Ol’ School Tuesday’s


– Bio (Courtesy of Mr.Wiggles.biz) –

Mr Wiggles is a South Bronx Puerto Rican born raised on HIP HOP since the early 70’s. Learned all his HIP HOP crafts in the harsh streets of the Bronx.

WRITING(graffiti)

ROCKIN(vertical style dance done by many Latinos in the 70’s)

BREAKIN/BBOYIN(involves Top Rock, Footwork and Freezes)

MCin(what is now known as RAP)

POPPIN(robotic dance style created in Fresno CA.)

LOCKIN(dance style created in LA made popular by Rerun on TV show What’s happening)

BEAT MAKER(HIP HOP music producer)

Wiggles is a proud member of three major forces in HIP HOP and Funk Styles culture “Rock Steady Crew”, the “Electric Boogaloos” and “Zulu Nation”.

Mr Wiggles started his career as a dancer by battling throughout the tuff streets of New York city, and eventually throughout the world.

Wiggles built his reputation as a battler, and eventually took his skills to major stages all around the world including Europe, South America, Asia, Middle East, Canada, and on the great stages of Broadway. Wiggles has also been credited with two important movies that helped established HIP HOP “Beat Street” and “Wild Style”. Wiggles is still learning his crafts till this day, and will remain a true student of the culture till the day he dies. wiggles is married to his beautiful wife Zoraya Clemente, and has 6 incredible children, Unico, Alexandra, Talib, Ammar, Atiya, and Zamaria (I know that’s allot of kids but he is Puerto Rican so what did you expect).

Mr Wiggles is now working on a new clothing line called “BRIGANTE” with his current business partner Zeus. You will be hearing allot from this company in the near future.

Mr Wiggles is part of the biggest anti drug DVD in the US, distributed in 114,000 schools, featuring Tony Hawk, 12-time world skateboard champion; Nina Heinberg, champion kite boarder; Travis Pastrana, motocross freestyle champion; Tori Allen, champion sport climber; Laird Hamilton, ocean sports pioneer; Wendy Fisher, extreme skier; celebrity Hip Hop dancers “Crazy Legs” and “Mr. Wiggles,” and many more of today’s best known heroes among kids.

– More info On DVD here

 

This is an Old School Documentary that I saw at oldschoolhiphoptapes.blogspot.com. This is the spot for all your Hip-Hop history lessons. You can pick digital versions of live shows, radio shows and mixtapes. I’m talking about stuff you never had access to unless you was around in the early to mid 80’s. Get yours! FANGSTA!!!

This is bugged out because you would think that this wouldn’t be a case of support but… notoriety  doesn’t always equal out to funds. Now, I know to each his own but… all these Rappers and Mcees out her that claim to be stuntin’ for fun and shit, spending money on frivolous things… if you want to give back I suggest supporting the father of Hip-Hop. That’s all I’m gonna say about it. FANGGGG!

Courtesy of DailyNews.com:

NYC Hip hop pioneer DJ Kool Herc has ‘kidney stones’ but no health insurance, can’t afford surgery

BY Lukas I. Alpert
DAILY NEWS STAFF WRITER

Scratch that.

Contrary to reports that DJ Kool Herc is gravely ill, the hip-hop pioneer’s family said Monday that he has “serious kidney stones” that require a surgery he can’t afford. “He’s been in terrible pain for months,” said Herc’s sister Cindy Campbell. “The doctors say they’ve got to come out, but we just don’t have the money.” Fans of the legendary turntablist grew deeply concerned when reports that he was “very sick” with an undisclosed illness emerged over the weekend.

“\[He\] who we call the father of hip-hop, Kool Herc, is not doing well,” DJ Premier announced on his Sirius XM radio program on Friday. “Since he’s very sick and has no insurance … \[He\] needs to pay his bills so he can get out of the hospital.”

That set off a flurry of Twitter messages and an on-line fund-raising campaign to help the pace-setting Bronx DJ out. So far, the 55-year-old DJ has piled up more than $10,000 in hospital bills and the much-needed surgery will only add to that, his sister said.

Herc, born Clive Campbell, is widely credited with creating the break beat in the early 1970s – a key DJing technique that is the underpinning of hip-hop. While greatly influencing generations of performers in the decades that followed, Herc never had any major hits of his own and has struggled financially. He has also battled drug problems in the past.

Doctors at St. Barnabas Hospital in the Bronx discovered large stones in one of Campbell’s kidneys several months ago and inserted a stent to try to alleviate his discomfort, his sister said.”But it’s starting to affect his health and he’s on pain killers, which is no good,” she said. “This needs to be dealt with soon.” She said the hip-hop community owes it to those who came before them to help out. “People need to come together on this. The trailblazers are getting older and they have no real support network,” she said.

DJ Premier echoed that sentiment on his radio show. “He needs some help to pay his bills for the hospital because he can’t hold it down,” he said. “Being that he is the man who set this whole culture off, ya’ll should be wanting to do it any type of way that you can.”

– Read more Here

If you want to help out, do so by mailing check to Kool Herc Productions at P.O. Box 20472 Huntington Station, NY 11746, or donating through through PayPal to Herc’s sister Cindy Campell atcindycampbell1@aol.com.

Kool Herc Biography(Courtesy of OldSchoolHipHop):

Did you know that a man named Clive Campbell who was born in 1955 in Kingston, Jamaica is The Father of Hip Hop?

Why don’t you?

Kool Herc emigrated to the Bronx in 1967 when he was 12 years old.  While attending Alfred E. Smith High School he spent a lot of time in the weight room.  That fact coupled with his height spurned the other kids to call him Hercules.

His first deejay gig was as his sister’s birthday party.  It was the start of an industry.

1520 Sedgwick Avenue.  The address of Herc’s family and the location of the recreation room where he would throw many of his first parties as the DJ.

Herc became aware that although he new which records would keep the crowd moving, he was more interested in the break section of the song.  At this point in a song, the vocals would stop and the beat would just ride for short period.  His desire to capture this moment for a longer period of time would be a very important one for hip hop.

Herc would purchase two copies of the same record and play them on separate turntables next to each other.  He would play the break beat on one record then throw it over to the other turntable and play the same part.  Doing this over and over, he could rock any house in NY.  (Not to mention it being an early form of looping that would be made easier through electronic sampling.)

He would dig in crates and look everywhere to find the perfect break beat for his parties.  He didn’t care what type of music, because he only needed a small section of a song for his purposes.

His first professional DJ job was at the Twilight Zone in 1973.  He wanted to get into another place called the Hevalo, but wasn’t allowed…yet.

His fame grew.  In addition to his break beats, Herc also became known as the man with the loudest system around.  When he decided to hold a party in one of the parks, it was a crazy event.  And a loud one.  At this time Afrika Bambaataa and other competing DJ’s began trying to take Herc’s crown.  Jazzy Jay of the Zulu Nation recalls one momentous meeting between Herc and Bam.

Herc was late setting up and Bam continued to play longer than he should have.  Once Herc was set up he got on the microphone and said “Bambaataa, could you please turn your system down?”  Bam’s crew was pumped and told Bam not to do it.  So Herc said louder, “Yo, Bambaataa, turn your system down-down-down.”  Bam’s crew started cursing Herc until Herc put the full weight of his system up and said, “Bambaataa-baataa -baataa, TURN YOUR SYSTEM DOWN!” And you couldn’t even hear Bam’s set at all.  The Zulu crew tried to turn up the juice but it was no use.  Everybody just looked at them like, “You should’ve listened to Kool Herc.”

Finally his fame peaked and at last, in 1975, he began working at the Hevalo in the Bronx.  He helped coin the phrase b-boy (break boy) and was recently quoted as saying he was “the oldest living b-boy.”

– Read the Rest Here


From 1983 Soundtrack to movie “Wild Style”

Stretch Armstrong and Bobbito prolly had one of the flyest Hip-Hop radio shows ever! Why? Because they did what the hell they wanted. It was damn near unlimited from the language and conversation to the music, guests, phone calls, jokes and what ever else they decided to do. I was put on by a couple of brothers in Art and Design. mainly my braddah U.S.A(Universal Scientist Allah) and my other braddah Jax. This was like ’92-’93. The exclusives were the shit. They played everything. Some things you only heard on a Stretch and Bob show. They played Demos from some of your favorite artists as well as letting cats Freestyle on air. I mean artists that weren’t even known yet. They blew after the fact.

Although I never made it through a full night of listening, Friday morning was like Wic check day. I’m trying to hear what my braddah’s recorded cause my recorder was wack. HAAAAAA! It was straight treats people. Always. They helped me to enjoy Hip-Hop even more. They reminded me of us and it would be an honor to just get invited to the show. We was fortunate to get there in 2000 when it was called the CMFamalam Show and return numerous times as Squeeze Radio. They just recorded their last show 10-21-10. 20th year anniversary and it was sad to see it go but through all the various tapes, memories, internet uploads and effects it had n the world will forever live on. A toast to the greatest, FANGGGGGGGG!

– Here is the link to the final episode FANGGG

– For Info on Stretch Here

– For Info on Bobbito Here

– For Info on Lord Sear

– For Info on Sucio Here

Classic Recordings:

My homegirl MeddyMek got me amped on A.F.R.I.C.A this mornink! HAAAA! Me and Jax use to wild off of this song. Shouts to Uncle Ralph(Ralph McDanials-VideoMusicBox) for exposing brothers to a lot of variety growing up in NYC. Respect to Stetsasonic for your contributions to Hip-Hop and life in general! FANGGGGGGGGG!!!

Bio(Courtesy of Answers.com):

One of the first rap groups to use a live band, Brooklyn’s Stetsasonic formed in 1981 and were also among the first to promote a positive black consciousness that found its ultimate expression in the so-called daisy-age sounds of De La Soul and the Jungle Brothers. The group consisted of DJs “Prince Paul” Huston and Leonard “Wise” Roman, keyboardist/drummer/DJ Marvin “DBC” Nemley, and rappers Glenn “Daddy O” Bolton, Martin “Delite” Wright, and Bobby “Frukwan” Simmons. Daddy O and Delite founded the group as the Stetson Brothers, after the hat company, and began performing in New York hip-hop clubs, picking up other members along the way. Their debut, On Fire, was released in 1986, but it was the follow-up, In Full Gear, that brought them critical acclaim and an R&B hit, “Sally.” 1991’s Blood, Sweat & No Tears was considered by many to be their best and most diverse album, but Daddy O decided that they had run out of ideas and broke up the band. He went on to work with Mary J. BligeQueen LatifahBig Daddy Kane, and the Red Hot Chili Peppers as a producer and remixer. Meanwhile, Prince Paul had already established himself as a producer for his work with De La Soul and Fine Young Cannibals, and later worked with Frukwan in the Gravediggaz. ~ Steve Huey, All Music Guide

– More Stet here

You better know em’!! FANGGGGGGG!!

(Pic by Jeremiah Garcia over at BrooklynStreetArt.com)

Bio(Courtesy of www.leequinones.com):

Lee Quinones is considered the single most influential artist to emerge from the New York City subway art movement. He is a celebrated figure in both the contemporary art world and in popular culture circles, faithfully producing work that is ripe with provocative socio-political content and intricate composition. Lee’s paintings are housed in the permanent collections of the Whitney Museum of Art, the Museum of the City New York, the Groninger Museum (Groningen, Netherlands) and the Museum Boijmans Van Beuningen (Rotterdam, Netherlands, and have been exhibited at the New Museum Of Contemporary Art (New York City), the Museum of National Monuments (Paris, France) and the Staatliche Museum (Germany). Born in Ponce, Puerto Rico in 1960, Quinones was raised in New York’s Lower East Side in a family that kept close ties to their cultural heritage surrounded by a predominantly Nuyorican community. By age 5, Lee showed a penchant for drawing, instinctively drawn to the colorful characters of his neighborhood and the more fantastical realm of Japanese post-war science fiction monster films, particularly the Godzilla series and animation series such as Speed Racer and Kimba the White Lion. Film scores of the day composed by Lalo Schifrin resonated with Lee, who regularly attended screenings with his mother, and televised images of the Vietnam battlefields left a stirring impression about the nature of warfare.

These cultural cues would later shape much of his work as he gravitated to the urban underground during the explosive 1970s in New York.Against the perilous backdrop of a fractured city, Lee painted his first subway piece in 1974. Inspired by the leading figures of subway lore including Cliff 159 of the 3-Yard Boys, and Blade One of the Crazy 5, Lee began creating whole 40-foot subway car murals in late 1975. By 1976, Lee was a shadowy legend, leaving his fervent mark in a voracious whole subway car campaign strewn across the #5 IRT. Over the next decade he would paint an estimated 115 whole subway cars throughout the MTA system. In late 1975, Lee was asked to join the Fabulous Five, an elite quintet of seemingly mythic graffiti writers. The Fabulous Five’s greatest feat — the only running 10-car train painted from top to bottom, end to end — made its legendary journey in November 1976. Lee was instrumental in moving enamellist art above ground when he stealthily painted “Howard the Duck,” the first entire 25 x 30 foot handball court mural, in the spring of 1978 outside of his Corlears Junior High School #56. “There are people who see the graffiti experience as a vocation of adolescence, the rites of passage without a sense of direction,” says Lee. “I’m not surviving by offending it or defending it, but I saw it early on as a catalyst to develop as a painter and explore the other horizons outside of a forty foot subway car.

My sense of art was to create art without a reference point to art history, because this was art history in the making. A true art movement never goes by the script, instead it flips the script, faithfully reinventing itself.”Lee had his first solo exhibition at Claudio Bruni’s Galleria La Medusa in Rome, Italy late in 1979, which was also the first international show to feature graffiti-based art. One year later, Lee made his New York gallery debut with “The Third Phase” at the White Columns Gallery, ushering in an era as spray paint made the transition from moving objects to stationery canvas. That same year, he was part of the seminal Times Square show held in an abandoned massage parlor that highlighted the post-modernist masters of the day,including Jenny Holzer, Keith Haring, Kiki Smith, Jane Dickson, and Jean Michel Basquiat. Subsequent shows including the Graffiti Art Success for America at Fashion Moda in 1980 and the New York/ New Wave show in 1981 at PS1 Moma were also instrumental in introducing his work to the watchful art world. Lee’s international prominence led to celebrated solo shows such as “Rusto-LEE-Um” at the Fun Gallery and exhibits at Barbara Gladstone, Sidney Janis, Riverside Studios and the Zwirner Gallery. His paintings were included in the prestigious 1983 Documenta #7 held in Kassel, Germany. As his work gained widespread exposure, Lee found himself at the cross-section of two movements in their infancy- hip-hop and punk rock, which provided context for the direction of his work.

Read More Here

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