brisbane, Australia. Gibb began his career as part of the family trio and when the group found their first success they returned to the United Kingdom where they achieved worldwide fame. In 2004, the Bee Gees received their CBEs from the Prince of Wales at Buckingham Palace for their “contribution to music”. With record sales estimated in excess of 200 million units, the Bee Gees became one of the most successful pop groups of all time.

After a career spanning six decades, Gibb last performed on stage in February 2012 supporting injured British servicemen and women at a charity concert at the London Palladium. On Sunday 20 May 2012, Gibb died after a lengthy battle with colorectal cancer.

Here are some of our favorite Robin Gibb moments:
Robin Gibb – Saved By The Bell

Robin Gibb – Shadow Dancing

Bee Gees – Too Much Heaven

Title: The Kilt
Artist: Iamsu
Crew: HBK Gang
From: Richmond, California (S.F. Bay Area)
Released: May 7, 2012

Forward by Ron Worthy 
As mentioned in the recently published review of this mixtape by Victoria Shantrell Asbury, we have decided to publish two different reviews and let the clicks from soulheads worldwide decide who to agree with.  Personally, I am leaning towards this review based on the strength of Function and Slow Down, which we feel are standout tracks worthy of a serious listen.  We clearly didn’t feel the same way as Victoria on this one, who even admitted “a little sexy ratchet aint never hurt nobody.” We really love the different opinions and would also love to hear from you if you listen and feel differently.

Track by Track Review by Alvin Addo

The Bay Area is making waves again in the mainstream hip-hop culture. Don’t call it a comeback though, word to LL. The ashes of the hyphy movement have been thrown into the ocean, and with records like Drake’s immensely popular single, “The Motto” and Tyga’s Rack City; hip-hop’s eyes are on the Bay once more. For Richmond, CA native, iamsu!, this sets the stage for him to catapult to stardom, already garnering a fan base with his solid verse on fellow H.B.K Gang rapper LoveRance’s hit single “Up!”. Taking the ball into his own court, Su drops his new solo mixtape “Kilt” to show us all what he can offer on his own.

Intro
The intro begins, with an old soul sample with vocals saying, “You ever want something, that you know you shouldn’t have?” Seemingly setting a great tone for the project
Grade B

Raven Simone
The beat is carried by airy spacey synths provided by Chief of Su’s production group, The Invasion that are reminiscent of Kanye West’s Chain Heavy. Rhymes here are solid, but the hook seems somewhat average, but it’s decent record to ride to.
Grade C+

Mainey
This self produced track and flow by Su gives me vibes of Tyga’s Faded…but that’s not a bad thing at all. This record knocks, and is sure to get the clubs going.
Grade: A-

Over
Another self produced Su record that provides a very chill Cali G-Funk summer feel. The smooth hook here is something I could’ve heard the late Nate Dogg on (or a hologram…whatever works). Verses here are great too as he raps about his dedication to the game.
Grade: B+

Wake Up + 2 Milli
Wake Up is a solid track, but nothing really stands out here to me. No big flaws, but seems just average. 2 Milli, however has a great feel to it. The beat here is dope, and Su’s flow compliments the beat quite well which contributes to this H-Town down south slow mood. 2 Milli should’ve been separate from Wake Up, because now I’d have to listen to Wake Up just to get to 2 Milli, which might be too much for me to do.
Grade: B (Wake Up: C, 2 Milli: A-)

Clothes Shows & Afros
The Trackademicks and Su connect to channel Wiz Khalifa pretty well here. The beat sounds like something I could’ve heard on Kush & OJ. That being said, Su’s voice is much less abrasive than Wiz and that works out in his favor here. This track has a dope bounce, the sample is pretty mesmerizing, and Su doesn’t disappoint either.
Grade: B+

Poppin’ Bands
This record didn’t do much to stand out to me. Seemed like a cookie cutter dope boy/in the trap song. It’s not a particularly BAD record at all, but I just feel like I’ve heard an uncountable amount of different variations of this record before.
Grade: C-

Different
This track is pretty nice here, as the topic of choice is how unique these rappers are and how they aren’t anything like these other rappers out here. The rest of Su’s HBK Gang makes an appearance for the 1st time on the mixtape here, and they don’t disappoint for the most part. There were a couple spots in the 2nd verse that had a few delivery missteps, but this record is solid.
Grade: B-

Get It In
Similar flow to his verse on the huge hit “Function”. This record is sure to be a hit on the radio. It’s got a big and catchy hook, and the Bay will absolutely love it. Great mainstream rap production as well. Props to The Starting Six for the beat
Grade: A

Fly High
This is a pretty chill and smooth interlude. Its starts out with highly distorted singing from Su and then progresses into Su tapping in to his more R&B side. Its evident that he’s not a crooner like Trey Songz or Tank, but this record is very dope.
Grade: A-

Get Your Money
This sounds like the skrippa-anthem of the project, and it serves it’s purpose pretty well. Nothing lyric-wise stands out here, and though Jay Ant had the weaker verse to me, he did his thing on the production side of the record, so it balances out quite nicely. The sample here is pretty ethereal and is definitely entrancing, and is complimented by some full, buzzing synths with reverb.
Grade: B-

Cancelled Plans
Su takes a flow comparable to A$AP Rocky at the beginning of his verse, then later comes into his own style, in which he shouts out San Francisco for the Bay Area listeners. The last minute of the record features a filtered beat and autotune that takes a route reminiscent of Drake’s work.
Grade: B-

As Far As It Goes.
Beat knocks, good verse by Su, Hollywood Keefy had a decent-to-solid verse, and the hook is average, but emotionally resonant to the listener.
Grade: C+

Click Finna Blow
From the intro, I already liked it. Catchy, but somehow inspirational hook, that anyone who quotes “They lovin’ the crew” will immediately latch on too. The airy synth pads are perfect for the feel here. The verses chronicle a bit of backstory and future hopes for the artists, and are pretty substantial here…Probably one of my favorites so far.
Grade: A

Made It
Self-produced beat continues the airy feel from the last track, and the lyrics + hook here serve as a continuation of the last track. No complaints here. The minimalistic beat allows you to pay attention to Su’s story, which is a plus for this record.
Grade: A

Rollin Up
The beat here combines a southern flavor with the repeating vocal sample reminiscent of Kanye’s work on Drake’s “Show Me A Good Time” from Thank Me Later. Hook here is pretty average here, but it gets the job done. The verses here showcase Su’s skills with flow pretty well, but I can’t see myself coming back to this record later.
Grade: C+

Clyde Carson – Slow Down (Remix) (Feat . Problem & Iamsu!)
Most likely, you’ve already heard this song if you live in the Bay. This record is a hit and definitely gets people hype. Though car references are pretty overdone in rap, it somehow is fresh and new here. All the verses deliver as well, which makes this record a keeper.
Grade: A-

E-40 (Feat. YG, Iamsu!, and Problem) – Function
This is probably the biggest record of Su’s career up to this point, and serves as a great closer to the project. This is one of the records that are putting all eyes back on the Bay, and Su delivers the standout verse here, upstaging veteran E-40. The hook is catchy and like most catchy rap songs do, have added a new word into the hip-hop culture. “Function” is now permeated into African American vernacular, replacing “party”. I’m not mad at it at all.
Grade: A

Best Tracks:  Mainey, Over, 2 Milli, Get It In, Fly High, Click Finna Blow, Made It, Slow Down (Remix), Function

Overall Grade: B Download It.

At the end of the day, this is a pretty good offering from Iamsu. His own beats, along with the beats from other producers are more or less on point, and his lyrics are always present. He touches on a wide range of topics proving that he’s versatile and not going to be stuck doing one type of record. From a sound engineering standpoint, Su’s vocals could be mixed a little better and could be louder so the tape would be a little easier to listen to. All the tracks were pretty short, most coming up short of or barely over 3 minutes, which may end up causing the listener to want more of some of the standout tracks. There’s room for improvement, but there always is with making music. This mixtape is definitely worth checking out.

Title: The Kilt
Artist: Iamsu
Crew: HBK Gang
From: Richmond, California (S.F. Bay Area)
Released: May 7, 2012

Forward by Ron Worthy
A few weeks back, I was honored to be asked to speak at my alma mater, Stanford University. The topic was the Unconventional Path and my talk centered around my life and career and any advice I could offer to the group of students, staff and faculty that had assembled. What struck me more than the idyllic campus, which had evolved nicely since I had last been on campus, was the quality of the students and the depth of their questions and insights. A few students stuck out more than others and I am super proud to now call several of them mentees. I have dedicated myself to this keen group of students and hope to remain a part of their lives going forward.

That said, I met one young lady in particular, Victoria Shantrell Asbury. She is full of energy and is just plain cool. She’s a sistas sista and has a very strong presence. Look for big things from her in the future. I also met a cool cat (and fellow member of Alpha Phi Alpha) named Alvin Addo, who has really done a wonderful job in bringing some great artists like E-40 to the Stanford campus. And then there was Jabari Nyomba AKA DJ Southern Comfort, who was identified as the hottest DJ on campus. Anyway, I asked each of them to write a review of Iamsu’s The Kilt Mixtape, which I had heard about through the grapevine.

I was curious how their impressions of this work would differ from my own and how they would react to it since the artist was from the area where they went to school and would spend some of the most important years of their lives. I, too, was young and in the Bay during the hey day Hammer, 2Pac, Digital Underground, Too Short, E-40 years. And now, with Hyphy music being a full fledged sub-genre, it only seemed fitting to have some youngins take a crack at a critique.

As such, I am going to publish, for the first time, 2 separate reviews of the same mixtape and let our worldwide soulhead audience decide which review they agree with the most. Enjoy!

IamSUmmer 2012 by Victoria Shantrell Asbury

Holding it down for the land of palm trees, scrapers, and bomb weed, Iamsu released his latest mixtape, Kilt, earlier this week. For those of you who are not familiar with the young Cali native, you might recognize him on E-40’s popular single, Function, which is currently playing on BET’s 106 & Park and on radio stations across the nation. And I’m sure that the response that this mixtape is sure to receive, will have him coming up strong on your radar this summer.

As a Southern Cali-Miami chick, I’m kinda feeling the album. What I like most about the project is it doesn’t sound hella Bay Area-ish. If I had to describe the mixtape succinctly, I’d use 5 S’s: Summer, Smooth, Smoker, Southern, Strip Club; only a handful of the 18 tracks don’t fit into this description.

This is the perfect, summer night, driving with your windows down, lightweight kinda faded album. It’s smooth without simping so you can listen to it with a car full of your homeboys; yet, the smoothness is also hella sexy which makes it perfect if you’re vibing with a female. If you’re in a more sociable mood, this album is a great soundtrack for swaying with a red cup in hand and throwing down some bones at a southern Cali house party. “Wake Up + 2 Milli” and “Cancelled Plans” are example of this versatility.

The southern influence is heard throughout the mixtape and pretty much married with the whole strip club vibe; the fact that most of the lyrics are talking about money, females, weed, and materialism, adds to the ratchetness. Starting with “Raven Simone,” and onto “Poppin’ Bands” and “Get Your Money Girl” I found myself forgetting that S stands for 2 Stanford degrees, not stripper. Don’t judge me. They got those sexy ratchet beats that make it a lil’ hard to not a) bend over and poke it out or b) want to slow grind on something. I’m just being honest.

But to balance out the ratchetness, Iamsu does provide the listeners with more introspective tracks like “As Far As It Goes” and “Made It.” And although the album isn’t Bay-centric, Iamsu does acknowledge his Bay roots with songs like “Mainey,” “Different,” and “Get It In.” I’m not really a fan of any of those cuts, however. I am also not a fan of “Slow Down” and “Function” which Iamsu is featured on. Keeping it southern, smooth, and ratchet is a formula that Iamsu may want to stick with.

Although I’ve given Kilt mostly positive reviews, I must admit that lyrically, the album is average, if that; the production is what makes this mixtape. If you’re looking for a young Cali lyricist, stick with Kendrick Lamar. If you’re looking for a young Cali artist to provide you with the soundtrack for heading to the club this summer, Iamsu is your dude.

Track by Track Review:

1. “Intro”- A
Sets the smooth tone of the album. Content-wise, the intro connects to the end of the mixtape (not including the two features); however, the ambition theme of the intro gets lost throughout the album.

2. “Raven Simone” – B
Perfect example of that smooth, southern, smoker, strip club vibe. This is a song to smoke and ride slow to; either that or get a private dance, especially during the chorus. The artist featured on this track adds to the southern sound.

3. “Mainey” – C+
This is a song for the Bay Area. I’m not feeling it.

4. “Over”- B
This song is smooth and got that distinctive west coast sound. Iamsu tries to discuss some real shit on this track, rapping “This world is far from kind… they say it’s easy but they lied; we got nobody else.” This song is best listened to while riding solo dolo.

5. “Wake Up + 2 Milli”- A-
I’m giving this song an A- because I’m really feeling the instrumentals and the way that Iamsu flows on this track; the lyrics aren’t earth shattering but the sound is very polished. This song is smooth and kinda sexy. The sound is a mix between west coast, southern, and old school vibes, especially with the horns in the background. Play this joint at a house party, playing dominoes, sippin’ on grown folks drink, light weight faded.

6. “Clothes, Shows & Afros”- B
The instrumental on this track is smooth, with a grown and sexy vibe. I just wish the lyrics did the track justice. Don’t start drinking to this song; you want to already be feeling yourself to really appreciate the track.

7. “Poppin’ Bands”-B
Slow, erie, southern, strip club joint. Lyrics are subpar. The song needs to be remixed and get 2Chainz, Jeezy, Soulja Boy, and Travis Porter on this track.

8. “Different”- C
Another song for the Bay Area. Not feeling it. Lyricism isn’t Iamsu’s strong point and without a dope instrumental, it’s really difficult to listen to his tracks.

9. “Get It In” – C
Another Bay Area joint. Not feeling it. Could barely listen to the song in its entirety.

10. “Fly High” – C
This track is short and kinda like an interlude. It’s smooth but Iamsu attempts to sing on the track and he’s not a singer by far.

11. “Get Your Money Girl”- B
Smooth, southern, summer, strip club joint.! I have to fight my inner stripper (If I didn’t have 2 Stanford degrees.. ijs). The lyrics are weak but the instrumental is on point. Play this song towards the end of your function when the liquor has set in and you ready to slow winds and booties bouncing. I do wish they woulda let the beat ride out instead of screwing it for the last 40 seconds.

12. “Cancelled Plans”- B+
Another smooth, southern, summer, strip club joint. This song is coo to listen with a jump off in the car or while parking lot pimpin’ after the club. If you want to play this at your get together, you can play this track a couple times during the night; at the beginning to get it started, and again once everyone’s lit, feeling good, and plotting.

13. “As Far As it Goes”- B
This is a summer, solo dolo track. This song is best listened to at night when you’re by yourself and not in a hype mood. It’s slightly more introspective than his other tracks.

14. “Click Finna Blow”- B+
Feel good summer joint. Also good for those more mellow, solo nights.

15. “Made It”- A-
Iamsu lets us into life and mind on this one. It’s introspective and sincere. The sincerity has a significant impact on the quality of lyrics. This is one of the best songs on the mixtape, as far as flow and lyrics go.

16. “Rollin’ Up”- B-
Once again, Su is finding the missing S with sincerity on this track. When Iamsu isn’t talking about materialism, weed, and females, he’s able to show his talents as a rapper and not simply a good beat chooser.

17. “Slow Down”- C
Iamsu is featured on this Bay Area song by Clyde Carson. Not feeling it.

18. “Function”- C
Iamsu is featured on this Bay Area song by E-40. Not feeling it.

Overall Grade: B- Download It
A lil’ sexy ratchet ain’t never hurt nobody… well actually… Naw, for real, there’s a nice diversity of sound; you won’t be disappointed if you listen lightheartedly. It’s a female friendly album with the smooth beats but is definitely made for 20-something year old boys, content-wise. Lyrically, the album is far from great but there’s definitely some potential. Overall, I appreciate the albums dope beats, support Iamsu’s potential, and will watch as this young Cali artist evolves.

Few television series were as innovative and influential as Soul Train. Set first in Chicago, and later in Los Angeles, the Soul Train dance party reached national significance and became the longest running syndicated show in television history. In commemoration of its 40th anniversary, Soul Train: The Hippest Trip In America is a 90 minute documentary celebrating the show’s many contributions to pop culture, music, dance and fashion. From 1970-2006 the series offered a window into the history of Black music, and its charismatic host, Don Cornelius was The Man responsible for a new era in Black expression. A trained journalist, Don created a media empire that provided an outlet for record labels and advertisers to reach a new generation of music fans. As the epitome of cool, many of his expressions entered the popular American lexicon: “A groove that will make you move real smooth,” “Wishing you Peace, Love and Soul!” The documentary will feature performances and great moments from the show, as well as behind-the-scene stories and memories from the cast and crew. In addition, popular musicians, comics and actors of yesterday and today will comment on growing up with the show and will share their stories of how Soul Train affected their own lives.

Donna Summer passed away quietly on the morning of May 17, 2012. The news of her death however, rang loudly, sorrowfully, all over the globe. TMZ reports that she died after a protracted battle with an undisclosed form of cancer, which added shock to the disbelief, chiefly because Donna Summer personified vibrance. Everything about her was sensational, in the positive sense of that word: voluminous flowing tresses, a wide megawatt smile, toned and shapely figure that served as the perfect canvas for sequined gowns. Early in her career it took the shape of smoldering sensuality captured in songs like “Love To Love You Baby” and images like the shot of her resplendent in white, reclining in the curve of a crescent moon, her long legs on proud display. Later in her career, the undisputed Queen of Disco would continue to wow crowds with her empowerment anthem “She Works Hard For The Money” and win Grammy® Awards in categories you might not expect, like the two she garnered for Best Inspiration Performance (“He’s A Rebel” and “Forgive Me”). Donna Summer accomplished a lot in her five decades as an entertainer that you might not expect. Donna Summer is a shining example of the universality of the soul artist.

Donna Summer reached her zenith at a time when popular music was segregated; the rise of disco represented the convergence of genres that comingled in the clubs and on the streets, but rarely met on the charts. While rock ‘n’ roll and pop were code for “white music” and “R&B” and “soul” were code for “Black music”, in the ‘70s and ‘80s, Donna Summer sang—and scored hits—in whatever genre she chose.  In 1978, her cover of Jimmy Webb’s “MacArthur Park” went #1 and earned her a Grammy® nomination for Best Pop Vocal Performance. Summer also went #1 with “Hot Stuff”, which earned her a Grammy® Award for Best Rock Vocal Performance. “Last Dance”, from her star turn in the cult classic film Thank God It’s Friday, climbed to #3 on the Billboard Hot 100, scored her another Grammy® for Best R&B Vocal Performance, and earned an Academy Award® for its composer, Paul Jabara. “She Works Hard For The Money” brought the plight of women in the workforce to the top of the charts; arguably the first mainstream record to make the case for pay equity plain. Its music video was the first by a black woman recording artist to receive an MTV Video Award nomination—in 1984.

Perhaps her refusal to be categorized as an artist came from Summer experiencing international success as a theater performer and session vocalist in Germany before becoming a household name in the United States. When her rock band Crow failed to get a deal, instead of quitting, she auditioned for Hair in New York City. When Melba Moore got the part, instead of sulking, she took the role in the European production of Hair. The girl from Dorchester, Massachusetts kicked off her career in 1967 in Europe. Eventually becoming fluent in German, Summer appeared in German productions of Showboat and Godspell as well. By the time Summer starred in Thank God It’s Friday, she was a seasoned actor.

While the industry knew this full well, her gift as a songwriter was not often highlighted in the media. Donna Summer wrote a great deal of her own material. She also penned “No More Tears (Enough Is Enough)” for Barbra Streisand. Her songs have worked their way into contemporary hip hop and R&B as samples (“Freaks of the Industry” by Digital Underground and “Naughty Girl” by Beyonce’ echo “Love To Love You Baby”). The club classic “I Feel Love” was inducted to the Dance Music Hall of Fame along with Summer in 2004.

Donna Summer was more than the Queen of Disco. She was a rock star. A pop icon. A gospel singer. A soul siren. A dance pioneer.  A sex symbol, when it meant something, when it took that certain something, to actually be one. The masses were her core audience; a rare feat for any artist to accomplish and sustain without losing their connection to that audience. Before Beyonce’, Rihanna, Kelly Rowland, before Madonna, Christina Aguilera, and Britney Spears, there was Donna Summer. While she is now gone, her voice and music live on. As hard as she worked for the money and the music, with all the barriers as she broke? You better treat her right.

Thembisa S. Mshaka is the author of Put Your Dreams First: Handle Your [entertainment] Business.

Full article here.

Illustration by Jerome Sebastian.

I’m celebrating the music of another great artist – someone who inspired dance music as we’ve always known it, whether we’re talking about the sexy slower grooves, or straight up techno music. This tape doesn’t have one single scratch technique on it, but I got a pretty serious juggle in there. I turned it around in less than one day, but don’t be impressed by that fully – I need some sleep! Prepare for some disco, and if you’re not into that, go listen to the Best of the Beastie Boys. Donna just passed yesterday, and I hope I can do her music justice. Enjoy an hour of the lovely voice of Donna Summer.

Tracklisting:

1. (If It) Hurts Just A Little
2. 99 – Cassius
3. Sing It Back
4. I Feel Love
5. No More Tears (Enough Is Enough) ft. Barbara Streisand
6. Heaven Knows ft. Brooklyn Dreams
7. Macarthur Park Suite
8. She Works Hard For The Money
9. Miss Independent Remix ft. Jamie Foxx – Ne-Yo
10. My Baby Understands
11. Love to Love You Baby
12. Naughty Girl – Beyonce
13. One Night In A Lifetime
14. This time i know it’s for real
15. Bad Girls
16. On the Radio
17. Dim All the Lights
18. Hot Stuff
19. Last Dance

We peeped this on NYC’s Hot 97 a couple of days ago when the remix of Raggamuffin with J. Cole was debuted by this sexy Belgian blue eyed soul singer, Selah Sue, who has a very sweet tone to her voice that is reminiscent of a mix of Amy Winehouse and Little Dragon’s Yukimi Nagano with a little Fergie and Nellie Fortado. Given the recent local push, we can feel this one is going to be big. We listened to this one and would give it a strong B+ based on our first listen. Let us know what you think.

From AllMusic.com:

Genre-bending Belgian singer/songwriter Selah Sue was born Sanne Putseys on May 3, 1989 in the city of Leuven, and raised in nearby Leefdaal. She began playing acoustic guitar and composing her own songs at the age of 15, and by her late teens had skillfully refined her signature blend of soul, hip-hop, funk, and reggae into a powerful force. Part Adele and part Erykah Badu, Sue honed her craft at home, in studios, and in clubs before gaining momentum through appearances at major festivals and on Flemish television shows. By the age of 20 she had secured a record deal and found herself in the studio with the likes of Farhot and Patrice, Me’Shell Ndegéocello, and Cee-Lo Green (she was even asked by Prince to open up a show in Antwerp). Selah Sue released her eponymous debut album in March of 2011.

Tracklisting:
01 – Raggamuffin
02 – Crazy Vibes
03 – On The Run
04 – Break
05 – The More Than I
06 – Raggamuffin Remix featuring J. Cole

Based on our knowledge of the city, we think Verizon Center or even DAR Constitution Hall could be good locations. The newly renovated Howard Theater near the U Street Corridor could also be a possibility. We will see.  Whatever the locale, it will take a while to make a decision since the Verizon Center is privately owned vs. a city owned facility.

More information here.

Anyone receiving more details, please comment below or email info@soulhead.com

Description:
A stone’s throw from the White House, the angry beats of a new music genre define the real people of Washington. Black, poor, crushed by crime and drugs, and losing faith in Obama’s promise of change.

“You know they call DC the chocolate city and go-go is the soundtrack”, Natalie Hopkinson says. Go-Go is the “heartbeat” of the community’s identity, a constant in an ever-changing political landscape. It blares out on street corners, pumps out of cars, grim lyrics set against raucous beats. “We breathe it. We bleed it”, Ali, a Go-Go band leader says. But many think Go-Go has a dark side, a link with violence and criminality. Ali himself used to sell cocaine on the streets, just a short bus ride from the White House. He talks of a world where death is the norm, bullets a part of life, drugs a regular sight. The authorities on the other side of the city are tackling the “Go-Go problem”, but the community who live the music see it as a solution, not a cause. Former major Marion Barry is a giant on these streets, an inspiration long before Obama entered the White House. He sees the divide between the two sides of the city deepening, “it’s getting worse”. The community look to Obama to heal the rift and in many ways, Go-Go music has become a symbol of hope, identity and much-needed pride while they wait for the President to deliver his promises of change.