Domeshots & Fat Laces vol 7 :Grandmaster Flash

Originally posted on Jan 26, 2006 2:48 PM

Well what can I say about this man. He has influenced and changed the world with his innovations and turntable artistery. I have learned more from him ,indirectly, than any other DJ. "The Adventures of Grandmaster Flash on The Wheels Of Steel" has been my blueprint for my turntable techniques & style since I first heard it. This man is one we all must give much respect to. The innovator, The One and Only,The Turntable King ...



Grandmaster Flash



"I DON'T WANT TO BE FOLKLORE!": GRANDMASTER FLASH IS BACK!
by Matt Cibula
June 16 2002


Grandmaster Flash invented hip-hop and DJ culture in America. He was the first to . . . ah, hell, let him tell you about it in this interview, just like I did. After founding Grandmaster Flash and the Furious Five, and then struggling to hang on to his original creation, Flash (born Joseph Saddler) dropped out of sight for a long time-but now he's back, and more iconic than ever. The Official Adventures of Grandmaster Flash, his amazing mix CD on Strut Records,dropped earlier this year and it's now followed up by another crucial disc. Grandmaster Flash: Essential Mix Classic Edition (Essential/FFrr) is 57 minutes of straight-up Flash mix, the way he would have done it back in the early '80s; it veers from Maze and James Brown to Afrika Bambaata and Blondie (yes, he put the Flash in "Flash is fast / Flash is cool" in "Rapture"). He's still got it-and he still talks really really fast. We did a phoner with him in late May.

PopMatters: I just want to get the hero-worship thing out of the way. I first read about "The Message" in Rolling Stone when I was going to high school in rural Oregon. The only rap I'd ever heard was "Rapper's Delight" by the Sugarhill Gang, and I just thought it was disco with people talking on it--

Grandmanster Flash: [Laughs]

PM: But when I heard about "The Message", I got interested in hip-hop for the first time, and then when I heard it, I was hooked forever. It was amazing.

Grandmanster Flash: Thanks.

PM: Now, I don't want to spend the whole time here on the past --

Grandmanster Flash: Good!

PM: But let's do some history work for our readers who might not know the whole real story. It's New York in the '70s. Kool Herc had the great records, Pete DJ Jones had the flow, and in walks Joseph Saddler.

Grandmanster Flash: That's right. Kool Herc had the music and the system, but I noticed that what would happen was that he'd play and everyone would be out there dancing, and then when that was done he'd just put on another record, and then another -- there was no transition, no smoothness. And then you had Pete DJ Jones. He was more from the disco crowd, but he had a smoother flow, records would blend into each other. I studied him and noticed something: during the instrumental rhythm sections, people would go crazy! It was like he'd play the whole sandwich, but what people really wanted was the meat of the sandwich--which was usually very short, maybe just five seconds even. So I had to figure out a way to play just the meat of the sandwich.

PM: Hence, the Quick Mix Theory.

Grandmanster Flash: Yeah. The Quick Mix Theory was a system for taking two records and manipulating them back and forth so that I could just keep that instrumental break going for maybe 45 seconds, and then more.

PM: And that's hip-hop, right there. You've come up with a lot of technical innovations that people might not even know about.

Grandmanster Flash: Well, the thing is that I've done some things in my time that have overwhelmed all that. It was like founding Grandmaster Flash and the Furious Five: Joseph Saddler decided to sit in the back. But I'm coming back now! See, before this DJ thing I was hopelessly taking things apart to try to figure out how they worked. I'd go mess around with burned-out cars, with my mom's stereo -- I was public enemy ..1 in my house for that. So my mom noticed that I was interested in this and decided to send me to school so I'd know what I was doing. So suddenly I'm learning Ohm's Law, what a capacitor was, what a resistor is, calculating numerical factors. And it all started coming into being.

PM: Wow.

Grandmanster Flash: Now, you can walk into a music store and say, "I want a system that does this and has these kinds of specifications" and they'll just give it to you. But this didn't exist back then. I knew there was a way to blend records together, but I didn't know how to. This was haunting me when I was in my teens. In my frustration, I decided to start experimenting with electronics. I tested the torque factor on different turntables. I had to figure needles out. See, there are two kinds, elliptical and conical. Ellipticals sound better, but they jump out of the groove really easily. Conical needles didn't sound anywhere near as good, but they stay in there without bouncing. As I was getting all the specs down, jury-rigging things and getting cursed out by people, I was also spending three or four years hanging out with the boys on the basketball court, with the girls at parties, finding out what people like.

PM: People generally give credit to Grand Wizard Theodore for inventing scratching, but you were actually the first to do that, right?

Grandmanster Flash: Well, yeah, more or less. See, Theodore and I come from a generation of cutters, not "scratchers." I would go zuk zuk on a record, just as part of the act and because I was cueing up records, but he was the first to actually time it with the beat of the record and turn it into something else.

PM: He actually used it as a rhythmic element.

Grandmanster Flash: That's exactly it. See, here's the deal with Theodore. He was the little brother of Gene Livingston, who was the tough guy on our block, and who happened to be my DJ partner. Theodore was always trying to sneak in, but if Gene caught him near the turntables, it was trouble. But I'd sneak him into the room when Gene wasn't there and put him up on a milk crate and teach him things. But here's the thing about Theodore. I developed the Clock Theory to help me time records; you know, spin the record back two revolutions or whatever and then play the break, spin the other one back two, play, like that. But the Livingstons only had one turntable, and that's how Theodore practiced. So he developed this amazing talent of being able to put the needle down right where the break started, without needing to time it or anything, just bam! So when we were playing, we'd get him up there on a milk crate doing all that, and he started cutting -- or scratching -- from there, on the beat. It was a little controversial, having him up there, kind of a gimmick. I came up with the formula, and he went somewhere with it. Later, Cash Money and Jazzy Jeff came up with new stuff, called it the transformer scratch.

PM: Were you the first to use headphones?

Grandmanster Flash: I called it the Peekaboo System. There was no way back then to pre-listen to music before pushing the fader up, so I figured out how to do it with a microphone mixer. I just changed the pre-amps for each turntable, tapped into one side of each one to give me just enough power to listen to it, and a toggle switch. When I clicked it to the left, the left turntable was playing, but only in my ear; when I clicked it to the right, boom! I could hear that one too.

PM: Does it bother you when other people get credit for stuff you came up with?

Grandmanster Flash: Not really. I mean, if the Model T was the first car, and all the other cars we've had come from that . . . .

PM: Last question about all that: there is a rumor out that you were the first to actually write a rhyme.

Grandmanster Flash:[Laughs] I might have been. If I was, it was probably just desperation, trying to move the crowd. See, when I finally came up with this way of mixing, I was sure that I was onto something. I was thinking, "If I put together duplicate copies of records and extend those breaks, I should have these people going crazy!" And then I played an outdoor showcase, three or four hundred people all out there . . . and nothing.

PM: They weren't feeling it?

Grandmanster Flash: Not at all. I cried for a week. I couldn't figure out how to get everyone excited. That's why I started putting together the Furious Five, to get people interested.

PM: Cowboy was the first, right?

Grandmanster Flash: He was the one who probably saved me from giving up. He understood what I was doing, and he found a way to talk over it, to get the crowd involved. He was a good screener and helped take eyes off me, so people could react to the music, which is so critically important.

PM: And then the rest of the guys, and suddenly you're a group: Grandmaster Flash and the Furious Five. But what I find interesting is that that's a live band playing behind you on "The Message" and a lot of those early singles, except of course for "The Adventures of Grandmaster Flash on the Wheels of Steel." Did that ever bug you?

Grandmanster Flash: Here's the thing. I think Sylvia [Robinson, founder of Sugar Hill Records] wanted my group. She used to come to Disco Fever on Tuesday nights, which was a watering-hole type of scene; all the pros used to hang out and play. She had never seen five people break up a sentence before. See, the Furious Five was like a team. We had Cowboy, who had the strongest lungs; Creole, who had that nasal style; Raheim, who had a light voice--like that. Melle Mel's voice was in-between. So she wanted to record us, and we said yeah! As far as the sound of the record, I wanted special instrumental vinyl to play when we went on the road, so that's why the backing track is a band. I was a DJ, but I was willing to sacrifice that in order to be able to have a record that I could play behind the group.

PM: Okay, that makes sense.

Grandmanster Flash:And then suddenly, we have an itinerary. We're going down to North Carolina and out to L.A., and we're opening for the Commodores one night and then Rick James and then Evelyn "Champagne" King--it was amazing.

PM: Do you feel she drove the wedge between the guys in the group?

Grandmanster Flash: It was business. Sylvia's gut feelings were always successful, and she wanted to have one MC on the record. So that's when we recorded "The Message," which was mostly Melle Mel. Ultimately, that was going to be the catalyst to our demise. It was the biggest record we ever did, but it was the beginning of the end. Because it changed the blueprint we created, the style we created. I was extremely threatened, and so were the other four--we fought, we cried, we begged. I kept saying, "The six of us have to keep our eyes on the prize." But it didn't work out like that. When we were all together, we were hard to beat.

PM: And then things fell apart.

Grandmanster Flash: Yeah, we broke up, and then I ended up getting into cocaine and alcohol and walked away from the turntables. I was just so hurt, because this was something that I created, and I had no idea how to keep it together.

PM: But now you're back.

Grandmanster Flash: Yeah! I'm back. I'm getting back to what I love to do.





PM: Your website is cool. (www.grandmasterflash.com)

Grandmanster Flash:Thanks. It's a great way to get myself out there. I mean, not only do I have a story that I want to tell, but I don't want to be folklore! I ain't done yet! I'm touring, I'm working, I'm out there again.

PM: How is that for you? Exciting?

Grandmanster Flash: Hmmmm. . . . It's fun being in front of people, playing shows and all. But hotels? Being away from home? That's different.

PM: Yeah, and you have kids now and a family. I bet it's hard to be away from them.

Grandmanster Flash: Yeah.

PM: What do you think about turntablism? All these new guys making all your innovations basically the centerpiece of what they do?

Grandmanster Flash: Never in my wildest dreams did I think this would happen. I am so so happy. They've created a whole new thing. It's exciting.

PM: Which DJs do you hear or see and just go "Wow" about?

Grandmanster Flash: Roc Raida (of the X-ecutioners)! He's incredible.

Here's where my stupid cell phone started breaking up, and Flash had another interview on the line. I was going to try to ask him one more question, but I froze -- what the hell kind of one more question do you ask Grandmaster Flash?


source: Popmatters.com


Next Week
Domeshots & Fat Laces vol 8:
The Cold Crush Brothers

A little bonus this week....
Download London's KISS FM Hardest Mix by DJ Colin Faver [5minutes, 4.5meg, 15 tracks] as well as other DJ mixes. Hear how Europe gets down with the Hip Hop classics!!!

Domeshots & Fat Laces vol 6: Pete "DJ" Jones

originally posted on Jan 19, 2006 2:06 PM

For this week we have the old school DJ who inspired Grandmaster Flash and a host of other DJ's. The original, the superstar, the legendery....

PETE "DJ" JONES




Pete Jones : Well it was around 69 or 70....stuff by James Brown , Peoples Choice , BB King , Johnny Taylor , Fatback Band...I have actually done production work for Fatback . ...People from their record label would see me spinning in the clubs and bring me records to rate......then I started producing for them .

JQ : What made you spin 2 copies of a record back in 69 ?

Pete Jones :Well you know the best part of the record is the breakdown....what guys started calling the break or breakbeat. That was the part that got people dancing....so I would play that part continous . I had a mixer that had a cue ...so that you could hear the record on one turntable while the other one played . I would have 2 copies....usually a 45 (rpm) and a 3 minute song could get extended to 10 minutes. There weren't that many songs out , so if I had to Dj a party that lasted 3 hours ; I had to extend those breakdowns.

JQ : What kind of equipment were you working with ?

Pete Jones : Sony Microphone mixers - Later a GLI 7000 Mixer - it was about the size of a TV . They didn't even have cross faders.

JQ: Who else was doing this sort of thing at this time ?

Pete Jones : Grandmaster Flowers from Brooklyn , Maboya , Plumber....then Flash, Herc and Bam came after them . Grandmaster Flowers was the best mixing Dj that I ever saw.....Flash was the fastest.

JQ : Who was the first person that you heard rap ?

Pete Jones : Dj Hollywood .

JQ : Did you ever have any Emcees rhyme for you ?

Pete Jones : Luvbug Starski....he was like a son....I took him off the streets and he worked in my club. Also JJ The Disco King and Kc The Prince Of Soul .

JQ : Didn't you retire at one time ?

Pete Jones : Yes around 1980 ... I had a few clubs....I needed to run them .

JQ : Do you feel that your name has been unfairly left out of Hip Hop history ? (Flash does mention that you were the first person he saw spin 2 copies of a record.....and the first with a cue on your mixer)

Pete Jones : Well I was a club Dj downtown....you had to be an adult to get into the places I played . Therefore some guys talk about Flash , Herc and Bambaataa because they were park Djs.....anyone could go to the park, there was no age limit ,but they were too young to see me .

JQ: Did you ever play clubs where any so called stars performed ?

Pete Jones :Yes....it was different ....the bands use to open for us !! GQ and Fatback would open for me , and I was the headliner !

JQ : When did you return to Djing ?

Pete Jones : 1987 ....its hard to stay away...I still Dj , and I have a house full of records and records in storage .

JQ : Do you listen to Hip Hop and if so who ?

Pete Jones :I like it all ...Ja Rule , Jay -Z....I don't know what they're saying , but the music is good....they're just using old music.

JQ : If I may ask , how old are you ?

Pete Jones : Im 62 years old .

JQ : Incredible.....Aren't you down with Kurtis Blow & some other Old Schoolers ?

Pete Jones : Yes we have a Hip Hop Alliance...Me , Kurtis Blow , Russell Simmons , Herc and Grandwizard Theodore.....we just look for ways to make Hip Hop positive .


As told to JayQuan October 2001
* Special thanks to Troy Smith *

Source:
2001 JayQuan.Com / Magnetic Soundworx

Domeshots & Fat Laces vol 5: Ken Swift

originally posted on Jan 12, 2006 7:36 PM

This week we have an interview with B Boy extrordinaire...

Ken Swift




Name: Ken Rok,aka,Kid Zoom,aka, MadMugs,aka, Ken Ski,aka,Prince Ken Swift,aka, Kid Extra Nasty,aka,Ken Swift
Age: 35
Location: Money Island, NYC, Upper West Side Manhattan RSC, NYC, BreakLife NY

Tell us about the first time you ever seen B.boying and what made you get into it?

The first time I saw bboyin was 1978, ..at first I was shown a shuffle by a friend, and then soon after that I saw it a jam in a party thrown at a church hall and at a jam around my block. I think Ron Daris was the first rawbboy I saw, and Im using the term bboy in its true context. We were into anything and everything around the way.We were wild and were into playin in the pump, playin ringaleevio, kick the can, hot piece a butter, tag no touch,bike stunts, playin in abandoned buildings and having rock fights, ...so,...when I saw the rockin and how different ,radical and high energy it was, it fit right into to the type of stuff we was doin. I was already writin graffitti in the streets and motion taggin so, through that scene I was introduced to breaking.

Who are your influences/inspirations?

Past, ..Greggo,(originality, speed, flexibility) Ron Daris, (flips) The Light Brothers, (flips)Kid Sorceror, Deno Rock (RIP), Kid Terrific, Markie Dee (RIP), The ..1 Sure Shot Boys, DominicanFreddy, Shakie, Magnetic (power, spins), Kid Galaxy,(power, spins) Buck 4 (RIP), Spy, Trac, Ice Ice, Pierre, Lil Lep, Pex, DST, Mr. Freeze, Frosty Freeze,(character) Crazy Legs, Kid Spy & Migo (for the UpRock), Lenny Len,(footwork).........................Presently,........too many to mention.

What were the golden years of B-boyin in NY to you in your opinion?

The Golden years had to have been before I came in the mix, ....those where the raw years of early development, my golden years were 80 to 83, I was in my raw no thinking stages, no fear, thirsty to battle, off the dome, up & coming mode. A lot of the people I was around were better than me so I was Lucky.

When you first began dancing, did you ever dream that it (bboyin) would get to where its at today?

No, i didnt look ahead at all..no dreams of fame stardom etc, ....we were just doin what was happenin, ..to me, thats like sayin, "did you ever dream that ridin a bike would get to where its at today".

What is your definition of foundation?

I believe that foundation consists of the essential mentality combined with moves from the first years of development, ............foundation to me was that person reacting and dancing to a song with no shame/that person with the flava gears, that when you looked at them you knew they was ready/the attitude that you was the one who would out dance the others at the jam/the one that did something incredible that you never saw before....the mentality stands out to me, ..because when you apply those characteristics to moves, those are what make the moves personal and dope. I mean, if I show you an old "foundation move" and you dont flip it with your adobo on it, its gonna look wack. The kids back then just had that flava thats kind of unexplainable, thats why you loved to see them rock, I dont think they applied too much thought to it, they just went out and went bananas when the music came on, ..thats the foundation! Lettin the music rock you, ..letting go.

Alot of the best bboys were stick up kids and ill street dudes who could care less about fame........Now, there are "foundation moves", but being that I started a lil later on, my opinion on it can be debated, .....I see it being, ...circular ftwk patterns, shuffles, chairs, babies, swipes, sweeps, spins- (head, knee, butt, back, etc.) back rock, single tracs, bridges, cork screws.

Rockin' has been around before B.boyin', when did you first get to see cats Rock (Brooklyn rock etc.) and how do you feel about the artform of Rockin'?

To me, when you say "rockin has been around before B.Boying" to me its a lil funny cause when I think of rocking, I think of breaking, ...........I really didnt call it bboying that much when I first started, ...,even though when I first heard about breaking, my friend told me, "check out this bboy shit".................so I guess you mean uprocking, my older brother Speedy used to run with a crew called The ..1 Sure Shot Boys, they were from Amsterdam Houses on 61st. St. in Manhattan, ..he was 4 years older than me, ...I saw them rock a lil bit, but they broke mostly at the parties, ...I was younger so I was looked at like the lil shorty goin for his on the breakin tip, they were one of my biggest inspirations, ...other crews were The Four Aces, The Midnight Rockers, The Da Boys, and some members from Rockwell Association. They hung out around 83rd st. & Amsterdam, I lived on 97th & Amsterdam. I saw more Up Rock when I went to USA Skating Rink in Queens, the cats there were crazy dope, ..but I saw so little of it, that when we went back to my block, we had to try to remember it which was hard because we didnt have someone to show us, ..but then again we wouldnt have asked someone to show us anyway, ......so, ..we kind of developed a different type of style and delivery, we were primarily into the breakin but we did our lil Up Rock here and there. Thats the reason why we called it Brooklyn Rock, I was told that it started in Brooklyn so, ...nuff said, ...heads came up in the nineties and tried to diss me saying I was doing it wrong , but, ..with all due respect (cause I have the utmost respect), the dudes that popped the shit didnt step to me, I stepped to them. The first time I felt like one dude edged me, ..but after that I learned alot from that battle and when we went at it again I felt like I shook shit apart, .....regardless of that, ...in my heart I know they can Rock better than me. Ive been blessed to be able to get lost in music with that dance, and some of the music is so incredible that it gives you no choice but to Rock, ...I wish I wouldve came up with those dudes cause I know I wouldve been tight with that style. I still havent figured that dance out, when I watch the older legends rock, to me, I feel like a rookie, I have the ultimate respect. In my opinion, only the people that came up with that dance in NY in the early seventies, can flip that dance correctly, once again, over time people have seen moves and steps and have done them, but, there so much more to that dance, ..the songs structured alot of what was done, you had to be there in those ancient parties and jams to learn that. My favorites, Eddie from 93rd. & Columbus Ave., he was partners with Kid Galaxy's younger brother, they battled together with us against Dynamic Rockers at Liincoln Center, they were called Migo & Amigo, ... even though he was from Manhattan, he hung out in Brooklyn and he was outta control nasty in that dance, he's in the Planet Rock video battling on the checkered floor, .....then theres Eddie Ed aka, Kid Spy ...he was my bboy partner at one point, ....his Uprock was ill, ..he was also in the Planet Rock video, ..he's rockin next to a tv on the floor, he does this jerk forward then drops back into a split, and shoots himself in the head, check the video when you can, its sick. The other favorite is Spice One from Flatbush, Ive had the opportunity to meet him through Burn 1, to me he was tight beause he knew most of the styles from the different neighborhoods in BKlyn. Ive seen him rock and he definetly opened me up, ...also Sammy from Incredible Breakers, we practiced together a few times and I gained tremendously from that. Also, Chino & Brian, Incredible Breakers/Rockers Revenge,....these dudes are straight offiical hardcore brothas, ...Chino is a mad man with that dance, he's ill, those kids is Bronx Official 4realz.

What generation of B-boys are we in today?

I dont know!!?? maybe 5th generation .....72 -75 beginning,, 75 -84 most influential, overall structure point, 84-89 world continuance, 89-96 home & abroad B.Boy comeback, 96-01 event expansion/video era & retro commercial exploitation/positive rapid dance advancement ......................my opinion of course.

What was your most memorable battle?

A lot of good ones,...........but it has to be ..Rock Steady vs. Floormasters at Negril in NYC I think that was 82. Also RSC VII Gems vs a club full of BBoys in Tokyo 1997.

Who were some B-boys from NY that didnt get much limelight but definitely deserved thier rightful dues? (I hear about cats like German, Float, Incredible Breakers etc.)

You gotta understand how big breaking was in NY at that time, and how big the five boroughs are, ..you had BX, Manhattan, Bklyn, Queens, Long Island, Staten Island, ...were talking massive numbers of mad hyped up kids, ...to think about it if you are mentioning the names above, that means that they were noticed, ..but think about it like this, ..every neighborhhod had an incredible bboy in it , ....were talkin about 20 block radiuses, ...theres dudes that we'll never hear of that were amazing. Float for sure is one of a kind, ...you need an interview with him on this site,....his dancing and top style is top of the line, ..he had he ability to make everything he did look effortless, you rarely saw him struggle with his moves, ..a true innovator of power moves,...plus, he had dope footwork, ...if he was inthe mix I think he would be a definite contender even now. There were alot of dope crews, ....peace to ScramblinFeet also.

When did you first come to the Westcoast and get a glance of B-boys out west?

Its funny because I was born in Brooklyn but moved when I was almost two years old to California, ..my father was in the Army, so I lived in Saramento, Eureka, Palmdale, Arbuckle, and San Francisco until I was six years old,..then I moved back to NYC. The first time I went to Cali. to break was 84, and by that time people had been exposed to breaking already. We, RSC, judged A Big BreakDance Contest. I remember seeing the most incredible Popping/Boogaloo etc crews, they did like 6 minute choreographed shows. We saw like 50 groups. I was completely blown away and never saw it like that before. We also performed at Magic Mountain, were we ran into OZ (legendary LA BBoy OZ Rock), who had left NY and came to LA, and was real popular with the breakers. The breakers were doing incredible spins, side moving ufo's, inverted elbow spins, blazing backhand 90's some ill original stuff. I met Tech, ..from Tech & Sway, ...he was with The San Francisco Ballet Breakers, .......the scene was definetly open, ....but most of the dancers were into power moves and spins.

Do you feel the European scene played a major role in keeping B-boying alive?

Without a doubt. ...Id rather say they played a role in keeping "Hip Hop" alive overall .......Europe held it down with all the elements, ..much respect, ......I think Europe and other countries played a major role in keeping it alive......but I have to say, back then, alot of people didnt know what real B.Boying was, and even though there were a few that were official, the majority of people were just into spins,....from the movies, most people drew to the spins and air stuff when they got into breaking, ...there were'nt that many people doing footwork & dancing to the beat. Idont say that as a disrespect in any way, but thats the way I saw it,...Europe has a great history of its own, ..Im sure there were a few people breaking out there in the early eighties,....we went to Paris and the U.K. in 82 and when we went back after Beat Street, it was outta control, ....we toured Germany in 84 for six weeks and people went coconuts. Australia also has to get its props too, ...even Japan has a thorough history.....put it like this whatever country that got a hold of Beat Street and Wild Style got their dose of Hip Hop. Props to Actuel Force, Gabon, (France), Maurizio, (italy.) Swift & Storm, (Germany) Evo, (UK) Nico, (Sweden) King Bee, (UK) Emilio & Marcella (Italy), Crazy(Switzerland), Wildcat,(Denmark) Crazy A,(Japan), Machine (Japan), Hiro (Japan), Renegade, (Sweden) Tech & Karma,(Norway) Swerve, (New Zealand) Rooney (Brazil) there are so many more but,...peace to all many world pioneers and legends old and new.

In the early 90's what pushed you to get back down and serious to B-boy again?

I went through alot of stuff that most of you dont know about, ....I got into alot of trouble in the streets.....we're talking like 84 to 87.........but through all the madness I always reacted to music and broke when I wanted to, I didn't practice everyday and all but , ..I never felt like breaking was dead or anything like that cause if i felt it, I did it,......people have said between this year and that year this one or that one stopped breaking......................when you have something in your heart & soul, no society or situation or rumour or propaganda can stop you from feelin it, ....see, ...when media and the masses started exploiting the dance and sayin breaking was played out, ...alot of people said,,....OK, ...and stopped ........I wasnt part of the time when TV made people start, I came into it in its underground state. So it has stayed in me always regardless of what TV, Magazines or people in the street said. After Buck 4 and Kuriaki's deaths, The Rhythm Technicians were doin shows and stuff, and then we, RSC, collaborated with them on the play "So What Happens Now? In 1990, I guess what pushed me was the fact that I knew deep inside I could rock, I wasnt makin much progress but I didnt give up. I was about 160 pounds, .(my breaking weight is 135) I was tryin to get down with the updated power and air stuff, my hip was destroyed from the early eighties, and I couldnt find a swerve with my dancing. I was frustrated because I didnt feel good about my stock (moves)....., after I lost the pounds I needed to, .....around 1993 while practicin I decided to take my old moves and put attatchments on to them, while focusing more on freezes... ...after that the flood gates opened up and I was makin up a different move or combo everytime I practiced, .. I wrote down all of the moves by name and number, in 97 I recorded 94 moves, four pages of combinations and moves in different catagories, I would go to practice and run down the list and do each move twice for execution and memory, when I got to the last move I would start over again, those who used to train with me have seen me with my papers laid out on the floor in the practice. Around 1998 I stopped keeping track of my moves by writing them down cause I toured like 8 months of that year, but since then Ive made up at least 40 more combos & moves.When I started lacin kids real easy, it was scary beause I still felt like I could get better.

What year did you get down with Rock Steady?

I believe it was 1981 .

Are you currently still affiliated with Rock Steady?

Ask anyone from around my way that question and they'll laugh at you and think youre stupid. ....but the again....... In 2001 Rock Steady Crew belongs to one person, RSC is a business, ..to me "the crew" ended in the eighties. Go figure, from friends on the block just havin fun dancin to, one guy threatening the other that if he uses the name he will call his lawyers. Cmon bee, I laid the bricks son, from the get. My history is etched in stone. I rep RSC whenever and wherever I choose, I dont have to wear a shirt with letters, if you know the legacy, then that question is ludicrous. I got one thing to say to sum it up ..."Behold A Pale Horse".

Being an O.G. in the game and still gettin busy in the trenches, how do you feel about the scene today and where its heading?

Alot of the top BBoys who have influence right now, need to educate themselves on the history of this dance so they can understand and respect its journey,.. breaking is not a fad, it is a legitimate dance that has been and continues to be exploited and looked down on. In my opinion breaking is the "Original" dance of Hip Hop Culture. The younger generations need to know this. Unless there continues to be an educational effort in teaching the history of this dance, it will get wacker and wacker, and then it will be lost in sport and entertainment. This dance is for the communities of young people throughout the world to enjoy and also prosper from, but unless we understand what its been through, we wont know where its going. I like the dancing more than anything right now, ...its dope, and the competition level is tight, and theres so many dope and different styles flowin, mad super heroes and even a few complete B.Boys ...........................but, ..... The gossip is wack, the jealous haters are wack, the ones that lie about their history are wack, some events thrown by non bboys are wack, the NY pioneers that compromised their principles for money are wack, and the biters are wack.

What's your training schedule like?

My schedule depends on the time I have left over after my responsibilities with my kids are taken care of. If Im lucky If get Like 6 hours a week thats like two hours on three seperate days.

When your not into your daily routines, what do you do in your free time?

Believe it or not I get more free time when Im travelling than while Imin NYC. Im with my kids a lot when Im not in the mix. I like to work out with the weights every now and then, ...right now Im studying Investments, Money Management and Financial Planning. On tour I like to chill with the local people and soak up their culture & traditions.

What's your all time favorite jam to bust to?

Every song has a different effect on me, I think I have about ten alltime favorites, but I would have to say, it might be Apache.

If you could see two crews or two particular B-boys battle it out, who would they be and why?

I havent seen who's out there lately but maybe, .. Moy /Lil Rock vs Iron Monkey/Ruin , Crumbs/Reveal vs Kmel/Remind ....why, I dont know, ..I just made it up, ...thats a hard question, why you tryin ta strain my brain?

How do you feel about B-boyin and how its getting more play in the commercial industry?

B.Boying isnt getting play in the commercial industry, ..breakdancing is. I think its corny when people dress up in tiger suits with booties on their feet and break in front of jungle back drops, or do incredible tricks to a song that doesnt have a break, ...why cant they ever show it the way it is, and why cant they ever show someone dancing on top to the beat without spinning or doing a trick. ....what can I say, I think breakers are being pimped and so many people want to be seen in a video, that they do whatever is asked, I just cant do it because I came up differently, ..I have principles and Ive seen how that hurts the dance, .I believe in creative control...........people that see breaking in vids only see one or two seconds worth, ...and they'll never get a glimpse of our dance because they never show someone dancing, ..they only show a visually incredible move, ...this is why some people say " breakdancers don't dance they just throw their bodies around acrobatically." But also, I dont blame the young cats for doin it and I aint hatin them, ...I just laugh when I see pioneers play themselves for that dollar, ..these are the same dudes that I sat next to on panels that used to bark about how people shouldnt play themselves in that way.

When judging battles, what is your criteria?

Whetever is brought to the table between two people or two crews,....choose who executes the best, and does what they had to do to win.

Who are some crews that's out today that you are diggin right about now?

BreakLife World Reps, Strategic Air Command, Zoom Platoon. ........jusplayin, ..... .....wow, ...too many to post, and so many I havent seen.........Peace to 7 Gems, .......the original Seven Grandmasters ..................Dude, ..you know I can go down the list for every state. Im diggin the crews that are versatile, the ones that have a person for every style that gets presented, ...the complete crews. And Im diggin the crews that regardless of how good they are, ..you can chill with, and not have to worry about the BS, respectable people who have open minds to dance, and dont diss original style. Peace to all my BreakLife jiggas out there, yall know the tempo.

What are your thoughts on the tragedy of the recent terrorist attacks?

Its a changing world, ..you have to have faith and live each day to the fullest, ..theres no telling what the future holds. Its a tuff situation, but I have faith in God and understand that good will always overcome evil. Im just into trying to do whats right while Im here, I've been blessed and I dont take that for granted. Enjoy life people, tomorrow is not guarenteed.

What advice would you give to up and coming B-boys and girls?

Respect your mind and body, enjoy breaking for what its truly worth, remember this is a dance, ..in business, protect yourself, see the world if you can, challenge yourself first, your main battle in life may be with yourself. Ask questions, Always respond quick when you get hit by a dope move, control your anger, let your dance do the talking, try to master all styles, learn the history, set goals, train hard, know your priorities and be responsible for your own actions.

What projects are you currently in the works with?

My final vid, "ill Padrino"

What is your biggest pet peeve about the scene today?

Jiggas get ten dope moves and think they the shhh.

Is there any possibities you would ever do a book or something of that nature where you would tell your lifestory as a bboy, myself and im sure thousands of others would definitely pick that up.

If you know somebody who knows the procedure to do a book, ..let me know,..Ive thought about it.

Any last comments for the people at home?

Thank you to all the people who have approached me and givin me respect,....I never take for granted the compliments that people give me, and personally those compliments are the true jewels that I value so much in my life at this point. People have made me feel like I made a difference in their life and that makes me feel like it was all so worth it. Stay real with yourself and be cool. one million. Ken Swift Corleone.



Interview was conducted in October of 2001

source: Mighty4.com

Read a Ken Swift Biography

Domeshots & Fat Laces vol 4:Fabel

Originally posted on January 5,2006

This week we have a old school bboy the man known as the Popmaster...

Fabel

JORGE "FABEL" PABON

was born and raised in Spanish Harlem, NYC where, at an
early age, he developed his dance and choreography career at Hip Hop jams and
clubs throughout the city. His pioneering individuality has been showcased
internationally since 1982. President of the Hierophysics crew, Senior Vice
President of the Rock Steady Crew, member of Magnificent Force, and an
honorary member of the Electric Boogaloos, Fabel is also co-founder of
GhettOriginal Productions, Inc. With GhettOriginal, Fabel co-authored,
co-directed, and co-choreographed the first two Hip Hop musicals ever, "So!
What Happens Now?" and "Jam on the Groove" (first official Off-Broadway Hip
Hop musical). He has also toured internationally as a featured performer
with "Jam on the Groove," which was nominated for best choreography at the
Drama Desk Awards in 1996. Fabel was also featured in the cult classic Hip
Hop movie "Beat Street." Along with fellow members of the Rhythm Technicians
and Rock Steady Crew, he won the 1991 Bessie Award for choreography.
Highlights of his career include performing in Lincoln Center's "Serious
Fun!"; P.B.S.'s "Great Performances 20th Anniversary Special"; the Boston
Ballet; the 1994 American-Japan Festival (sponsored by the Smithsonian
Institution); both the 1983 and 1991 Kennedy Center Honors Gala events, and a
Hip Hop version of Kurt Weill's "September Songs" for P.B.S. Fabel was the
first American Hip Hop dancer to perform in Cuba, in 1986 & 1988, with the
dance company, Ballet D'Angelo.
In 1999, Fabel served as a consultant, moderator, panelist, and writer for
The Rock and Roll Hall of Fame and Museum's exhibit and conference: "The Hip
Hop Nation: Roots, Rhyme and Rage." When this exhibit traveled to the
Brooklyn Museum of Art in September, 2000, Fabel was invited to lecture and
serve on the exhibit's Honorary Committee. A vintage Hip Hop outfit, owned
by Fabel is presently on display at the Experience Music Project in Seattle,
WA. Visitors to EMP are guided through the Hip Hop clothing exhibit with
Fabel's voice detailing every aspect of the outfits displayed.

He is the first Hip Hop dance instructor to be employed at N.Y.U.'s
Experimental Dance Theater Wing. Fabel gives lectures, demonstrations, master
classes, and participates in outreach programs and conferences
internationally. In 2001, he addressed delegates at the United Nation's "Hip
Hop Conference for Peace." Fabel regularly teaches dance in various schools
for the Sports and Arts in School's Foundation. Fabel has also been
commissioned to teach dance workshops at such institutions as The Dalton
School and Central Park East One, among the many.

He is currently working on three documentaries: "Apache Line", "Fabel's
History of Hip Hop Fashion Vol. 1" and "Puerto Ricans in Hip Hop." Fabel is a
historian of and activist within Hip Hop culture. His other forms of
expression include "graffiti" art, DJ'ing and rhyming. Fabel is a co-founder
of Tools Of War, a grass roots Hip Hop company covering publicity, events
coordination and promotions, activism, bookings, and consultation.

The Rock and Roll Hall of Fame and Museum commissioned him to write an essay
on the dance forms associated with Hip Hop. Feel free to read his Physical
Graffiti essay at:Rockhall.com . He
was invited to include an excerpt from this essay in a classroom textbook
focusing on dance, geared toward 8th grade students. He also teaches popping and locking each Monday, in NYC.

Christie Z Pabon

A little known fact is that Fabel is one of the few but growing Puerto Rican Muslims. He and along with his wife Christie Z. Pabon, a Muslim as well, have been a part of many Muslim hip hop events through out the US.

"I also try to introduce hip hop to my mosque, the allianza islamica, the pure form of hip hop, because as you know that muslims are very strict in what they let their children and families be exposed to. I feel that hip hop can be used to communicate to the youth of today."

Source: oldschoolhiphop.com

Domeshots & Fat Laces vol 3: Lady Pink

Originally posted on December29,2005

She is one of best known and rare female graf writers. The old school legend herself....

PINK

Started:1979 Primary affiliations: TPA, TC5 Local origin: Queens, NY
Areas hit: IRTs, INDs, BMTs Main lines: 2s, 5s, CCs

Sandra Fabara aka PINK or LADY PINK was born in Ecuador, raised in New York City. She is the most committed and enduring female writer of all time and can without question be labeled the most accomplished woman in the history of writing. In 1979 PINK came into prominence in the New York City subway graffiti scene. There had been few female writers of significance since the early 1970s.

During the late 1970s and early 1980s PINK wrote on a variety of subway lines with the top crews in the city. Her artistic ability progressed rapidly; prompting respect and admiration from within the graffiti community. Along with the admiration came jealousy and spite, particularly because she was talented and female. PINK remained unintimidated and continued to break new ground. Her career would excel well beyond those of her critic's, both in quantity and quality. In addition to her accomplishments on the subway system PINK was involved in many important gallery exhibitions of aerosol art during the early 1980s including the Fashion Moda gallery. Her work has also been displayed at the Whitney Museum and the Bronx Museum of the Arts.



“It’s a difficult field for a woman. There’s... the attitude that women are too weak and therefore a liability, or the attitude that they just can’t do it. I was 15 or 16 at the time and I didn’t want to hear that. It’s hard for a girl to be a graffiti artist. You might as well throw your reputation in the dirt. Everyone thinks you’re a slut. I needed to hold my head up and prove that I could do it for other women...”
“I try to show younger artists that with enough passion you can achieve great things.”

She has remained active in graffiti culture on many levels, from formal art venus such as art galleries, museums and commissioned paintings to traditional graffiti street murals and even freight trains. She has style and painting ability that are clearly the results of a powerfully creative mind. PINK has painted all over the world and is still very active.


source: at149 st.com

Domeshots & Fat Laces vol 2: The Egyptian Lover

This week we have a the LA legend....


The Egyptian Lover



The Egyptian Lover aka Los Angeles-based producer Greg Broussard was the man behind pioneering hip-hop/electro fusion. Comparable in influence to Soul Sonic Force's "Planet Rock", Man Parrish's "Hip-Hop Be Bop (Don't Stop)" and Pretty Tony's "Jam theBox", Egyptian Lover singles such as "Egypt, Egypt", "My Beat Goes Boom", "Dance" and "What is a DJ If He Can't Scratch?" combined the abstract electronics of Kraftwerk and the Art of Noise with the emerging beat-heavy sound of electro and the vocal approach of rap.
Similar in style and feel to those other artists, Egyptian Lover and related West Coast electro groups and producers such as World Class Wrecking Cru, Chris "The Glove" Taylor and the Unknown DJ took beatbox manipulation to new levels, fusing signature loops with ample syncopation, darker, modal melodies and impressive turntable tricks. While Egyptian Lover records didn't start appearing until several years after the New York and Miami electro scenes were already in full swing, by the mid-'80s Egyptian Lover cuts like Egypt, Egypt" were standards among club DJs, particularly in the breakdance scene.
Early cuts such as "Computer Love" and "Dance" were among Egyptian Lover's most experimental, with the material appearing through the latter half of the '80's increasingly flirting with full-blown rap by adding more vocals and melodic hooks. While more of his material dates from the latter phase, it's his earlier releases that remain his most accomplished, and they're routinely namechecked by a new generation of producers such as Autechre and I-F inspired by electro's first wave.
Also a member of Uncle Jamm's Army and the force behind a half dozen labels including Freak Beat and Egyptian Empire, Broussard also released the old-school classic "Computer Power" under the name Jamie Jupitor. After a decade Egyptian Lover hit the studio again and produced some new tracks in the same funky electro style. Broussard also released several LPs during the mid-'80s, including 1984's On the Nile (practically a greatest-hits compilation), 1986's One Track Mind, and 1988's Filthy; the first two appeared on his own Egyptian Empire label. After several years away from music, he returned in 1994 with Back From the Tomb and the following year's Pyramix.

Domeshots & Fat Laces vol 1:Stay High 149

STAY HIGH 149

Area: THE BRONX

Alias: " VOICE OF THE GHETTO "

Writing Groups: EX/ VANDALS, WAR Main lines: 2, 5, 4, 3, 6, 7, 1, AA, and D ( ALL CITY )

~ ( THE LEGEND RETURNS ) ~

In the late 1960’s and early 1970’s, times were hard. New York City was constantly bankrupt and business people were burning-down slums. The mafia was flooding the country with heroin, crime rate was really exploding, and prejudice was at an all time high. Gang life, in areas where no policeman would dare to show his/her face, had become a fight for survival. Graffiti became an outlet for young people living in New York, as a way to veer from the gangs and drugs. It gave youths like, STAY HIGH, a sense of self worth.

STAY HIGH, in 1969 was a nineteen-year old youth living in a suppressed area of the Bronx. He would ride the trains as a way of escapism. That is when he noticed writings such as “God loves”, “make love not war”, or “pray”, etched on walls, phone booths, trains and in subway stations. STAY HIGH, like many other youths, took the writings not just as a name that left an impression on others, but also as messages that he could learn from. After continually seeing all of these messages he became inspired and came up with his own name to use. As STAY HIGH started writing he added a stick figure of a saint with a halo, which came from the famous television show “The Saint”. He changed the format of the saint by incorporating his own idea. He turned the saint in the opposite direction and added a smoking joint that was perched on his name. STAY HIGH would call this figure “The Smoker” and the smoker is what was to be known!As a writer in the 1970’s, one not only needed to have the most hits ( tags ), but also needed to catch the eye from others, by using a trademark. Many writers used trademarks such as stars, arrows, swords and so on. STAY HIGH’s smoker became one of the biggest trademarks.

Subway outlaws? Wow, that’s who we were in the early 1970’s, Subway outlaws. I’m originally from Virginia and moved to Harlem, New York City in the mid 1960’s with my family, to look for a better life. The first time I noticed Graffiti, was on the walls of many buildings in the streets, during the late 1960's.I remember seeing many names that, I cannot remember off the top of my head. However, I do remember that TAKI 183 was a name that was seen everywhere and was very easy to read. His name was seen all over, especially on the upper west side of Manhattan. In 1969, when I was 18 years old, I started tagging around my neighborhood with the name, STAY HIGH. It wasn’t until later when I moved to 149th street in the Bronx, that I added the “149” to my name. As an escape from all the bad things going on around me, I got high a lot, so I wrote what I did; STAY HIGH.My career as a subway outlaw took off once I moved to the Bronx and saw “SUPER KOOL 223” all on the trains that were running. That cat truly inspired me to hit the trains hard. I was a child of the 1960’s who watched a lot of television. One of my favorite shows was a show with Roger Moore, which featured a Saint stick figure in the beginning of the show. I expanded on that idea by facing the character in the opposite direction,added the smoking joint and thus, the smoker was born. Whenever I took the train, I hung out in the last car to tag it up. At times, I would move from the last car of the train, to the very next car, and then continue on until I reach the front of the train.That's how I got to hit all the insides of the whole entire train. Working as a messenger, helped me hit different parts of the city, because I traveled the trains all day long. You know the saying, “have marker will travel”.

My first true writing partner was DEAD LEG 167. Wherever you saw my name, you saw his name. We did a lot of subway bombing together, and still, to this day, he’s my right-hand man. Being that I lived on 149th street, I hung out at a “Writers Bench” on Grand Concourse and met tons of writers there; cats like, STAFF 161, AJ 161 ( ALL JIVE 161 ), PEARL 149 , PHASE 2, COOL JEFF, TOP CAT 126, T-REX 131, BUG 170, EL MARKO 174, TABU 1 and many others. The train yards were very easy to get into back then. At times, we would bring food and drinks and stay there from morning until night. I have been to almost every train yard and train lay-up in New York City... I have climbed up fences, under fences, used bolt cutters on the fences, ran into train tunnels with bags of paint. You name it and I have done it! The number train lines are what I preferred hitting, but I also did the letter train lines, like the “D”, “B”, “M”, “RR”, and so on. Bay Chester lay-up was my favorite spot to hit. I went there with my partners DEAD LEG 167, PURPLE HAZE 168 and HANDO 1, where we competed to see who could do the most pieces.Each night at Bay Chester, I must have done at least 10 pieces. There where other spots I hit even harder, like the 4 train yard in the Bronx and the 3 train yard in Manhattan. That’s where I met JACE 2 and the 3 YARD BOYS.

I bombed so much that I slept, ate and bled Graffiti. I became an addict for it every night, painting in a train yard, lay up or some place in the city. The biggest high however, was seeing it run all through the city. There was nothing like it! I was up on the trains so much that the heat was coming down on me; the vandal cops found out who I was, so I needed to find an alias. Being that I was from the ghetto and wanted to be a voice of the people, I came up with the name, VOICE OF THE GHETTO.

I used to hit the inside of the trains with three tone uni-wide markers, and then hit the outside of the trains. The attention became so over whelming. I remember getting off the train at 149th Street, Grand Concourse and seeing a whole bunch of toys running over the bridge to the uptown side, just to ask me to sign their black books. Eventually, I got bored with it! I moved on to other things and just stayed away from that lifestyle. I find it ironic, that twenty-eight years later, in 2001, I ran in to BAMA, who told me that people had been looking for me. When I asked him, “what for”? He told me that the Graffiti movement had become bigger than ever and there were some people he wanted to introduce me to. Those people I met wanted to write an article about me, and they did, in a magazine called “While You Were Sleeping”. In it was a statement that read, “people have claimed and wished to be him”. I liked the sound of that!

However, twenty years earlier, in 1973 New York magazine had the 1st recorded article on Graffiti featuring a photo of myself and others like PHASE II, SNAKE 1, CO CO 144, NOVA 1, and several others.The name made an impact on that generation and remained my slogan, even to this day. I’m still painting, along with the OLD SCHOOL KINGS and many other writers. I have my own shirts, that can be found for sale on this site, along with my STAY HIGH collectables.

In closing, I would like to thank everyone that has supported me since I made my return back into the Graffiti world; guys like my man Gil, FREEDOM, TERROR 161, DANGER 59, THE TATS CREW, BAMA, DEAD LEG 167, TRACY 168, ZEPHYR, FLINT… and ZOO YORK.

Source: Subwayoutlaws.com

List Of Breaks-Jazz- & Soul Mixes & Albums

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Adele
19
1988 with Mick Boogie

Adriana Evans
Adriana Evans

The Apple Juice Kid
Miles Remixed

Ayah
Problwm Woman

BK One
Set In Motion

Bud Bundy
Soul Power Hour

DJ Andy Smith
Diggin In BGP vaults

DJ Books
Aaliyah the Goddess

DJ Greyboy
15 Years Of West Coast Cool

DJ Mitsu & DJ Mu R
Sound Maneuvars Classics

DJ Neil Armstrong
Sweet
Bittersweet
Oringinal
Original 2

DJ Numark & DJ Pomo
Blendcrafters

DJ Projects
Dilla Breakfast

DJ Revolution
Breaks In Hi-Fidelity

DJ Spinna & Bobbito
The Wonder of Stevie

DJ That Girl
Summer Love

DJ Z trip
Party For Change:The Obama Mix

GMJ & Nas
I Am Jazz Remixes

Grandmaster Flash
Offical Adventures Of Flash


Haroon Al Qahtani
Mixwhatchalike: No Genre Required
Turkish Coffee Breaks

J Rocc
James Brown & Friends
Syndromes
Syndromes 2

Kon & Amir
The Cleaning

Kutmasta Kurt
Isaac Hayes Mix

Marsha Ambrosius
Yours Truly

Mr. Thing
Portable Anorak
Adidas Superstar Mix
Strange breaks

Mr. Thing & DJ Format
Holy Sh*t

Mr Thing & DJ Premier
Kings Of Hip Hop

Mr Thing & First Rate
Things First

Paul Nice
Soul on The Grill
Soul On The Grill 2

?uestlove
Lessons Mix

Rob Swift
Soulful Fruit
Under The Influence
Airwave Invasion
Who Sampled This?
Dust To Dust
Turntable Jazz
Turntable Jazz Vol 2

Rock Steady Crew
30th Anniversary Mixtape

Rza & Keb Darge
Kings Of Funk

Supa Qool DJ Uncle Q
Best of Raphael Saadiq

Vin Roc & Shortkut
So Much Soul vol 1

Vin Roc
So Much Soul Vol2
So Much Soul Vol 4

The Visioneers
Dirty Hip Hop

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Hip Hop Underground Hip Hop Live Turntablism Mash Ups