#recorded circa 1975-77
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The Sillies - Sex For The Handicapped
#the sillies#ben waugh#mike profane#sheila edwards#tommy kilowatt#vince bannon#cherry blackwolf#robert mulrooney#garage rock#protopunk#power pop#punk#punk rock#recorded circa 1975-77#america's most wanton#2002#Youtube
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Continued from previous comment...
You always had R&B music artist incorporate a little Latin sound like Reasons by Earth Wind & Fire 1975...with a Cuban style, or Running on the 1977 All N All album. Also Herman Kelly with the 1978 song dance to the drummer beat.
Tito Puente of Puerto Rican background was a musician who played on certain SugarHill rap records.
Carlos Mendez not only cofounded the Cold Crush Brothers circa 1977, but also established the first know hiphop gathering or convention, circa 1979-80. At least 2 members of the fearless 4 were of Puerto Rican background in the latter 70s- early 80s. Also a lesser known Mean Machine 1980.
Better known by his stage name Pumpkin, 70s-80s HipHop drummer Errol Eduardo Bedward played on many songs of the genre.
His overall appearance was of a typical African American, but was of Costa Rican and Panamanian background. He spoke fluent Spanish.
Artist he played for include...(1979 to 1984), Grandmaster Flash and the Furious Five Spoonie Gee, Treacherous Three, Funky Four, Grandmaster Caz, the Fearless Four, and Dr. Jeckyll & Mr. Hyde, and several more obscure names. His 1983 single "King of the Beat", Pumpkin and the Profile All-Stars' "Here Comes the Beat" (Profile, 1984).
Puerto Ricans bros like Ken Swift, Crazy Legs, Mr Wiggles, and even Trac 2 (when he was younger and humble😄), said they saw mostly African American youth breaking before like 75-77. Trac is in a 1978 photo with Spy (African American and Spanish). Also Rene and Boss same year. They just won a breaking competition. Crazy legs said Spy was the first person he ever seen do this dance as a 9 year old in 76. Spy was in his early teens. In rare photos from an original RSC (Rock Steady Crew) website, Legs is in 1979-81 photos with forgotten African American members like Ski, Kippy D, Lil Craze, and their 1977 cofounder Jimmy Dee (with PuertoRican friend Lee). I say this so you can see the dance was both African American and Puerto Rican at the same time. You kind of sense that in the old photos (many youth added moves to it that became popular).
In a 2013 gathering celebrating hiphop, Crazy Legs introduced their 1977 African American cofounder, Jimmy Dee, to the crowd. Many never seen him because being a couple of years older (upper teens), he went off to college by time the 80s came around. In a modern Ytb livesteam interview, he says in like 78 this 12 year old, exuberant about the dance dormant in Bronx and Harlem at the time, asked him if they can start a new chapter of RSC before moving to Manhattan. We know this enthusiastic dancer as Crazy Legs
In the 1974 movie "Education of Sonny Carson", coincidently about a African American gang in New York City, the one teen that likes to dance is up-rocking into James Brown like splits (Staten Island boat scene and parade scene). It reminds me when Ken Swift describes old style breaking (before 1976/77) as looking more like FrostyFreeze style ( African American teen in Flashdance who jumps on his back. Movie was filmed in 1981 and released in 83)
In the outtakes of StyleWars, filmed in 81 and released in 83, Kippy D of old Rock Steady Crew informs us that they just incorporated Poplocking from the West coast. This componant lumped into breakin was absolutely African American. A derivative of 1969 locking, created by Don Campbell, POPPIN was introrduced to L.A. youth by African American Boogaloo Sam and his brother Poppin Pete (African American) of Fresno, CA, circa 1976. So it's like it came full circle back to L.A - stemming from lockin). Debuted on SoulTrain in 1978 by Jeff Danials and his crew, it became a popular dance of young people and performers at the time (1978 thru 83-ish).
Another interesting detail in StyleWars (filmed in 81...important to emphasize that here), Frosty Freeze tells the interviewer that the dance started in Bronx as well as parts of Harlem.
Rock dance is not the base of up rock commonly used in breaking. You have a Puerto Rican Rock dancer of 70s Brooklyn saying he seen breaking in the Bronx circa 1975 and it looked nothing like what they did. It appears that rocking was feet shuffling while uprocking was more jumping and arm swinging movements. Even Brooklyn Rock Dance, with it's mysterious origin, shows more affinity to African American style than Latino.
In the 1950s African American teens created their own form of Mambo. (Look up Brooklyn Mambo, 1950s). It's very close to RockDance. Even in some of the footage Spirit Moves between the 1920s -50s, similarities show up here and there. So far we can't find videos of Latin dance in this manner concurrent to that 50s era. Uprockin for breakin comes from Spade Dance (Black Spades, 60s - early 70s Bronx gang). Just like C-walking (Crip Walk 1970s), people just forgot over time the African American street culture these styles are based on. In the history of Melbourne Shuffle, no one seems to mention or allude to the fact they're C-Walking with a little 80s New Jack Swing...sped up. This is the same scenario in not recognizing Uprock being originally Spade Dance. In a 1990, hiphop doc, PeeWee Dance, an original ZuluKing member, hangs with RSC as he demonstrates the raw essence of what they did in the early 70s. He is SpadeDancing/Uprockin/BronxBurning/Going Off (video should be on Ytb...YOU GET THE SENCE OF WHY THEY CALLED IT GOING OFF)
Graffiti art was born in 60s NYC and included many races of people. Black, Hispanic, Italian, and even firsthand accounts of Asian. There's no definitive evidence that it came from Philly of the 60s
God bless (see Biblical Salvation
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To say blacks had nothing to do with ancient Egypt is like a mainstream articles leaving you with the impression that hip hop was Hispanic and Jamaican in origin...and not African American. This is done with summerized articles, omitting pertinent details, and only showing imagery of other racial types doing it in the early 80s. This may sound silly to some, but if you're intersted in the history of it...
Well, if interested in it's history...
1
Breakin and Poppin history
link
2
Other African American historical dances
link
3
Brief details on hiphop DJing, MCing and rapping
link
Hip hop history was like this..
Hip hop history was like this..
There's probably some kernels of truth to Latino contribution with the demographics of Bronx. You had Carlos Mendez, (Charlie Chase), DJ Wiz…however FBA (Foundationaly Black American) in origins. Facts that can't be obfuscated in FBA founding on all components of hip hop (except graffiti art). This stuff is timestamped and recorded
1 Herc never said he transplanted hip hop from his homeland of Jamaica to NYC. In fact, we hear, the opposite on a 1989 recorded interview. He notes that people weren't feeling his native music at the time, so funk and soul was played…and James Brown was the main one.
2 Puerto Rican pioneers like Ken Swift, Crazy Legs, Mr Wiggles , Jo Jo, all allude to the African American origins of the dance (more details in pt 2 replies). Legs says in like the latter 70s, they would call it Morano style whenever the moves that came from early 70s Zulu Kings was noticed (exemplified by FrostyFreeze). Morano denotes black and original in this context. He says this is the original style, tho played out by the latter 70s - very very early 80s. Puerto Rican youth added much to that.
The earliest b-boy crew people can recall by name and memory has consistantly been the Zulu Kings in interviews over time (circa 1973, probably still Black Spades or Baby Spades till 75, but they were Bronx Burning or Uprocking to minor floor moves as Spades before 1975). The b-boys back then were African American youth like Sasa, Trixie, PeeWee Dance, CharlieRock, N….Twins, Dancing Doug, Beaver, Lil Boy Keith and more. After 1976-77 the original African American youth began moving away from the dance. It was becoming "old hat", and more and more Puerto Rican youth picked up on, added to, and expanded on it. Crazy Legs said the brothas would say THAT'S PLAYED OUT when he would break in like 78-79 There's early 90s footage of Lil-Boy Keith (his 70s street name), demonstrating early ZuluKings style. He's also in the 1984 documentary Beat This, A Hip Hop History. Footage of him reminds me of KenSwift's description of old style breaking being more sporadic and lots of freeze moves. Also PeeWee Dance hanging with RockSteady in the early 90s..going off, Spade dancing, Bronx Burning ,uprocking…
In a 1984 episode of The Scene ( Detroit), Bronx native Kurtis Blow, famous 70s rapper and "breakdancer", was asked what came first, breaking or rap. Kurtis tells the host that back in 1972, the dance was called Burning. This is well before the modern Ytb debates. Important to mention, because only people in ZuluKings neighborhood remembers the term.
3 In a interview circa 1984, Melle Mel was asked where do you guys get names like Grand Master Flash. Long before Ytb and Internet and debates on hiphop's origins, Mel tells us…we were influenced by people like Grand Master Flowers (African American) of 60s Brooklyn. Keep in mind that Flowers opened up for James Brown in 1968 at Yankee Stadium in Bronx, NY…..perhaps the initial point it was transplanted from Brooklyn to Bronx. Melle Mel, as well as Mr Ness (Scorpio of Furious Five) was in a b-boy crew called D Squad. Fellow member Fuji of the long forgotten group said this was 1974 in middle school. There is a picture of Mel and Fuji in more recent times and Fuji in the 70s.
In a documentary about a Bronx, NY neighborhood called Simpson Street, filmed 1977 and released in 79, we hear perhaps the first publicly broadcast hip hop sound. After the narrator finishes speaking near the beginning, the next scene opens up to a roof top party with a 70s rap sound. Some people, claiming they were there that night, say that's Mr Ness and Grand Master Flash you hear in the background(?). Sounds like Coke La Rock's description of his original 1972-73 style… A list of shout-outs to people in the room and a little rhyming in between.
In the 77 doc, young blacks and Puerto Ricans hanging out together seem to get along very well like street family.
4 Coke la Rock (African American) was the first Emcee/rapper (in hiphop) and best friend of Kool Herc, going back to middle school in the 1960s . He says that it wasn't a music genre back then, but it's just the way he talked on the Mic when giving announcements…and the people loved it. This is a very important detail because specifically African American announcers and performers have always rhyme talked to beats in this manner, going back to the 30s and 40s. Back then ya might hear … "WELL AH REET, ALL ROOT, ALL RIGHT…BE AT THE JITTER BUG CONTEST TONIGHT. You have the Co Real Artist out of Los Angeles (total opposite side of country) with the 1974 song "What ya Gonna Do In The World Today". They sound like The Funky Four Plus One's 1979-81 style. Gary Byrd in the early 70s was absolutely rapping with that early70s hip jazz/soul style. Jacko Henderson in the 50s, The Jubilees in the 40s, Pig Meat Markam in the 60s.. Mind PowerJames Brown 1973, Frankie Jaxson 1929 Jive Man Blues (absolutely rapping), Beale St Sheiks, It's a Good Thing 1927, Memphis Jug Band, with Whitewash Station Blues 1920s
I would even say songs like Don't Burn Your Candles at Both Ends by Loius Jordan , 1940s…in the movie Look Out Sister 1946, but more like rapp on the record version. Or his 40s song Beware. Even more so like rapp than singing was his song Look Out (also in the 1940s independent African American movie).
The Last Poets (latter 60s - very early 70s) with songs like Run, MEAN MACHINE - 1971 (MUST LISTEN TO THAT ONE IF YOU NEVER HEARD), True Blues, On the Subway (1970), New York New York, and others, were rapping back then with poetry and African sounding drum. Keep in mind that rapp means to talk, not neccesarily rhyming, (though they often did).
Coke does make the connection to The Last Poets, saying he was influenced by them and others like that (in the video "Coke la Rock a DJ, With Herc".. by The Culture, Started in 71, at 35:28 in vid). Herc credits Coke in the vid "Kool Herc on the Role Coke (MC) Played".
In the 1930s soundie (musical short/music video) called Caravan, The Mills Brothers are rapping in the scene where he's talking to the young lady. Not long after that, the young man starts basically uprocking into breakdance sweeps.
Jacko Henderson is in the 1981 20/20 ABC news special, covering this new thing called…HIPHOP. Jacko is very familiar with this sound as he snaps his fingers remembering a few verses from the 1950s,
In 1983, Gary Byrd appeared on the British show Black on Black by LWT Studios (London tv). He was asked when did he start rapping. Byrd tells the host that in 1965 he came across some tapes of Jacko Henderson from the 1950s, doing this style of announcements on radio (also done by other African American DJs across America). Byrd's songs from 1970 - 73 include Soul Traveling (very much like rapping) , If the People Only Knew, Are You Ready for Black Power…
In the latter 60s into the 70s Frankie Crocker of NYC radio was known to rhyme talk in a manor that sounds like a predecessor to hiphop music. He might say HEY BABY, IT'S GUARANTEE TO PUT A CUT IN YOUR STRUT, A GLIDE IN YOUR STRIDE, A DIP IN YOUR HIP…IF YOU AIN'T DIGGING THIS, YOU MUST HAVE A WHOLE IN YO SOUL. He also appeared in 70s movies like Five on the Black Hand Side (73) and 1975 Darktown Strutters.
In a 1973 movie called Five on the Black Hand Side, the Kool guy who walks into the barbershop immediately puts a coin in the jukebox, and starts doing what they once called jive talking. Sounds so much like rap, the Sugar Hill Gang used one of the verses. Both Ali and H. Rapp Brown (coincidently) spoke in this manner in the 60s and very early 70s (warning if looking up Brown's 60s speeches…they may contain a few epithets. Sensitive political and social times).
Also in the 73 movie Five on the Black Hand Side, the Black Panther like character that walks into the barbershop asking permission to put up a flyer for the freedom of one of his brethren, then reminds them that the police are becoming more fascist. After that, he sort of raps when he says…WOE TO THOSE WHO CAN'T SWIM JIM. Then he walks out in a rhythmic like manner. Frankie Crocker does a little poetry as he remembers everyone street number (street lottery) in one of the barbershop scenes
KRS-1 references Coke in a 80s rap. His partner was Scott LA Rock, and they followed the trend from early 70s Coke La Rock. We also have ShaLa Rock…female rapper from the latter 70s - early 80s, and others… Rapper and 70s breakdancer T La Rock (African American…Known for the 1984 rap song It's Yours) Even a 1978 Puerto Rican based breakdance crew named Starchild La Rock.
5 Batch, a Puerto Rican guy who created TBB (The Bronx Boys) as a youth in circa 1975-76. They were a breaking crew. He tells Colon on a Livestream (no time to edit out😂)….YOU CAN SEE ON MY SCREEN IM PROUD OF MY RICAN HERITAGE WITH THE FLAG ON THE WALL, BUT THIS HIPHOP COMES FROM THE BROTHAs… Deer in the headlights look
From a firsthand perspective, Batch says on another modern Ytb vid that he looked up to the ZuluKings or Spades, before TBB, as a inspiration.
6 Everyone that came up in the Bronxdale projects during that time of the 60s and early 70s seem to remember DJ King Mario (African American).. concurrent with Herc. In fact, a few said they knew each other, but Mario like to do outdoor block party/festival style, while Herc was more indoor venues.
7 One of the first Hispanic hip hop DJs said he seen all black people back then and sometimes wondered if he would be rejected based on his ethnic background. He found a warm welcome, because it was based on how good you were and not race. HE WAS GOOD. (in other words, even a African American youth would be booed off the stage and told to go back to his borough in a NYC accent, if they weren't good).
continued ...
You always had R&B music artist incorporate a little Latin sound like Reasons by Earth Wind & Fire 1975…with a Cuban style, or Running on the 1977 All N All album. Also Herman Kelly with the 1978 song dance to the drummer beat.
Tito Puente of Puerto Rican background was a musician who played on certain SugarHill rap records.
Carlos Mendez not only cofounded the Cold Crush Brothers circa 1977, but also established the first know hiphop gathering or convention, circa 1979-80. At least 2 members of the fearless 4 were of Puerto Rican background in the latter 70s- early 80s. Also a lesser known Mean Machine 1980.
DJ Tex Hollywood, who is African American and part Puerto Rican was known to play along side DJ King Mario as early as 71. His call and response style (rap) he says influencers were Frankie Crocker, Oscar Brown, Rudy Moore Pig Meat Markum, Last Poets…(interview on KEXP). People that remember first hand are Coke La Rock, Kurtis Blow, Cholly Rock and others (more near the bottom on hiphop's predecessor and the known pioneers including Herc, that remember it. Names like John Brown, DJ Pete Jones, Grand Master Flowers of Brooklyn - 1960s - 70s, and more
Better known by his stage name Pumpkin, 70s-80s HipHop drummer Errol Eduardo Bedward played on many songs of the genre. His overall appearance was of a typical African American, but was of Costa Rican and Panamanian background. He spoke fluent Spanish. Artist he played for include…(1979 to 1984), Grandmaster Flash and the Furious Five Spoonie Gee, Treacherous Three, Funky Four, Grandmaster Caz, the Fearless Four, and Dr. Jeckyll & Mr. Hyde, and several more obscure names. His 1983 single "King of the Beat", Pumpkin and the Profile All-Stars' "Here Comes the Beat" (Profile, 1984).
Jimmy Castor was African American. He was very familiar with the Latin and Caribbean sound…though rooted in soul and funk. His family was from Bermuda, as he tells us in a 2006 interview on a old website called Turntable Treat, by Sean from NJ (?…now obsolete but interview saved). Also was part of Tito Puente's band in NYC clubs. Speaking of hiphop, we know him for the 1972 song "It's Just Begun", form the Flashdance breaking scene, and used by many b-boys…
Puerto Ricans bros like Ken Swift, Crazy Legs, Mr Wiggles, Jo Jo, and even Trac 2 (when he was younger and humble😄), said they saw mostly African American youth breaking before like 75-77. Trac is in a 1978 photo with Spy (black or Afro Puerto Rican). Also Rene and Boss same year. They just won a breaking competition. Crazy legs said Spy was the first person he ever seen do this dance as a 9 year old in 76. Spy was in his early teens. In rare photos from an original RSC (Rock Steady Crew) website, Legs is in 1979-81 photos with forgotten African American members like Ski, Kippy D, Lil Craze, and their 1977 cofounder Jimmy Dee (with PuertoRican friend Lee). I say this so you can see the dance was both African American and Puerto Rican at the same time. You kind of sense that in the old photos (many youth added moves to it that became popular). Jo Jo stated that before the mid 70s it was mostly African Americans breaking and rare to see Puerto Rican youth. He mentioned from a first hand perspective, the ZuluKings in the vid…." JoJo: (Crazy Commanders/RSC) - "Rican bboys were so rare, Blacks looked at us like little…."
Jo Jo (PR) and Kevski (AA) are in a modern livestream. They were in the same mid 70s Bronx b-boy crew.
Spy claims he started doing floor moves as his own creation, but does mention he came up around Black Spades (ZuluKings) in South Bronx before moving to other part of NYC as a 70s youth. Actually stating Bronx River Projects is where he started (come on, you know where he got it from). This is a problem in the testimonials of how the dance started. The tribal mentality (on both sides of the "debate") . Most center themselves in the overall story - further distorting the history. When trying to credit Puerto Ricans for the breaking, people will mention the dances of Roberto Roena 1974 (black or Afro Puerto Rican)…Tito Rodriguez at the Palladium 1950s, or the Latin dancers on Ed Sullivan, 1957. In the 74 Roberto Roena footage with Celia Cruz and All-Stars, he's doing the exact moves of Little Buck (Conrad Buckner, an African American) from two decades prior. Also in the same sequence….EVEN THE HELICOPTER LEG AND KNEE WALK. When mentioned, it's still downplayed to make it seem absolutely Puerto Rican in origin, and the African American predecessor isn't taken serious. The moves stem from African American Jazz dances of the 1920s - 50s ( perhaps earlier like 19 teens). Decades prior to even Little Buck, we have the Berry Brothers (spinning with acrobatics 1940s) Mills Brothers 1930s Caravan soundie (both rapping and strait up rocking into sweeps), or Little Step Brothers 60s See "Ancestral roots of the Bboy Pt 1 (1920s-1940s clips)"…A MUST SEE. If we were to accept Spy's claim of being the first, what do we do about the dilemma in all the other claims and even a modern gathering of original 1st generation "B-boys" like Sasa, Trixie Dancing Doug…. Did they gather under false pretenses with fake memory of being the first (video - Original Bboy Reunion)
In a 2013 gathering celebrating hiphop, Crazy Legs introduced their 1977 African American cofounder, Jimmy Dee, to the crowd. Many never seen him because being a couple of years older (upper teens), he went off to college by time the 80s came around. In a modern Ytb livesteam interview, he says in like 78 this 12 year old, exuberant about the dance dormant in Bronx and Harlem at the time, asked him if they can start a new chapter of RSC before moving to Manhattan. We know this enthusiastic dancer as Crazy Legs
In the 1974 movie "Education of Sonny Carson", coincidently about a African American gang in New York City, the one teen that likes to dance is up-rocking into James Brown like splits (Staten Island boat scene and parade scene). It reminds me when Ken Swift describes old style breaking (before 1976/77) as looking more like FrostyFreeze style ( African American teen in Flashdance who jumps on his back. Movie was filmed in 1981 and released in 83)
In the outtakes of StyleWars, filmed in 81 and released in 83, Kippy D of old Rock Steady Crew informs us that they just incorporated Poplocking from the West coast. This componant lumped into breakin was absolutely African American. A derivative of 1969 locking, created by Don Campbell (AfricanAmerican), POPPIN was introrduced to L.A. youth by Boogaloo Sam and his brother Poppin Pete (African American) of Fresno, CA, circa 1976. So it's like it came full circle back to L.A - stemming from lockin, Popping from roboting element in locking..with a little pantomiming). Debuted on SoulTrain in 1978 by Jeff Danials and his crew, it became a popular dance of young people and performers at the time (1978 thru 83-ish). The 1978 movie Young Blood, set in L.A. California, we see the helicopter leg in the teen club scene. There was already a minute element in locking that look like breaking with leg kicks and turning around on floor. Often done by the eccentric regular of mid 70s SoulTrain…the young guy with the giant toothbrush and sometimes boxing gloves. Think his name or moniker Mr X. Episodes that show Mr X absolutely breakdancing included…
1 The Undiputable Truth -You and Me, 1976 2 I Don't Want to Loose Your Love by Emotions (ST line dance), 3 The Sylvers - Hotline (SoulTrain dancers 1976), 4 Get Up and Boogie by Silver Connection (dancing episode, not in the line or band in person).
Another interesting detail in StyleWars (filmed in 81…important to emphasize that here), Frosty Freeze tells the interviewer that the dance started in Bronx as well as parts of Harlem.
Rock dance is not the base of up rock commonly used in breaking. You have a Puerto Rican Rock dancer of 70s Brooklyn saying he seen breaking in the Bronx circa 1975 and it looked nothing like what they did. It appears that rocking was feet shuffling while uprocking was more jumping and arm swinging movements. Even Brooklyn Rock Dance, with it's mysterious origin, shows more affinity to African American style than Latino (See last comment for interview with Frank papo" Rojas…latter 60 -70s Brooklyn Rock Dancer of Puerto Rican background).
In the 1950s African American teens created their own form of Mambo. (Look up Brooklyn Mambo, 1950s). It's very close to RockDance. Even in some of the footage Spirit Moves between the 1920s -50s, similarities show up here and there. So far we can't find videos of Latin dance in this manner concurrent to that 50s era. Uprockin for breakin comes from Spade Dance (Black Spades, 60s - early 70s Bronx gang). Just like C-walking (Crip Walk 1970s), people just forgot over time the African American street culture these styles are based on. In the history of Melbourne Shuffle, no one seems to mention or allude to the fact they're C-Walking with a little 80s New Jack Swing…sped up. This is the same scenario in not recognizing Uprock being originally Spade Dance. In a 1990, hiphop doc, PeeWee Dance, an original ZuluKing member, hangs with RSC as he demonstrates the raw essence of what they did in the early 70s. He is SpadeDancing/Uprockin/BronxBurning/Going Off (video should be on Ytb…YOU GET THE SENCE OF WHY THEY CALLED IT GOING OFF)
Graffiti art was born in 60s NYC and included many races of people. Black, Hispanic, Italian, and even firsthand accounts of Asian. There's no definitive evidence that it came from Philly of the 60s
God bless (see Biblical Salvation
for good old pictures and video on the history,
Look up exactly GRAND MASTER FLASH WILDSTTLE, FILMED 1981, RELEASED 1983, by AfricanAmerican . Go to his channel and tap COMMUNITY to see history of the dance and hiphop music
Also, a great ole school rap playlist on his channel. You get the idea why young folk gravitated this 70s and 80s pre gangsta form of the art (the modern form has to change theme wise…peace, love , humanity, education, community, social issues, fun, expression…)
For the predecessor to hiphop in Brooklyn, scroll to the bottom of the " Rap Before Rap" playlist on that same channel
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Brooklyn Rock dance
Up Rock did not come from Brooklyn Rock Dance. It was Spade dance ( black spades), Bronx Burning - as Kurtis Blow tells us in 1984 on Detroit's The Scene show… long before this modern debate..
From Frank Rojas, Puerto Rican Brooklyn Rock Dancer from the 60s and 70s. This is the pioneer who said he seen breaking as a young guy in 1975 Bronx, and he and his friends didn't see it as what they did in Brooklyn…or even perceive as dancing (the main point are capitalized and allude to the African American origins of even the Brooklyn Rock Dance)
From a transcript to video interview
"…it was it was a uh the beauty of it was that it was a black and puerto rican community
2:31
you know so you had you know on my block I lived in the middle and on my left was you know mostly
2:38
Puerto Rican and on my right on the same block right was the black community
2:44
so I had you know I had the distinct pleasure um and pretty much the honor to be 2:49
brought up you know with both cultures which influenced me as a person right….
2:56
…not just me as a dancer because you know that's where it all started um right on that neighborhood
and even prior to that i come from a family you know who you know the dance Salsa you know Merengue you
3:15
know it was a party in my house every every weekend so i grew up you know
3:20
with with that flavor…
…more Salsa Right Merengue And You KNOW CHA CHA, AND I DUG IT , IT'S IN MY DNA
3:39 3:39
I DID IT BUT I LIKED WHAT THE BROTHERS WERE DOING DOWN THE BLOCK A LOT MORE YEAH AND SO LIKE COMING OUT OF YOUR
3:47 (interviewer) House And Just Existing In Your NEIGHBORHOOD WHAT DID YOU SEE FROM THOSE BROTHERS DOWN THE BLOCK
3:52
THAT RIGHT THAT ATTRACTED ME, IT WAS WAS THE GROOVE RIGHT so you know we're talking about
3:58
you know 67 68 69 right so you know you you at that time you you
4:05
there was always a new dance like when a song came out there was a dance that went to the song
4:11
okay so like as far back as i could remember so even even in in my house right though…
4:18 4:18
….it was it was it was salsa but the uh the hispanic community came up
4:24
with an english version of salsa which they call the latin boogaloo so that's the first like american way of
4:32
dancing for me right so the latin boogaloo the first dance i learned was called the African
4:38
twist right so and that that was a song by Eddie Palmetti
4:43
all right so then after that you know i mean i was a good dancer i could move so everywhere i went they you know
4:50
come on pop get down right so my nickname is papa that's what they call me on the street
4:55 um so i remember the first dance I learned was the tighten up
5:01
Archie Bell in the Drells right there was the tighten up I remember the mother popcorn all right
5:08
the mother popcorn James Brown there was a dance called the mother popcorn that's where all my groove came
5:14
from and who was making these dances up were they just being created they were fun for me yeah yeah from the community…"
Note From 3:20 -3:58, we hear him clearly distinguish the dances he did culturally as a Puerto Rican at home, vs what the African Americans were doing down the block. He gravitated the dances of the brothers more as a starting point in Brooklyn Rock Dancing vs his traditional dance innate in him.
With that said, go look up vids like Brooklyn Mambo 1957 (African American form), or Spirit moves 1920s - 50s. Look to see if you can find any latin dancing concurrent to that time dancing in that same manor
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God bless (see Biblical Salvation)
Be sure to stop at the bottom where it says "More from @afrcnamrcn-23". Don't be distracted by the pictures and links under that. They will occur again so that you can continue with the main post in sequence
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Storia Di Musica #110 - Ramones, Ramones, 1976
I dischi della rubrica di Marzo avranno come filo logico che li lega questo: fare la rivoluzione (musicale e non solo) in meno di mezz’ora (di brani, o giù di lì). Sono esempi di immediatezza che ha spiazzato e segnato la musica dei rispettivi periodi, facendo diventare i rispettivi protagonisti vere e proprie icone. L’inizio del nostro viaggio ci porta a New York, seconda metà degli anni ‘70: in posa davanti ad un muro scalcagnato ci sono 4 tizi, due con un improbabile caschetto, i jeans sdruciti, il chiodo di pelle, scarpe da tennis logore e sporche, che la fotografa Roberta Bayley immortalerà, a pochi passi dal celebre locale CBGB’s, sulla copertina del loro primo disco. Da quando si sono formati un anno primo, a Forest Hill nel quartiere del Queens, hanno scelto come nome quello di una famiglia, a segnare lo spirito di coesione e amicizia che si era instaurato da loro: così Jeffrey Hilman diviene Joey, John Cummings diviene Johnny, Douglas Covin cambia in Dee Dee, Tomas Erdelyi diventa Tommy, e come cognome il leggendario pseudonimo che Paul McCartney usò per il primo tour dei Beatles in Scozia, Ramone. Nascono così i Ramones, tra le più celebri, mitiche e leggendarie band rock americane, padri non solo del punk americano, ma di un’intera iconografica che li ha resi per vent’anni (1976-1996) una delle leggende del rock. Dal punto di vista musicale la ricetta è semplicissima: tre accordi, chitarre registrate su un canale, basso sull’altro, batteria su entrambi, un mix elettrizzante ed energizzante con la tradizione del surf rock, il garage di Detroit degli anni ‘60, il beat anglofilo (con davvero una venerazione per il Mersey Sound), la bubblegum music, il pop, a cui aggiungono il look da tossici, le tematiche da reietti, che li faranno profeti dei teppisti dal cuore tenero. Ramones è il loro primo indimenticabile lavoro: la Sire Records li mette sotto contratto nel 1975, e il budget è esiguo, circa 6000 dollari, e servirono giusto per due sessioni. Ma bastano il primo di una serie di richiami tribali, in questo caso e i tre accordi killer di Blitzkrieg Bop, che Lester Bangs in un articolo famoso fece risalire a Louie Louie e addirittura a La Bamba per dire che un terremoto sta arrivando. Nella prima edizione i 14 brani, innocenti, vivaci, pazzi, non diventano subito degli inni, un po’ perchè non si capisce bene cosa vogliano dire, tra i testi non-sense e la caratteristica pronuncia di Joey, che si “mangia” le parole un po’ dove gli capita e un po’ perchè per la tecnica di registrazione particolare fu preso quasi per uno scherzo. Ma con il tempo le canzoni e le storie che raccontano sono diventate famosissime: da Beat On The Brat, che Dee Dee ha sempre raccontato fosse una storia vera:«Joey vide una madre correre dietro al figlio impugnando una mazza da baseball e ci scrisse sopra una canzone»; a Now I Wanna Sniff Some Glue, sul passatempo preferito dei ragazzi di Forest Hills, il quartiere del Queens dove la band nacque, a cui dedicarono in seguito anche una iconica Carbona Not Glue; Today Your Love, Tomorrow The World fu ispirata a Dee Dee dalla sua adolescenza passata in Germania e anche per i soliti testi strani, fu accusata di simpatie naziste (totale sciocchezza); Judy Is a Punk racconta la vita di due scalmanate fan del gruppo, tali Jackie e Judy: la canzone si scoprirà in seguito avere un valore profetico, perchè nel testo si parla di una loro misteriosa scomparsa (They both went down to Berlin, joined the Ice Capades\And oh, I don't know why\Oh, I don't know why\Perhaps they'll die, oh yeah) ed effettivamente le due ragazze morirono in un incidente aereo; Chain Saw è ispirata al film Non Aprite Quella Porta, Havana Affair è totalmente pazzoide, c’è persino una dolcissima canzone d’amore, I Wanna Be Your Boyfriend e una cover di Let’s Dance, portata al successo da Chris Montez nel 1962. Inizia qui un trittico mitico (con Leave Home del 1977 e Rocket To Russia sempre del ‘77) con la formazione a quartetto classica (nel 1978 Tommy se ne va ed entra Marc Bell, che diventa Marky Ramone) che lancia nella leggenda rock 4 personaggi che a ritmo di non sense ed intercalari scriveranno una pagina simbolo della storia del rock.
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Don’t Stop: Fleetwood Mac’s Grammy-Winning ‘Rumours,’ 40 Years On
CIRCA 1977: (L-R) Lindsey Buckingham, Christine McVie, Mick Fleetwood, Stevie Nicks and John McVie of the rock group ‘Fleetwood Mac’ pose for a portrait in circa 1977. (Photo by Michael Ochs Archives/Getty Images)
It was the album of a generation — a bestseller boasting hits galore and a backstory that would rival Dynasty and Dallas and the other TV soaps soon to emerge.
It was made by a colorful, attractive band whose first Rolling Stone cover depicted all five band members in bed together.
The year was 1977, the band was Fleetwood Mac, and the album was Rumours.
Incredibly, it turns 40 this week, on Feb. 4.
To say that Rumours changed popular culture would not be an exaggeration. It was the album that lifted what had been a successful, long-lived, onetime British blues band into the sales stratosphere; that launched the unforgettable image of the bejeweled, twirling, scarf-bedecked, deliberately mystical singer Stevie Nicks; that was filled with catchy but often deeply personal songs about disintegrating relationships — and, not incidentally, a polished piece of pop perfection that sounds equally inspirational four decades on.
A significant amount of drugs were involved in its making.
But then, that was the ‘70s, wasn’t it?
Founded in 1967 in London by legendary blues guitarist Peter Green, Fleetwood Mac played wonderful music but changed band members with alarming regularity. By the time Rumours had come to be, gone were great slate of players including guitarists Green, Jeremy Spencer, Danny Kirwan, and America’s own Bob Welch — and in were the colorful pair of Nicks and onetime romantic partner Lindsey Buckingham. They’d joined the band in 1975, and with remaining Mac members Mick Fleetwood and then-married couple John and Christine McVie, recorded an eponymous album that — unexpectedly for all concerned — hit No. 1 and would go on to sell more than 5 million copies.
Then things really got weird.
With the last album’s success of the Christine McVie-penned “Over My Head” and “Say You Love Me” and Stevie Nicks’s own, culturally myth-making “Rhiannon,” recording a follow-up might have been a breeze. But it absolutely was not. Not helping? The decaying personal relationships of literally every band member. The McVies had split and were barely communicating; Buckingham and Nicks were a couple no more; and drummer Fleetwood himself was facing an on-again/off-again relationship with wife Jenny Boyd, which finally ended in 1978.
And about the drug thing: “Those days were crazy,” drummer Fleetwood would later tell writer Craig Rosen in his book The Billboard Book of Number One Albums (Billboard Books, 1996). “It’s no secret that we were definitely abusing drugs in those days. It was one major lunatic party.”
Finally, there was an almost freakishly obsessive drive to record a sonically perfect follow-up. The band first moved en masse to Sausalito, spent nine weeks recording material they ultimately found unsatisfactory, stopped to tour a bit while Fleetwood Mac reached Billboard’s No. 1 slot, then watched in horror as their intended master tapes for the new album started wearing thin due to multiple overdubbing.
But when it was done, it was done, and Rumours — as it was called, at John McVie’s suggestion — was first announced by the December 1976 arrival of lead-up single “Go Your Own Way,” a top 10 hit with a telling title and lyric that well represented the coming album’s emotionally turbulent themes.
And then: BOOM!
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Rumours soared to No. 1, knocking off no less than the Eagles’ Hotel California, and with its surplus of new hits including “Dreams,” “Don’t Stop,” and “You Making Loving Fun,” stayed there for 31 weeks. It would later win the 1977 Grammy for Album of the Year, sell more than 45 million copies worldwide, and in 2014 receive the extremely rare diamond (translation = even better than gold or platinum) certification from the RIAA for U.S. sales of over 20 million. And that was three years ago.
But back then, success — and excess–was taking its toll. There was rough emotional going, and while other albums by this diamond-version Mac would follow — the rewarding and experimental Tusk, a live set, the mildly disappointing Mirage, and the extraordinary (and soon to be re-released in a deluxe version) Tango in the Night — Lindsey Buckingham would then depart, and things were never quite the same again.
Sort of.
While there was an unexpected respite in 1993, when the full band memorably reunited for President Bill Clinton’s inauguration ball and gave “Don’t Stop” — Clinton’s chosen campaign song — an unexpected re-performance, solo albums by nearly every Mac member was the norm for most of the ‘90s.
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Fast forward to May 22, 1997, and guess who’s back? Live on a Burbank soundstage, celebrating the 20th anniversary of Rumours, it’s the newly reunited Fleetwood Mac: Buckingham, Nicks, Fleetwood, and the McVies. If making that album had been a case study of study of the impact of excess on business efficiency, time has changed much: From this reunion performance would come an MTV special, a separate VH1 special, a live album (The Dance), and eventually a home video release. And it all served as a preview for an upcoming live tour. Fleetwood Mac: They’re back!
It is still May 1997, a bit later, and I am sitting in a small waiting room in Conway Studios in Hollywood. In one of those uniquely journalistic scenarios, while I sit in the room, recorder and notes nearby, each of the members of Fleetwood Mac is brought in for questioning. Surreal? You bet.
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Lindsey Buckingham is discussing his original reason for departing the band back in 1987. “It really was a survival move, emotionally and physically,” he says. “It was just the atmosphere was not very conducive to being creative. A lot of the people had personal problems. It was just in order to regroup — and get back on a track where I felt I was really grounded in the process again, and was sort of, in theory, doing it for the right reasons again.”
Rumours and all that it entailed did much for popular culture, but it’s a good bet it did even more for — and to — the five members of Fleetwood Mac who were a part of it.
Buckingham says the time away from the band has done him very well indeed. “I’ve settled down a lot emotionally, and a lot of that comes from just having been away,” he says. “Really, you break up with Stevie in ‘77, and then you work with her for the next 10 years. I mean, it’s just not normal. It’s just not the way it’s done.” He laughs.
“And you would think, ‘Well, 10 years, get over it, buddy,’ but certain things just did not get resolved until I removed myself from the situation. So there’s that, there’s the fact that everyone’s habits are little bit different now. I mean, Stevie especially — she’s like very reminiscent of the person I used to live with, the person I fell in love with. There’s a sweetness that was totally absent, or blank, before.”
Later, and separately, Stevie Nicks is sitting down, exuding warmth, candor, and the sort of difficult-to-pinpoint personal appeal that made her an entire generation’s most-favorite-ever Welsh Witch.
Did she ever wish things in Fleetwood Mac, back in those days, had gone down differently?
“Oh, it could never have been any different than it was,” she says with absolute conviction. “You know, Lindsey and I didn’t even drink when we joined Fleetwood. We couldn’t afford to drink. So we started drinking like anybody else starts drinking — just to handle the mental pressure. We were really young, you know? Twenty-seven years old, really, really young, and this was all so big and so heavy around us, and people expected so much from us. And all of a sudden we went from barely having enough money to pay for a small apartment to being rich overnight — and how do you deal with that when you’re 27 years old?
“You kind of don’t deal with it very well. And nobody dealt with it very well.
“But all of those problems, and all of those drugs, and all of the fun and all of the craziness, all made for writing all those songs. If we’d been a big healthy great group of guys and gals that just were, you know…” She looks for a word that conveys regular or ordinary. “…then none of those great songs would’ve been written, you know?”
Reconfirming that point of view with warmth, charm, and noticeably excessive height, lanky drummer Mick Fleetwood takes his seat at Conway and discussed the mythology of the Mac, of that Rumours time and all that came with it. And even later.
“No matter how many horrors stories people were told,” he says, “and how many horror stories we told, I think you’ll find when you speak with everyone — the reality is that we never lost, there’s a real underlying love, a true love that is fairly unique, in this band, in my opinion. We’ve all done terrible things to one another, just as lovers do. And now, we truly look at that and go, there’s business involved, but this is not business.”
It was an interesting time back then in 1997, for Fleetwood Mac and how Rumours was then perceived. Don’t forget, it came at the height of punk rock’s popular emergence, and in some ways the band and all they represented — dollars, lifestyle, conspicuous consumption — was the antithesis of all then deemed cool. But not for long. Conspicuous era hipsters like Billy Corgan and Courtney Love were singing Fleetwood Mac’s praises back then. Corgan’s Smashing Pumpkins would go on to cover “Landslide,” and Love herself took on “Gold Dust Woman” and “Silver Springs.”
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Buckingham mentions it when we speak of the timeliness of the Mac’s 1997 reunion. “You’ve got this whole younger group of people whose parents used to come see shows,” he says. “And they know the Fleetwood Mac music on record, and maybe because people like Courtney and Smashing Pumpkins have sort of been vocal about saying, ‘Hey, Fleetwood Mac is, whatever, not the enemy anymore — or whatever you want to say about that. The timing of that is great.”
And while the music of Corgan and Love continues to fall in and out fashion, in 2017 the 40-year-old Rumours sounds as fresh and inspiring as ever. These days, music reviewers refer to it when they want to describe a new musical work reflecting deep personal turmoil, frazzled relationships, even gleeful excess, etc. And its impact has only grown with time. As of today, “Go Your Own Way” has been played 110,903,863 times on Spotify — and I reckon that it will continue to be listened to long after that streaming music service ends its run.
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Of all people, it might be Nicks who nails what it is that makes Rumours so special.
She is recounting what it felt like to perform that material again — with Fleetwood Mac, in front of that live audience. The reception could not have been more enthusiastic, I tell her.
“It makes you feel a little bit like you’re having a kind of a holy experience,” she says, a bit of the mystic apparently hitting her. “Like we’re all going back to how we were when we heard ‘Gold Dust Woman’ on the radio — when we were driving down the street with the top down on the car, we’re all back there, and the ‘silver spoon’ and ‘dig your grave’ lyrics, and ‘Don’t Stop.’
“It’s like, when I think of those songs, I remember where I was and what I was doing when I was hearing them. And I can see it in people’s faces. I can see… it’s like all of us get to go back. For a little while in time, we get to escape back there.”
#_uuid:7b59631a-f6c3-3ab0-8e83-745fb64d8085#grammys#awards#_author:Dave DiMartino#fleetwood mac#_revsp:wp.yahoo.music.us#_lmsid:a0Vd000000AE7lXEAT#interviews
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Article By: Pat ‘Riot’ Whitaker, Senior Writer/Journalist ‡ Edited By: Leanne Ridgeway, Owner/Chief Editor
Let’s be honest, musicians during the earliest days of rock and roll selected some very mediocre, or lame, or just terrible names.
The Beatles, The Doors, The this, or The that… and in the Twin Cities of Minneapolis and Saint Paul, Minnesota circa 1967-ish, there was the bands The Grasshoppers and The Bananas. In fact, it was 1968 when The Grasshoppers ended a five year run and threw in the towel as singer Jiggs Lee was seeking a college draft deferment to avoid being shipped to Vietnam.
The following year, The Bananas were making some personnel changes, ones that brought Jiggs Lee into the band as their vocalist and Mike Mlazgar (ex-Crow) on drums. Rounded out with bassist Dave Elmeer, guitarist Lloyd Forsberg, and keyboardist Al Dworsky, The Bananas continued to fulfill existing recording contracts and already scheduled shows while determined to make changes. One of their biggest changes, of course, was the adopting of a new name and one day, half jokingly, Lloyd suggested “Cain”. No one had any objections and so, just like that, the quintet morphed into the band named CAIN.
Being around half a century ago, fifty years give or take, bands did things quite differently, without the shortcuts and mass exposure of the current age. Then, bands had to get out and play live, where they hoped to be “discovered” as they learned the ropes. CAIN had been doing this for a couple of years as they developed strong local support for their heavier take on hard rock and proto-metal music. During this period in the trenches, Mike Mlazgar would be replaced by Tom Osfar just as the band were establishing a foothold in larger markets like Chicago.
Eventually Al Dworsky would depart CAIN as well, leading to a string of short term keyboardists that included Fane Opperman, then Jerry McGee. The role changed hands once again, this time filled by Chas Carlson, while CAIN were becoming a regular act on the Midwestern U.S. club circuit, playing alongside other unknown bands at the time like Kansas, Cheap Trick, and Styx.
Tom Osfar was the next to leave CAIN, replaced by Kevin DeRemer as the band decided to remain a four-piece. During this period, several record labels were courting CAIN, who eventually signed with ASI Records (Audiotek Systems Inc.). Their first album, ‘A Pound Of Flesh‘ (a reference from Shakespeare’s “The Merchant Of Venice”), was released in 1975 and was originally intended to have a very ethereal theme permeating its music. To this day, the album’s cover artwork has been the source of speculation and confusion despite having a simple reason for being – it was the idea of the ASI Records’ marketing department run amok. A soup can full of what appears to be entrails and other fleshly chunks piled around it… yes, I am sure The Bard would approve.
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‘A Pound Of Flesh‘ was followed by a second album in 1977, ‘Stinger‘, as CAIN continued to grow in popularity. Everyone seemed to expect CAIN would sign with a major record label at any point but then, half the members abruptly split in 1978 and the band quickly fell apart. It was truly a profound loss of an amazingly talented, highly creative band to be sure.
At the time of their dissolution, CAIN had begun recording material for a third album. Talk over time has established that this music was the band’s most ambitious, diversified, and wide ranged music yet. It was created with a much bigger picture in mind, a plan to provide their very best artistry in the hope it would help launch the band into a better situation with a new label. This didn’t happen unfortunately but Monster Records (now Rockadrome) stepped up and reissued ‘A Pound Of Flesh’ in 2003 – with these unreleased songs as bonuses – and helping CAIN to be discovered by a new generation of 70’s rock fans.
Unlike so many other acts from that period of time, the legend of CAIN has only grown as they achieved a revered cult status with those that appreciate the band. Long out of print for many years, copies of both original studio albums have been known to fetch hundreds of dollars each on the retail market.
No less of a rock authority than Mr. Martin Popoff has excessively praised CAIN, saying in his ‘The Collector’s Guide To Heavy Metal – Volume 1: The Seventies’ book:
“Cain deserve to be ranked right up there with Truth And Janey as one of the most capable, ready-for-prime-time bands, toiling away, shining metal in hand, throughout America’s underground.”
He goes on to call A Pound Of Flesh “a classy piece of work…innovatively arranged… [with] a tight, immediate drum sound and tone-rich guitars.”
CAIN was inducted into the Mid-America Music Hall Of Fame on September 17th, 2010 and performed a short live set at the ceremony. This was the first time these musicians had re-assembled as CAIN in nearly 20 years and their reformation was well received, leading them to continue playing occasional gigs around their region. Second album, ‘Stinger‘, was remastered and reissued by Rockadrome in 2013, with several then-unreleased live songs added as bonus tracks.
CAIN continues to play an occasional live show while there are at least two unauthorized live bootleg recordings circulating today, ‘Live ’73-’77‘ and ‘Live At Thirsty Whale, Chicago 10-06-77‘.
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Oldschool Sunday: CAIN Article By: Pat 'Riot' Whitaker, Senior Writer/Journalist ‡ Edited By: Leanne Ridgeway, Owner/Chief Editor Let's be honest, musicians during the earliest days of rock and roll selected some very mediocre, or lame, or just terrible names.
#Al Dworsky#ASI Records#Audio Stream#Cain#Chas Carlson#Dave Elmeer#Fane Opperman#Hard Rock#Jerry McGee#Jiggs Lee#Kevin DeRemer#Lloyd Forsberg#Mid-America Music Hall Of Fame#Mike Mlazgar#Oldschool Sunday#Rockadrome#Streaming#Tom Osfar
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30 Times Kids Realized Their Parents Were Cooler Than Them (New Pics)
New Post has been published on https://parentinguideto.com/must-see/30-times-kids-realized-their-parents-were-cooler-than-them-new-pics/
30 Times Kids Realized Their Parents Were Cooler Than Them (New Pics)
Whether we like it or not most of us will become our parents one way or another – from something as small as the way they laugh or maybe something as profound as the same career path. Some of us crumble at the notion that we could share similarities with our less hip parents – but for the kids of the parents in these photos, the levels of cool exuding from their older generation are something they can only hope to aspire to.
Bored Panda presents a new photo list of times kids came across old photos of their parents only to realize their parents were cooler than them. So scroll down below to check out some photo album treasures and upvote your favs. Maybe it will inspire you to ask your own parents to show you what they were like when they were young!
#1 My Favorite Picture Of My Mom. She Was The Only Girl In Her Welding Class In 1984. Byrd High School, Shreveport, Louisiana
Generational differences – sometimes it’s hard to get an explanation of what the older generations were thinking other than “It was a different time.” Progress is great but what are some things older people may miss about their youth? First we have the style. There is a reason we love shopping at vintage stores – because compared with the some of the looks of today our parents had some pretty cool looks. But when did Americans decide to trade in their tailored slacks for leggings? Casual fashion went through many milestones to reach where it is today but in 1966 James Laver, a renowned historian of dress, told a group of fashion industry executives, “Clothes of the sexes are beginning to overlap and coincide.”
#2 My Mother Doing A Handstand On Two Skateboards (Circa 1980’s)
#3 My Mom Flew Helicopters For The Army In The 80s
Millennials may think they are the most connected generation with all of the various media platforms but this has caused less trust and isolation among these young people. According a survey 56 per cent of those aged 22 to 37 would trust an ordinary person in the street to tell the truth, compared to 77 per cent of baby boomers.”Levels of social trust have been argued to be a strong predictor of national economic growth, levels of life satisfaction and suicide rates,” it says.
#4 Chuck Norris Pinned By My Dad
#5 My Dad At His First Job At Nasa!
We all have our vices – but maybe the younger generation has healthier ones. With anti-smoking campaigns like ‘truth’ smoking isn’t as widely accepted and definitely not depicted in the 50’s Mad Men style way. Our parents grew up in a different time though, for example ot wasn’t until the 1990s that smoking on airplanes was banned completely.
#6 My Dad Diving Off The Starboard Fin Of A Submarine And Into The Pacific Ocean In The Summer Of 1983
#7 My Mom, Age 15, Smoking At An Allman Brothers Concert With A Broken Arm. Watkins Glen ’73
Hipsters may think that they are a step ahead of the rest with their beards and man buns – but just as it is with their vintage fashion sense they must pay their respects to the pioneers of long hair fashion. Long locks on both men and women became a trendy look in the 1960s and 1970s, Before that you would have been side-eyed for your unruly mane.
#8 My Dad And His Veterinarian Mother, With Their Pet Lion Which They Raised For Two Years, 1959
#9 My Mom Holding Myself Whilst Writing Her Master Thesis On The Macintosh Classic II (1991)
Want to know why your parents are cooler than you? Because the things we think are trendy now began back in their day. Walk into any Urban Outfitters and you will see walls with vinyl records and record players. Well vinyl records were created in the 1950’s and your parents definitely weren’t using these discs for decoration – anyone feel like listening to the Beatles?
#10 My Dad (Front) In Vietnam In 1971. He Didn’t Know This Photo Existed Until I Came Across It Randomly On The Internet. He Cried When He Saw It
#11 My Friends Parents Are Celebrating Their 47th Anniversary This Week. Here’s Them Being Badasses In The 70’s
#12 My Parents In 1972 In Front Of Their Store In Paris
#13 My Mom In The Police Academy, 1984
#14 My Mom Was A Homicide Detective In The 80s
#15 My Dad A Zoo Keeper In 1992
He was the only one at the time who could call the rhinos by name and they would come running like dogs. They enjoy a scratch behind the ear like dogs too.
#16 1969 Vietnam: My Father’s Version Of A Selfie Before Selfies Were A Thing
#17 My Pregnant Mom At Gunpoint Trying To Get Home – May 1969 Berkeley
#18 My Father Who Shipped His Bike Over To England And Rode All Over Europe On It – 1973
#19 Mom Spinning Records At Kwkh, Shreveport – 1977
#20 My Dad’s Graduation Photo. Circa 1970’s
#21 My Mom As A Red Cross Volunteer In WWII. She Had Her Own Radio Show In The Pacific Theater To Counteract Tokyo Rose. 1944
#22 My Mom Fled Saigon In 1975. By The 90s, She Had Joined The US Air Force
#23 One Of My Favorite Photos Of My Parents In The Late 70s
#24 Pretty Rad Picture Of My Dad When He Was 22, In Texas, Taken In 1987. That Ghettoblaster Is Epic
#25 My Hilarious Father (With The Magazine) And My Grandfather, Grandmother, And Uncle At His Bar Mitzvah In 1972
#26 My Dad Taking A Smoking Break While Fighting Saddam Husseins Army In The 80s
#27 My Mom Said She Gave This Up When She Had Me. I’m Pretty Sure She Stopped When I Was Old Enough To Want Some (1970’s)
#28 My Father Halfway Through Motorcycling Across Africa – 1980s
#29 My Dad Fishing… On A Nuclear Submarine 1966
#30 My Mom In The Hospital After Giving Birth To My Sister. Canada 1978. Smokes And Roasted Chicken
Read more: http://www.boredpanda.com/
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Hip hop history was like this..
There's probably some kernels of truth to Latino contribution with the demographics of Bronx. You had Carlos Mendez, (Charlie Chase), DJ Wiz…however FBA (Foundationaly Black American) in origins. Facts that can't be obfuscated in FBA founding on all components of hip hop (except graffiti art). This stuff is timestamped and recorded
1 Herc never said he transplanted hip hop from his homeland of Jamaica to NYC. In fact, we hear, the opposite on a 1989 recorded interview. He notes that people weren't feeling his native music at the time, so funk and soul was played…and James Brown was the main one.
2 Ken Swift and Crazy Legs both allude to the African American origins of the dance. Legs says in like the latter 70s, they would call it Morano style whenever the moves that came from early 70s Zulu Kings was noticed (exemplified by FrostyFreeze). Morano denotes black and original in this context. He says this is the original style, tho played out by the latter 70s - very very early 80s. Puerto Rican youth added much to that.
The earliest b-boy crew people can recall by name and memory has consistantly been the Zulu Kings in interviews over time (circa 1973, probably still Black Spades or Baby Spades till 75, but they were Bronx Burning or Uprocking to minor floor moves as Spades before 1975). The b-boys back then were African American youth like Sasa, Trixie, PeeWee Dance, CharlieRock, N….Twins, Dancing Doug, Beaver, Lil Boy Keith and more. After 1976-77 the original African American youth began moving away from the dance. It was becoming "old hat", and more and more Peurto Rican youth picked up on, added to, and expanded on it. Crazy Legs said the brothas would say THAT'S PLAYED OUT when he would break in like 78-79 There's early 90s footage of Lil-Boy Keith (his 70s street name), demonstrating early ZuluKings style. He's also in the 1984 documentary Beat This, A Hip Hop History. Footage of him reminds me of KenSwift's description of old style breaking being more sporadic and lots of freeze moves. Also PeeWee Dance hanging with RockSteady in the early 90s..going off, Spade dancing, Bronx Burning ,uprocking…
3 In a interview circa 1984, Melle Mel was asked where do you guys get names like Grand Master Flash. Long before Ytb and Internet and debates on hiphop's origins, Mel tells us…we were influenced by people like Grand Master Flowers (African American) of 60s Brooklyn. Keep in mind that Flowers opened up for James Brown in 1968 at Yankee Stadium in Bronx, NY…..perhaps the initial point it was transplanted from Brooklyn to Bronx. Melle Mel, as well as Mr Ness (Scorpio of Furious Five) was in a b-boy crew called D Squad. Fellow member Fuji of the long forgotten group said this was 1974 in middle school. There is a picture of Mel and Fuji in more recent times and Fuji in the 70s.
In a documentary about a Bronx, NY neighborhood called Simpson Street, filmed 1977 and released in 79, we hear perhaps the first publicly broadcast hip hop sound. After the narrator finishes speaking near the beginning, the next scene opens up to a roof top party with a 70s rap sound. Some people, claiming they were there that night, say that's Mr Ness and Grand Master Flash you hear in the background(?). Sounds like Coke La Rock's description of his original 1972-73 style… A list of shout-outs to people in the room and a little rhyming in between.
In the 77 doc, young blacks and Puerto Ricans hanging out together seem to get along very well like street family.
4 Coke la Rock (African American) was the first Emcee/rapper (in hiphop) and best friend of Kool Herc, going back to middle school in the 1960s . He says that it wasn't a music genre back then, but it's just the way he talked on the Mic when giving announcements…and the people loved it. This is a very important detail because specifically African American announcers and performers have always rhyme talked to beats in this manner, going back to the 30s and 40s. Back then ya might hear … "WELL AH REET, ALL ROOT, ALL RIGHT…BE AT THE JITTER BUG CONTEST TONIGHT. You have the Co Real Artist out of Los Angeles (total opposite side of country) with the 1974 song "What ya Gonna Do In The World Today". They sound like The Funky Four Plus One's 1979-81 style. Gary Byrd in the early 70s was absolutely rapping with that early70s hip jazz/soul style. Jacko Henderson in the 50s, The Jubilees in the 40s, Pig Meat Markam in the 60s.. I would even say songs like Don't Burn Your Candles at Both Ends by Loius Jordan , 1940s…in the movie Look Out Sister 1946, but more like rapp on the record version. Or his 40s song Beware. Even more so like rapp than singing was his song Look Out (also in the 1940s independent African American movie).
Coke does make the connection to The Last Poets, saying he was influenced by them and others like that (in the video "Coke la Rock a DJ, With Herc".. by The Culture, Started in 71, at 35:28 in vid).
In the 1930s soundie (musical short/music video) called Caravan, The Mills Brothers are rapping in the scene where he's talking to the young lady. Not long after that, the young man starts basically uprocking into breakdance sweeps.
Jacko Henderson is in the 1981 20/20 ABC news special, covering this new thing called…HIPHOP. Jacko is very familiar with this sound as he snaps his fingers remembering a few verses from the 1950s,
In 1983, Gary Byrd appeared on the British show Black on Black by LWT Studios (London tv). He was asked when did he start rapping. Byrd tells the host that in 1965 he came across some tapes of Jacko Henderson from the 1950s, doing this style of announcements on radio (also done by other African American DJs across America). Byrd's songs from 1970 - 73 include Soul Traveling (very much like rapping) , If the People Only Knew, Are You Ready for Black Power…
In the latter 60s into the 70s Frankie Crocker of NYC radio was known to rhyme talk in a manor that sounds like a predecessor to hiphop music. He might say HEY BABY, IT'S GUARANTEE TO PUT A CUT IN YOUR STRUT, A GLIDE IN YOUR STRIDE, A DIP IN YOUR HIP…IF YOU AIN'T DIGGING THIS, YOU MUST HAVE A WHOLE IN YO SOUL. He also appeared in 70s movies like Five on the Black Hand Side (73) and 1975 Darktown Strutters.
In a 1973 movie called Five on the Black Hand Side, the Kool guy who walks into the barbershop immediately puts a coin in the jukebox, and starts doing what they once called jive talking. Sounds so much like rap, the Sugar Hill Gang used one of the verses. Both Ali and H. Rapp Brown (coincidently) spoke in this manner in the 60s and very early 70s (warning if looking up Brown's 60s speeches…they may contain a few epithets. Sensitive political and social times). The Last Poets (latter 60s - very early 70s) with songs like Run, MEAN MACHINE - 1971 (MUST LISTEN TO THAT ONE IF YOU NEVER HEARD), True Blues, On the Subway (1970), New York New York, and others, were rapping back then with poetry and African sounding drum. Keep in mind that rapp means to talk, not neccesarily rhyming, (though they often did).
Also in the 73 movie Five on the Black Hand Side, the Black Panther like character that walks into the barbershop asking permission to put up a flyer for the freedom of one of his brethren, then reminds them that the police are becoming more fascist. After that, he sort of raps when he says…WOE TO THOSE WHO CAN'T SWIM JIM. Then he walks out in a rhythmic like manner. Frankie Crocker does a little poetry as he remembers everyone street number (street lottery) in one of the barbershop scenes
KRS1 references Coke in a 80s rap. His partner was Scott LA Rock, and they followed the trend from early 70s Coke La Rock. We also have ShaLa Rock…female rapper from the latter 70s - early 80s, and others… Rapper and 70s breakdancer T La Rock (African American…Known for the 1984 rap song It's Yours) Even a 1978 Puerto Rican based breakdance crew named Starchild La Rock.
5 Batch, a Puerto Rican guy who created TBB (The Bronx Boys) as a youth in circa 1975-76. They were a breaking crew. He tells Colon on a Livestream (no time to edit out😂)….YOU CAN SEE ON MY SCREEN IM PROUD OF MY RICAN HERITAGE WITH THE FLAG ON THE WALL, BUT THIS HIPHOP COMES FROM THE BROTHAs… Deer in the headlights look
From a firsthand perspective, Batch says on another modern Ytb vid that he looked up to the ZuluKings or Spades, before TBB, as a inspiration.
6 Everyone that came up in the Bronxdale projects during that time of the 60s and early 70s seem to remember DJ King Mario (African American).. concurrent with Herc. In fact, a few said they knew each other, but Mario like to do outdoor block party/festival style, while Herc was more indoor venues.
7 One of the first Hispanic hip hop DJs said he seen all black people back then and sometimes wondered if he would be rejected based on his ethnic background. He found a warm welcome, because it was based on how good you were and not race. HE WAS GOOD. (in other words, even a African American youth would be booed off the stage and told to go back to his borough in a NYC accent, if they weren't good).
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You always had R&B music artist incorporate a little Latin sound like Reasons by Earth Wind & Fire 1975...with a Cuban style, or Running on the 1977 All N All album. Also Herman Kelly with the 1978 song dance to the drummer beat.
Tito Puente of Puerto Rican background was a musician who played on certain SugarHill rap records.
Carlos Mendez not only cofounded the Cold Crush Brothers circa 1977, but also established the first know hiphop gathering or convention, circa 1979-80.
Better known by his stage name Pumpkin, 70s-80s HipHop drummer Errol Eduardo Bedward played on many songs of the genre.
His overall appearance was of a typical African American, but was of Costa Rican and Panamanian background. He spoke fluent Spanish.
Artist he played for include...(1979 to 1984), Grandmaster Flash and the Furious Five Spoonie Gee, Treacherous Three, Funky Four, Grandmaster Caz, the Fearless Four, and Dr. Jeckyll & Mr. Hyde, and several more obscure names. His 1983 single "King of the Beat", Pumpkin and the Profile All-Stars' "Here Comes the Beat" (Profile, 1984).
Puerto Ricans bros like Ken Swift, Crazy Legs, Mr Wiggles, and even Trac 2 (when he was younger and humble😄), said they saw mostly African American youth breaking before like 75-77. Trac is in a 1978 photo with Spy (African American and Spanish). Also Rene and Boss same year. They just won a breaking competition. Crazy legs said Spy was the first person he ever seen do this dance as a 9 year old in 76. Spy was in his early teens. In rare photos from an original RSC (Rock Steady Crew) website, Legs is in 1979-81 photos with forgotten African American members like Ski, Kippy D, Lil Craze, and their 1977 cofounder Jimmy Dee (with PuertoRican friend Lee). I say this so you can see the dance was both African American and Puerto Rican at the same time. You kind of sense that in the old photos (many youth added moves to it that became popular).
In a 2013 gathering celebrating hiphop, Crazy Legs introduced their 1977 African American cofounder, Jimmy Dee, to the crowd. Many never seen him because being a couple of years older (upper teens), he went off to college by time the 80s came around. In a modern Ytb livesteam interview, he says in like 78 this 12 year old, exuberant about the dance dormant in Bronx and Harlem at the time, asked him if they can start a new chapter of RSC before moving to Manhattan. We know this enthusiastic dancer as Crazy Legs
In the 1974 movie "Education of Sonny Carson", coincidently about a African American gang in New York City, the one teen that likes to dance is up-rocking into James Brown like splits (Staten Island boat scene and parade scene). It reminds me when Ken Swift describes old style breaking (before 1976/77) as looking more like FrostyFreeze style ( African American teen in Flashdance who jumps on his back. Movie was filmed in 1981 and released in 83)
In the outtakes of StyleWars, filmed in 81 and released in 83, Kippy D of old Rock Steady Crew informs us that they just incorporated Poplocking from the West coast. This componant lumped into breakin was absolutely African American. A derivative of 1969 locking, created by Don Campbell, POPPIN was introrduced to L.A. youth by African American Boogaloo Sam and his brother Poppin Pete (African American) of Fresno, CA, circa 1976. So it's like it came full circle back to L.A - stemming from lockin). Debuted on SoulTrain in 1978 by Jeff Danials and his crew, it became a popular dance of young people and performers at the time (1978 thru 83-ish).
Another interesting detail in StyleWars (filmed in 81...important to emphasize that here), Frosty Freeze tells the interviewer that the dance started in Bronx as well as parts of Harlem.
Rock dance is not the base of up rock commonly used in breaking. You have a Puerto Rican Rock dancer of 70s Brooklyn saying he seen breaking in the Bronx circa 1975 and it looked nothing like what they did. It appears that rocking was feet shuffling while uprocking was more jumping and arm swinging movements. Even Brooklyn Rock Dance, with it's mysterious origin, shows more affinity to African American style than Latino.
In the 1950s African American teens created their own form of Mambo. (Look up Brooklyn Mambo, 1950s). It's very close to RockDance. Even in some of the footage Spirit Moves between the 1920s -50s, similarities show up here and there. So far we can't find videos of Latin dance in this manner concurrent to that 50s era. Uprockin for breakin comes from Spade Dance (Black Spades, 60s - early 70s Bronx gang). Just like C-walking (Crip Walk 1970s), people just forgot over time the African American street culture these styles are based on. In the history of Melbourne Shuffle, no one seems to mention or allude to the fact they're C-Walking with a little 80s New Jack Swing...sped up. This is the same scenario in not recognizing Uprock being originally Spade Dance. In a 1990, hiphop doc, PeeWee Dance, an original ZuluKing member, hangs with RSC as he demonstrates the raw essence of what they did in the early 70s. He is SpadeDancing/Uprockin/BronxBurning/Going Off (video should be on Ytb...YOU GET THE SENCE OF WHY THEY CALLED IT GOING OFF)
Graffiti art was born in 60s NYC and included many races of people. Bleach, Hispanic, Italian, and even firsthand reports of Asian. There's no definitive evidence that it came from Philly of the 60s
God bless (see Biblical Salvation)
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Hip hop history was like this..
*There's probably some kernels of truth to Latino contribution* with the demographics of Bronx. You had Carlos Mendez, (Charlie Chase), DJ Wiz...however FBA (Foundationaly Black American) in origins. *Facts that can't be obfuscated in FBA founding on all components of hip hop (except graffiti art). This stuff is timestamped and recorded*
1 Herc never said he transplanted hip hop from his homeland of Jamaica to NYC. In fact, we hear, the opposite on a 1989 recorded interview. He notes that people weren't feeling his native music at the time, so funk and soul was played...and James Brown was the main one.
2 Ken Swift and Crazy Legs both allude to the African American origins of the dance. Legs says in like the latter 70s, they would call it Morano style whenever the moves that came from early 70s Zulu Kings was noticed (exemplified by FrostyFreeze). Morano denotes black and original in this context. He says this is the original style, tho played out by the latter 70s - very very early 80s. Puerto Rican youth added much to that. The earliest b-boy crew people can recall by name and memory has consistantly been the Zulu Kings in interviews over time (circa 1973, probably still Black Spades or Baby Spades till 75, but they were Bronx Burning or Uprocking to minor floor moves as Spades before 1975). The b-boys back then were African American youth like Sasa, Trixie, PeeWee Dance, CharlieRock, N....Twins, Dancing Doug, Beaver, Lil Boy Keith and more. After 76-77 the original African American youth began moving away from the dance. It was becoming "old hat", and more and more Peurto Rican youth picked up on, added to, and expanded on it. Crazy Legs said the brothas would say THAT'S PLAYED OUT when he would break in like 78-79 There's early 90s footage of Lil-Boy Keith (his 70s street name), demonstrating early ZuluKings style. He's also in the 1984 documentary Beat This, A Hip Hop History. Footage of him reminds me of KenSwift's description of old style break being more sporadic and lots of freeze moves. Also PeeWee Dance hanging with RockSteady in the early 90s..going off, Spade dancing, Bronx Burning ,uprocking...
3 In a interview circa 1984, Melle Mel was asked where do you guys get names like Grand Master Flash. Long before Ytb and Internet and debates on hiphop's origins, Mel tells us...we were influenced by people like Grand Master Flowers (African American) of 60s Brooklyn. Keep in mind that Flowers opened up for James Brown in 1968 at Yankee Stadium in Bronx, NY.....perhaps the initial point it was transplanted from Brooklyn to Bronx. Melle Mel, as well as Mr Ness (Scorpio of Furious Five) was in a b-boy crew called D Squad. Fellow member Fuji of the long forgotten group said this was 1974 in middle school. There is a picture of Mel and Fuji in more recent times and Fuji in the 70s.
In a documentary about a Bronx, NY neighborhood called Simpson Street, filmed 1977 and released in 79, we hear perhaps the first publicly broadcast hip hop sound. After the narrator finishes speaking near the beginning, the next scene opens up to a roof top party with a 70s rap sound. Some people, claiming they were there that night, say that's Mr Ness and Grand Master Flash you hear in the background(?). Sounds like Coke La Rock's description of his original 1972-73 style... A list of shout-outs to people in the room and a little rhyming in between.
In the 77 doc, young blacks and Puerto Ricans hanging out together seem to get along very well like street family.
4 Coke la Rock (African American) was the first Emcee/rapper (in hiphop) and best friend of Kool Herc, going back to middle school in the 1960s . He says that it wasn't a music genre back then, but it's just the way he talked on the Mic when giving announcements...and the people loved it. This is a very important detail because specifically African American announcers and performers have always rhyme talked to beats in this manner, going back to the 30s and 40s. Back then ya might hear ... "WELL AH REET, ALL ROOT, ALL RIGHT...BE AT THE JITTER BUG CONTEST TONIGHT. You have the Co Real Artist out of Los Angeles (total opposite side of country) with the 1974 song "What ya Gonna Do In The World Today". They sound like The Funky Four Plus One's 1979-81 style. Gary Byrd in the early 70s was absolutely rapping with that early70s hip jazz/soul style. Jacko Henderson in the 50s, The Jubilees in the 40s, Pig Meat Markam in the 60s.. I would even say songs like Don't Burn Your Candles at Both Ends by Loius Jordan , 1940s...in the movie Look Out Sister 1946, but more like rapp on the record version. Or his 40s song Beware. Even more so like rapp than singing was his song Look Out (also in the 1940s independent African American movie).
Coke does make the connection to The Last Poets and saying he was influenced by them others like that (in the video "Coke la Rock a DJ, With Herc".. by The Culture, Started in 71, at 35:28 in vid).
In the 1930s soundie (musical short or music video) called Caravan, The Mills Brothers are rapping in the scene where he's talking to the young lady. Not long after that, the young man starts basically uprocking into breakdance sweeps.
Jacko Henderson is in the 1981 20/20 ABC news special, covering this new thing called...HIPHOP. Jacko is very familiar with this sound as he snaps his fingers remembering a few verses from the 1950s,
In 1983, Gary Byrd appeared on the British show Black on Black by LWT Studios (London tv). He was asked when did he start rapping. Byrd tells the host that in 1965 he came across some tapes of Jacko Henderson from the 1950s, doing this style of announcements on radio (also done by other African American DJs across America). Byrd's songs from 1970 - 73 include Soul Traveling (very much like rapping) , If the People Only Knew, Are You Ready for Black Power...
In the latter 60s into the 70s Frankie Crocker of NYC radio was known to rhyme talk in a manor that sounds like a predecessor to hiphop music. He might say HEY BABY, IT'S GUARANTEE TO PUT A CUT IN YOUR STRUT, A GLIDE IN YOUR STRIDE, A DIP IN YOUR HIP...IF YOU AIN'T DIGGING THIS, YOU MUST HAVE A WHOLE IN YO SOUL. He also appeared in 70s movies like Five on the Black Hand Side (73) and 1975 Darktown Strutters.
In a 1973 movie called Five on the Black Hand Side, the Kool guy who walks into the barbershop immediately puts a coin in the jukebox, and starts doing what they once called jive talking. Sounds so much like rap, the Sugar Hill Gang used one of the verses. Both Ali and H. Rapp Brown (coincidently) spoke in this manner in the 60s and very early 70s (warning if looking up Brown's 60s speeches...they may contain a few epithets. Sensitive political and social times). The Last Poets (latter 60s - very early 70s) with songs like Run, MEAN MACHINE - 1971 (MUST LISTEN TO THAT ONE IF YOU NEVER HEARD), True Blues, On the Subway (1970), New York New York, and others, were rapping back then with poetry and African sounding drum. Keep in mind that rapp means to talk, not neccesarily rhyming, (though they often did).
Also in the 73 movie Five on the Black Hand Side, the Black Panther like character that walks into the barbershop asking permission to put up a flyer for the freedom of one of his brethren, then reminds them that the police are becoming more fascist. After that, he sort of raps when he says...WOE TO THOSE WHO CAN'T SWIM JIM. Then he walks out in a rhythmic like manner. Frankie Crocker does a little poetry as he remembers everyone street number (street lottery) in one of the barbershop scenes
KRS1 references Coke in a 80s rap. His partner was Scott LA Rock, and they followed the trend from early 70s Coke La Rock. We also have ShaLa Rock...female rapper from the latter 70s - early 80s, and others... Rapper and 70s breakdancer T La Rock (African American...Known for the 1984 rap song It's Yours) Even a 1978 Puerto Rican based breakdance crew named Starchild La Rock.
5 Batch, a Puerto Rican guy who created TBB (The Bronx Boys) as a youth in circa 1975-76. They were a breaking crew. He tells Colon on a Livestream (no time to edit out😂)....YOU CAN SEE ON MY SCREEN IM PROUD OF MY RICAN HERITAGE WITH THE FLAG ON THE WALL, BUT THIS HIPHOP COMES FROM THE BROTHAs... Deer in the headlights look
From a firsthand perspective, Batch says on another modern Ytb vid that he looked up to the ZuluKings or Spades, before TBB, as a inspiration.
6 Everyone that came up in the Bronxdale projects during that time of the 60s and early 70s seem to remember DJ King Mario (African American).. concurrent with Herc. In fact, a few said they knew each other, but Mario like to do outdoor block party/festival style, while Herc was more indoor venues.
7 One of the first Hispanic hip hop DJs said he seen all black people back then and sometimes wondered if he would be rejected based on his ethnic background. He found a warm welcome, because it was based on how good you were and not race. HE WAS GOOD. (in other words, even a African American youth would be booed off the stage and told to go back to his borough in a NYC accent, if they weren't good).
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