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Shooting Back

Stacey Palmer | 10/5/2011, 1:13 p.m.

Informer: You have thousands of photos. How did you select the ones in the exhibit?

TSE: We did it together, the gallery and I. I gave Vivid 700 images and Beth Ferraro, the director, narrowed it down to 70, and from there we somehow made it to 36. It was difficult. It really can't be done in a one- (or) two-month exhibit but we did a good job and managed to give it a sense of history filled with pleasure and pain. I am proud that the show includes both color and black and white photography as well as those amazing Day-Glo Go-Go posters from Globe Poster Corp. Day-Glo makes the darkness glow!

Informer: Where is the next stop for "(Un)Lock it: The Percussive People in the Go-Go Pocket?"

TSE: I would love for the show to move from one quadrant in D.C. to another over the next two years, or to even find a permanent home at the Anacostia Museum where, I think it belongs, but I got a call from Alona Wartofsky, who used to write about Go-Go in the '80s and '90s for the Washington City Paper. She says there's interest in the show from a gallery in Tea Neck New Jersey, so I say yes--it's time for "(Un)Lock It" to go and glow national.

Informer: Can you explain the fundraising challenges that you experienced putting on the exhibit.

TSE: That's easy. Go-go is contemporary folk music and folk ain't got no money. The gallery mounted the show out of a belief in the project, and since no one has purchased a single photograph, I am still trying to raise the money to pay the bill and I will. I didn't expect go-go to pay for a go-go show even though it would be easy for a few of the bands with consistent weekend gigs to do so, but it's like Chuck Brown sang, "Master Card, Visa, American Express, I ain't got nothin' against no credit card but the cash is the best! We need some Money y'all. Talkin' about money, money, money!"

Informer: "(Un)Lock it: The Percussive People in the Go-Go Pocket" ends on Sat., Oct., 8 with a poetry reading from 2 p.m. to 4 p.m. One of the poems you will be reading is The Helicopter, a tribute to Lil' Benny, so what is it about the legacy of Anthony "Benny" Harley that would make a poet with a national reputation like yourself honor him?

TSE: I came of age during the Golden Age of Go-Go. I saw the Soul Searchers first, Rare Essence second, then Trouble, then E.U., so my experience of the pioneers is framed by an accurate witnessing of the lineage of the way the foundation of Go-Go was formed, not by rumor, gossip or by 'he say, she say.' Benny was phenomenal from the very beginning and he inherited his early style from Donald Tillery of the Soul Searchers and "added a little action into it!" as he liked to say. Gifted with the upper body strength of a wrestler, he could play two horns at once, lead and talk more casually than anyone else, and play every anatomical inch of any style tambourine. In literature, we writers are always looking for metaphors and tropes (characteristics) that will come together in one body and represent the best of a time and place. Anthony Benny Harley is that figure for D.C. An immediate legend, his life reads like the making of a local cultural hero and myth! My poem is just a step to help it.

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