Q: What are your Bgirl/poppin names, How long have you been dancing, where are you from?

My name is and I am from the Boogie Down Bronx. Steffan ‘Mr. Wiggles’ Clemente gave me the name ‘SnapShot’ a few years ago. We started to focus more on dancing in the early 80’s with our dance crew Unique Force, which included Wanda ‘WandeePOP’ Candelario and was managed by Lawrence Cooper(RIP), aka ‘Rerun’ from the Bronx. We have been friends since the third grade. So we have been doing our thing for almost 30 years.

Q: What/who inspired/mentored you to in becoming a Bgirl/Popper and about The culture?

SnapShot: I was raised in a very talented household so I learned how to groove at a very young age. We played music, danced and entertained each other all the time at my house. From Plena and Salsa to Bronx Rocking, freestyle hip hop party dancing to eventually popping (electric boogie at the time) and basic breaking techniques. It was impossible not to follow their footsteps. My brother Dennis (RIP) with his Salsa and Bronx Rocking style, my sister Wanda with her Robot and Bronx Rocking, my sister Cookie (RIP) was an all around Entertainer with her Singing, Dancing, Clothes Design and Latin Hustle, which later became known as ‘The Hustle’ during the Disco Era and my brothers Steffan and Danny, are Bboys; Breakin, Popping and Bronx Rocking. I am a BGirl, an umbrella term for ‘hip hop girl’, it’s who I am like being Puerto Rican it’s a culture I was nurtured in. Being a Bgirl is your style, walk, passion, knowing your history, creative expression (graff, dance, MC, Dj, activism, spoken word, fashion) Once Unique Force was created ‘Rerun’ from the Boogie Down Bronx was a huge influence on us in hip-hop party dancing. He managed and choreographed our stage shows. He was instrumental in building our confidence and preparing us for battles. As time went on Mr. Wiggles and PopMaster Fable took us under their wing and taught us how to pop (electric boogie) and basic Bgirl moves like footwork to a backspin, turtles and swipes. Wandeepop: Growing up in a house filled with music watching/listening to my father play the congas while my family danced was the first. Other influences came later from people like Lawrence Cooper aka Rerun, Mr. Wiggles, Pop Master Fable, and my sister Ceci who has always supported and encouraged me to follow my dreams.

Q: Describe your dancing style? Is NYC Poppin style different from LA style & why?

SnapShot/ Wandeepop: We teach ‘organic NYC style hip-hop’. Its a combination of Freestyle party dancing, Bronx Rocking, which has a salsa, rumba, samba fusion to it and popping, but more importantly grooving. We have more of a party vibe, which is what separates NYC style from all the rest. When we started learning from Steffan ‘Mr. Wiggles’ Clemente and Jorge ‘PopMaster Fable’ Pabon it was called Electric Boogie, which included body waving, sacking, gliding, robotic movements mostly from watching the Electric Boogaloos and Original Lockers on Soul Train. This style was not being taught in dance studios at the time there was no such thing for street dance. So you copied what you saw on TV or around the neighborhood and made it your own. A few years later, West Coast and East Coast flavor came together to learn the proper techniques. Our teachers and (EB) crew members connected. A lot of information was exchanged (corrected) and changed. Funk Styles from the West, popping and locking; Bboy/Bgirl styles from the East, Breaking and Rocking.

Q: Tell us about your website http://www.SnapPopnRock.com?

SnapShot/Wandeepop: We share our memories of growing up in the South Bronx with the hip hop culture, our accomplishments as well as our opinions on what we experience in life, health, nutrition and fitness advice on how to live well, sharing products that represent our style and fashion sense as well as promote our signature ;Organic NYC Style Hip Hop for Health’ Dance Workshop ‘Snap, Pop n’ Rock’ as well as our Hip Hop Fitness Bootcamp class ‘Snap, Pop n’ Sweat’. Our site is our outlet to give women all over a voice (but is not limited, we welcome men too). The website is filled with information about Wellness (for the mind, body, and soul), Dance, Injury prevention tips, Natural healing resources, and fun neighborhood stories.

Q: Is there a difference between the way a BGirl dances verses the way a BBoy does? What are the differences?

SnapShot/ Wandeepop: Most Bgirls add their feminine flare, which is Dope. We danced hard growing up in the Bronx because our teachers were men. But we learned later, how to incorporate our femininity. Q: In the resurgence of the dance in early 90′s there were only a small handful of BGirls and even more so a smaller amount of female poppers & lockers. Name others like yourself that have helped pave the way for the BGirl movement. SnapShot/ Wandeepop: Mr. Wiggles told us stories about the BGirls from the 70’s like Sister Boo, Pebble Poo and Janice from the WestSide and later HeadSpin Janet. Unfortunately we never had the opportunity to meet them. There were Bgirls like my crew Unique Force, they made me want to be a better dancer. We all had a different style. We battled in park jams and house parties against Bboys/Hip Hop Heads. Then there was Kate Coleman, who was in the clubs with WandeePOP and I in the late 80’s to 90’s battling and she was no joke. Then we watched Lollipop represent her dope Waccking and Locking style, which was ill for us to see a Bgirl and she’s Latina, on TV holding it down. Once we were able to venture outside the Bronx and go into the city for rehearsals that’s when we met these women that weren’t afraid to rep hard and were so feminine at the same time, like Zee Boogie (who was one of the first women to Sexy Pop), and Mesami from Japan RSC. As for Bgirlin/breakin we then met HoneyRocWell, AsiaOne, RocAfella and Miss Twist. The list goes on from there on inspiring women who put it down for the culture.

Q: Breakdown 3 of the most important things a beginner Hip Hop Dancer/Popper can Learn from you?

SnapShot/ Wandeepop: Groove, Freestyle and Drills for proper technique are very important. That is what we teach in class. Snap, Pop n’ Rock focuses on movement and how to incorporate groove, attitude and flavor, drills to understand proper technique, freestyle because it’s what created hip-hop and we have fun. In Popping: understanding the technique comes from arms and power comes from the legs (knee pops) are very important. A beginner should practice revving the bike (like revving a motorcycle), or turning the knob on the stove… when practicing these drills you have no choice but to use and work the muscles in your arms. Popping is about muscle contraction.

Q: Do you have any students you are closely mentoring? Do you teach classes around the country and international?

SnapShot/WandeePOP: We are blessed to have students that are dedicated to coming to class and privates we quiz on ‘hip hop trivia 101’ to make sure they understand what they are learning. It’s important they know the history. Why take a class in any genre and not learn about its foundation/culture. We teach at The Ailey Extension at Alvin Ailey, Broadway Dance Center and Peridance dance schools in NYC, as well as nationally and internationally.

Q: What direction do you see the dance going in 5yrs? Progression or Regression and why?

SnapShot/WandeePOP: Progression: Because people what to learn the truth now more than ever. They are learning the difference between street jazz/funk and organic hip-hop. So in 5 years we will be continuing to teach, especially the next generation so they can pass the torch. One good thing we see happening is people are starting to come back to original way of grooving with the groove/bounce, and not so much focusing on choreography (which is needed) but understanding the technical part of what beat to dance to, and where your body language should be is most important! They’re making it clear they want to understand the movement of the dance.

Q: How important (as a Hip Hop Head) is it to have a sick hand style (tag) Signature and why?

SnapShot: Growing up we used to practice on the walls of our building. Of course, we would get in trouble, LOL your style, attitude, look, creativity, fashion is your tag, so your ‘signature’ tag is just as important.

Q: List 5 of your all time great songs for dancing (artist and title)?

Way too many to list but here is a few:

SnapShot/Wandeepop: Wrath of Kane (Big Daddy Kane) Know You Got Soul (Eric B. and Rakim) Paper Thin/Ruff Neck (MC Lyte) The Bridge is Over (Boogie Down Productions) Dance for Me (Queen Latifah) Ego Trippin (UltraMagnetics) Terminator X (Public Enemy) Rebel Without a Pause (Public Enemy) So What Cha Saying/It’s My Thang (EPMD) Living Proof (Group Home) Candy (Cameo) The Mexican (Jelly Bean Benitez),

Q: What crew u reppin now days?

SnapShot/WandeePOP: Now and Forever Tru Essencia Crew (TECOG’s) and we will always represent our birth crews; Unique Force and Variety (TOV).

Q: What or who inspired you to get down with Hip Hop?

I was inspired to get down with Hip-Hop when I went to Queen B an event held in San Diego in 2002. I will never forget the feeling I had when I saw all the Bgirls getting down that day and battling. I was raised on Funk and Soul. James Brown and Temptations were played all day in my house and of course I was getting the Hip-Hop from my older cousins. It wasn’t till that day in San Diego that I knew it was me, and I wanted to be down with it.

Q: When did you start dancing (Bgirl’n) and why?  Who influenced and/or mentored you about the dance/culture?

I started Bgirl’n in the 2002 in Phoenix. The first b-boy I met was House from Furious Styles Crew and he began to shine some light on the Hip-Hop culture for me. Honestly, I have had many teachers and I always will because I choose to remain a student. Legs became a very important mentor in my life a few years into my studies and that still remains today.

Q: Is there a difference between the way a BGirl dances verses the way a BBoy does? What are the diferences?

There is absolutely a difference. As bboys and bgirls we are all are dancing to the same music and feeling the same beats, but being a female throws such a different flavor and feel to what we bring to the scene. I think bgirls need to embrace that more and not try to be looking like boys. Now don’t get me wrong, bgirls need to pull their own and not be given props just because we’re girls, but stay true to being a female and rock it with pride.

Q: How do you feel about the current Bgirl movement and does it receive enough attention from promoters/events?

I feel like the Bgirl movement is steady and growing but still not where it should be. It is dope to see more girls coming up and coming up fast because of the teaching being out there and classes available for people to learn. I think there is attention being put on the bgirls from promoters and events but of course there can always be more. The stronger the movement of the bgirls the more recognition we will get

Q: Breakdown 3 of the most important things a beginner Bgirl can learn from you?

From me? Well, I will tell you the first things I would teach a girl who is starting out. First to rock on beat.  Majority of bboys and bgirls don’t rock on beat and I still can’t understand that. The second would definitely be her top rock flow. After that I would probably show her some drops so she gets used to the floor. I wouldn’t teach past those things until they were mastered. I tell all my students “It’s not the move, it’s the groove.” Groove comes first…always.

Q: Do you have any students (Bgirl or Bboy)you are closely mentoring?

Yes. In Phoenix when I got down in Rock Steady, I was repping as a solo Bgirl. About a year after I took Bgirl Feenx under my wing who at that time was 10. She got down in RSC when she was 11 years old and is 13 today. Her skills say it all I also starting teaching Shadoe who is originally from Indonesia but moved to AZ a few years back. When I saw him dance I knew immediately he had potential and should be down with RSC. He got down shortly after. Case-One is last student that YNOT and I began to mentor last year and the kid is just nasty. He’s definitely on the come up. I like to call all of them the future of Rock Steady Crew.

Q: What direction do you see the dance going in 5yrs? Progression or regression and why?

Definite progression. I’m always looking at improvement, positivity and longevity. I know in some aspects the dance has been exposed in ways that people agree or disagree with but it’s honest to say that Bboyin/Bgirling isn’t going anywhere. I think the direction of the scene is based off of competition these days so the meaning of the cypher and dancing because it ‘makes you feel good’, is lost a lot of the time. It’s almost like peeps want to learn to get short lived recognition or to win the next big battle but aren’t down with the movement as a whole. Like I said, I pray for progression but I can only do my part to contribute to the scene by teaching, supporting and having a presence

Q: How important (as a BGirl) is it to have a sick hand style (tag) signature and why?

I definitely think it’s important for Bgirls to come with a nice tag because it shows understanding to another element that relates so closely to dancing. The creativity, the style and the flow is no different then what we do as bgirls/bboys. You have to dabble into not only a bit a of graff as a bboy/bgirl but also on the other elements to fully understand the connection that they all share…

Q: List 5 of your all time great songs for dancing (artist and tittle)?

You said dancing?? huh Here you go!

“Funkin’ For Jamaica” - Chaka Khan

“All This Love That I’m Giving”- Gwen McCrae

“All Night Long” - Mary Jane Girls

“Square Biz” - Teena Marie

“I’m In Love” - Evelyn “Champagne” King

Q: Where you from? How did you get your name?

Im from Philly, live in the 215, the second city of Hip Hop, birth place of writing on walls. My crew is Sesion31, I’m the official DJ for Kings Destroy.

I’ve always been known to have some sort of master plan or a better way of doing something so people would always says he scheming. But it just so happens that one of my favorite graff writers because of his diehard attitude about things is Skeme from the Bronx. The second part of my name Richards comes from my favorite comic book character Reed Richards from the Fantastic 4. So there you have it, The Incredible Mr. Fantastic Skeme Richards

Q: What got you started in Dj’n? How long have you been a DJ and who are your mentors and inspirations?

I started DJ’ing in 1981 and it was just something that called my name. Hip Hop DJ’s were all around me as a kid, my neighborhood had some of the best DJ’s in the city like DJ Groove from Ultra Force of Funk, he’s the Bambaata of Philly who knew all the breaks before everyone else down here. Philly is known for taking the DJ game another level but I’ve always been inspired by Grand Master Flash, Bambaata, Red Alert, Jazzy Jeff, Kid Capri.

Q: How do you feel about the evolution of Hip Hop music (70′s til 2010)? In the future, Which direction would you like to see it go and why?

The music started out pure just as anything else that is done for the love, in some ways it went astray but in others it helped to expose people to all these different sounds that we hear in the music today, especially production. We went from spinning and sampling James Brown breaks to playing all these obscure beats, and sampling records from all over the world. Hip Hop music will never be what it was like in the 70′s, 80′s, or 90′s but we still have those DJ’s, MC’s Producers that still keep that sense of traditionalism alive so we’ll be ok. There’s only one kind of Hip Hop music, and thats Hip Hop music, this other rap, pop, top 40 stuff is not Hip Hop and I hate when people put everything under the same title as “Hip Hop”. I just want Hip Hop to remain Hip Hop, no gimmicks just beats, rhymes and skills. Look at the great Hip Hop artists that still can entertain crowds today, they give a better show than all these fly by night new jacks. Rock a show, get the dough and be out the door!

Q: What was the importance of “digging in the crates” vs the digital age (of using a Serato)? Has the Serato affected DJ’s in a positive or Negative way and why?

I still go shop for records on a regular basis because I love to have that physical product, but I love serato too because its makes my job that much easier with carrying records or even playing bullshit that isn’t worth buying. I do a party called Hot Peas and Butta where we play all 45′s and people love the fact that we pull out something that not everyone is gonna have or play. The downside of the digital DJ or human ipods as I like to call them is they have no connection to the music, they download bad quality mp3s and play them. They don’t have any skills and usually they play the guaranteed hits and don’t understand the importance of rocking a crowd. The DJ’s #1 job is to educate the listener and thats a skill that digital DJ’s don’t posses. So at the end of the day its an appreciation factor, DJ’s that have carried records for years are gonna love using digital means, it lets them go where they’ve never gone before. For the new DJ its just a novelty, ask how many of those people would be DJ’s if they had to spend thousands of dollars on Vinyl!

Q: When DJ’n a Bboy event, What are the do’s and dont’s when spinning breaks?

To me there’s no difference between spinning a bboy event and rocking a club, your job is to keep the party moving. You play the music that fits the occasion and for me it can be breaks or it can be more raw funk and soul type joints. Do be original, Don’t play for yourself! A lot of bboys are trying to be DJ’s these days and they play music that they like to dance to instead of knowing what works. They are so used to being on the opposite side of the fence and not seeing the audience from the DJ’s perspective because they’ve never rocked a club or a party. Most of those guys aren’t unique because they play what they’ve heard at jams or mixtapes and not from the gut. Do be original, Don’t bite my shit or I’ll have to call you out!

Q: Has Turntablism reached a peek in terms of techniques & popularity?

Turntablism has definitely reached its peek, the DJ is more popular now than ever but the actual art of cutting and scratching and doing routines has definitely reached its level. No one cares about the whole battle circuit except for those that battle, it’s not interesting anymore because people have seen it all and it hasn’t gone beyond that. There’s still cats that I enjoy seeing rocking routines and getting busy because they’re entertaining but a lot of these guys just sound like noise. Sad but once a zillion people start doing something it becomes cliche’ and over saturated then falls off the radar. I still enjoy seeing certain cats do their thing because they’ve mastered it to where what they do sounds timeless and is so visually smooth and flawless.

Q: Do you practice and/or learn about another element of Hip Hop and how important is it to look at this culture as a whole vs. individual parts?

Your always a student to the game. I’ve done every element at one time or another, I stopped breakin’ in 85, Im still nice with a can in my hand and have an ill tag, I’ve been making beats since the 80′s and have mad mic control. You can’t shout Hip Hop if you don’t do other elements or at least understand those others. I look at Hip Hop as a whole because thats the era I come from, but if you ask really old writers they’ll tell you that graff isn’t Hip Hop because they’ve been doing it before the term Hip Hop was even thought of. So it’s different for different generations I guess. But I come from an era where you did everything, you didn’t have to be the king on all angles but you touched every corner of it.

Q: List your top 10 songs/artist of all time (Breaks-Hip Hop-Jazz-Rock…any genre)

Thats always a tough question because there’s so many great talents in music be I’ll try my best on this one. Without James Brown Hip Hop as we know it would’t exist so he’s first on my list. Lalo Schifrin, Quincy Jones, Gamble & Huff (includes tons of artists that they produced), Donald Byrd Pete Rock, DJ Premier, just way too many talented people to break down such a short list!

Q: What seperates you from other Break DJ’s?

Well first I’m not a Break DJ, I’m a DJ! I play all genres of music. Most “Break” DJ’s can’t rock parties and thats what Hip Hop is supposed to be, a party. They play for a certain crowd, but when you alienate others then your not doing your job as a DJ. You put me in any situation and I’ll rock it, House, Classics, Hip Hop, R&B or whatever, plus I’ll do it with vinyl. Most of these “break dj’s” play genres just because they have the mp3, but ask them to play it on vinyl and they’ll be clueless.

Q: I’ve been hearing about Hot Peas and Butta, whats up with that?

Thats a party that I do which we spin all 45′s, Funk, Soul, Latin, Disco, Rare Grooves etc. and people come out to dance and get sweaty. It’s funky enough for a bboy to come out to but it’s not designed for that. It’s designed to bring the social aspect back into the party and to have man and woman dancing together, like on Soul Train or like when moms and pops used to throw house parties and people would dance all night. Whenever I DJ a party no matter what genre bboys think their supposed to break or toprock, no! If the music does not dictate it then don’t do it! Ask most of these cats to dance with a girl and they look so out of place, thats because they can’t dance, all they can do is break because thats all they know and don’t have any other social skills. So this party is to bring both worlds together to create one great experience. In addition to that we show all this crazy rare footage on the projectors, everything from kung fu & blaxploitation trailers to footage of James Brown and other performers to commercials and everything in between.

Q: I understand you have a Hot Peas and Butta 45 coming out.

Yeah, I’ve got a 45 coming out in July on Record Breakin Music that I did with the Hot Peas and Butta Band aka Big Pimp Jones. Its called The Smokeout and its basically a funky soundtrack that could’ve been placed in an old 70′s cop or blaxploitation flick. Over here at Hot Peas and Butta we’re deep into 70′s cinema, Kung Fu flix, Blax, Sci Fi, Porn, you name it we’re on it. The whole 70′s era was a great time because everything was so care free, the music, film, the birthing of this culture and more.

Q:I heard your really heavy into collecting not only records but other stuff.

The 70′s is my era, I got an insane collection of toys from the 70′s (still boxed), Kung Fu & Blaxploitation movie posters, arcade and pinball machines, metal lunch boxes, race tracks, rare footage on VHS, sneakers, 80′s BMX bikes and more. I try to keep those things around me not only as art but also to keep me young, those were great times with no stress of going to work and you could play and use your imagination and just be a kid. I’m about to do a Hot Peas and Butta toy show at a gallery and have stuff on display plus show visuals of old toy commercials.

Web site www.hotpeasandbutta.com

blog www.anything-goes31.blogspot.com

A Benefit for Walter “High Chief XL” Saole (RIP).  Flyer by EAST3

Afrika Bambaataa – A prayer for Walter “High Chief XL” Saole

1.  Name your inspirations & mentors that helped guide & mold you to become a Musician/Dj & role model for your community in the 70′s.

My inspirations & mentors are James Brown, Sly & the Family Stone, George Clinton, Bootsy & Parliament Funkadelic, Every group at Motown Records, John Lennon & The Beatles, The Rolling Stones, Kraftwerk, Yellow Magic Orchestra, Gary Numan, John Carpenter, Aretha Fanklin, Dionne Warwick, Diana Ross & the Supremes, The Jackson 5, Temptations, Mariam Makeba, Fela Kuti, Mighty Sparrow, Calypso Rose, Yellowman, Bob Marley, Isley Brothers, Curtis Mayfield, Willie Colon, Ray Baretto, & Fania All Stars. All these groups because of their music, showmanship, & respect as serious artists help me on my musical Journey to become an artist in music. On the Knowledge, I give all respect to The Most Honorable Elijah Muhammad, Minister Malcolm X, Minister Farrakhan, Khallid Muhammad, Ava Muhammad & The Nation of Islam, The Black Panther Party, Prophet Noble Drew Ali & The Moorish Science Temple, Al Saayid Imam Isa Al Mahdi Al Haadi (Dr, Malachi Z.York) & The Ansaaru Allah Community, Nubian Islamic Hebrews, Clarence 13x & The 5 % Percent Nation of Islam, The United States Government of structure from reading Books, All types of Books of Knowledge, Many Great Humans from all over Mother Earth from many different nationalities & so called races & religions, & of all my MOTHER & our Planet called Earth & the Universe; we be in space of The Supreme Force to whom is called by  many names.

2.  How did you help mold & influence this culture in the 70′s to create a positive & creative outlet for the youth of South Bronx NYC?  Who assisted & co-organized this movement?

From my experience of being a Leader in The Street organization call The Black Spades & then being & witnessing many of the organizations & religious movements I mention above help me to mold & influence with discipline this culture known today as Hip Hop to create a positive & creative outlet for all people on our Great Planet so called Mother Earth. The Great Brothers & Sisters who helped me in the early days are the 1st Zulu Kings Amad Henderson, Shaka Reed, Aziz Jackson, Kusa Stokes, Zambu Lenair, Little Beaver, Shaka Zulu King Wade & Zulu Queens Kenya (Amber), Makeba (Darcell), Olubayu (Sherry), Tamisha (Wanda), The Fly Five, Lisa Lee, Mrs. Khayan, & other Zulus like Jazzy Jay, Red Alert, Superman, Sinbad, DST, Malibu, Tricky Tee, Ikey C., Mr. Biggs, Pow Wow, Globe, Ice Ice, Chubby Chub, Busy Bee Starski, Love Bug Starski, Disco King Mario, Kool DJ Dee & Tyrone, Grand Wizard Theodore, Mean Gene & The L Brothers, DJ Breakout &Funky 4, Grandmaster Flash & Furious Five, Mercedez Ladies, Pebbly Poo, Force MDs & Dr. Rock, Crash Crew, Cold Crush Brothers, Kool DJ Herc, & the List goes on…

3.  In the Mid to late 70′s how did Hip Hop Culture come to be?  Were all the elements (Bboy’n – Mcee’n – Dj’n & Writing) all separate subcultures but tied together because of the demographic (Bronx NYC)? Please explain?

Let’s set the Record Straight:  each person whom I name above helped in some way to form this culture even though many did not know they were helping a movement but through the wisdom of Afrika Bambaataa & The Universal Zulu Nation, that Hip Hop was named as a culture & that The Universal Zulu Nation is the First (1st) Family World International Movement of Hip Hop Culture & from UZN all others recognize it all over the world as a Culture within other cultures throughout this Great planet so called Mother Earth. It is Afrika Bambaataa to whom name & called each entity of BBoys/BGirls/DJaying/MCs/Aerosol Writing & adding The Most important Knowledge as the main Elements of Hip Hop Culture & Brother KRS One help to add more, with a few other as Plus Elements to the main Key elements of Hip Hop Culture. No one else never use or thought of naming each entity of the Culture an Element or to say that this Movement that we all are doing is called Hip Hop Culture or to recognize it as a World Movement. The Birth of this movement is The Bronx, New York City, New York Republic, but Rap is as Ancient as The creation of Humans it self.

4. Did Hip Hop have a name before it was labeled? Who Labeled it Hip Hop?  During the birth, Hip Hop was a wave of new & emerging trends in the Bronx that youths were involved  with & Hip Hop later developed into a culture or was the cultural aspect involved from the birth?

Hip Hop as a name was not used before Luv Bug Starski, Keith Cowboy, Afrika Bambaata, all members of The Black Spades,The Organization & UZN decided to use this name. We had other names we used to call it before Hip Hop, which is well documented, but as to name the Culture Hip Hop is was Afrika Bambaataa who could have called it many other things but came to call the whole culture & Movement Hip Hop which many follow after to called the culture that. It was a method he use to so called Brainwash if you can use that term to put in everyone mind to call this culture Hip Hop. Hip Hop Culture came as a result of other Musical happenings like Reggae Dance Hall or Slackness, Toasting, Calypso, which was being done in Jamaica, Poetry like Last Poets, Watts Prophets, Gil Scott Heroin, Gary Byrd, Sly Stone, James Brown, Jocko, Murray The K, Cousin Brucie, Eddie O Jay, Muhammad Ali, Malcolm X, Mother Goose & Funk Rock & Country & Western Music, which all had some type of raps in many of their respected songs but it was through Kool Dj Herc, Afrika Bambaataa, & Grandmaster Flash that all that came before was put into motion from these three to Birth This Cultural Movement called Hip Hop Today. Hip Hop started in the Black Community & when I say Black Community I am talking about all the family of so called Latinos (Puerto Ricans, Dominicans all from The West Indies or Caribbean Islands of People) a better name to call all of them is Moors/Muurs if you truly study our History, our Original/Aboriginal Indigenous Native American of The so called Black man & Woman of The World.

5.  Describe the social climate during the 70′s during the birth of Hip Hop.  Was Hip Hop a product of the social & economical struggle within NYC?

The Social Climate during the 70’s were Revolutionary Groups, The Black Panthers, The Nation of Islam, The Young Lords Party, SNCC, The Ansaaru Allah Community, Street gangs, The Ku Klux Klan, The Weathermen, Soul Train, Fania All Stars, Funk, Rock, Salsa, Salsoul, Soca, Calypso, Hard workers in the communities, Drugs, Crime, Police, Police Brutality, Politicians, Pimps, Fires, Block Parties, Concerts, TV Shows like Batman, Dark Shadows, Green Hornet, Soap Operas, American Bandstand, Wolfman Jack, Frankie Crocker, The Midnight Special, Soul, The Bill Cosby Show, The Jefferson’s, Room 222, Welcome Back Kotter, Kojack, Death wish with Charles Bronson, Blacula, Abby, Superfly, Hell Up In Harlem, Black Cesar, Slaughter, The Price is Right, Lets Make a Deal, The Ed Sullivan Show, Johnny Carson, Five on The Black Hand Side, Putney Slope, Five Fingers of Death, Karate Movies, & the list goes on…

6.  What are your thoughts of the current Hip Hop scene worldwide?  What would you like to see for the future of Hip Hop?

The current Hip Hop Scene: there are those who know the culture of Hip Hop Culture & there are many who do not & only follow rappers of Hip Hop who have a hit record. There is Hip Hop Culture that is controlled by corporations & The Luciferians & there is that small element of Hip Hop Culture that is not controlled by no one but their selves. There is the Pop or popular version of control Hip Hop & then there is the minority, not controlled Hip Hop. Hip Hop For the Future will be an Intergalactic Movement as we become Galactic space traveling Human Beings & Beyond this Solar System, Dimensions, Galaxies, & Subterranean Worlds. Mark my words This Will Happen & These will Be Facts…

7.  How important are the other facets of Hip Hop (Knowledge  – True History & current events) other than the 4 primary elements that everyone embraces & why?

Knowledge, Culture, Understanding, Inner-Standing, & Over-standing are the keys to everything in life. Information- out-formation. Sound Right Reasoning. Factology versus Beliefs.

8. Are there any Hip Hop Pioneers from your generation that never got the recognition & respect they deserve? Breakdown a little about them & their role in building the Culture.

When I do My Book… All will Know.

9.  What are your thoughts on 2012 & all the hype? What are your predictions?

We already passed 2012; it depends on which calendars you are using. There is is the Ancient of Ancient time & Time is & always was, but 2012 is nothing to what is really heading our way if we do not put LOVE back in the Universal atmosphere & if HUMANS keep causing HELL on the planet or Beyond the Planet as well as in the planet. You have not seen the wrath of The Supreme Force until you see The God Mother Nature do her thing on this planet as well as what the Subterranean beings will send from within the planet Earth & if we keep messing with the outside of our planet & think we as Humans is going to colonize another planet with the disrespect of the Beings of those respected planet then they to will be force to set WARS from beyond Mother Earth, within Mother Earth & on the core surface of Planet Earth. We are not alone on this planet & in the many Universes & those who are sleeping watch &see. Mark my words: You Haven’t seen nothing yet. There are many Movies, warners & teachers on this planet today whom are trying to wake up all Humans in their Mistakes of the past & Now & we still have not learn our lessons from past mistakes & are heading into the same fate as Atlantis & Lemuria, but other Beings of Light are here to set the record straight & more UFOS, IFOS, SFOS will be seen more & more. Also the worst war of all Wars with be over a Clean glass of Drinking water & Food. AND IT GETS DEEPER THAN ALL WE JUST SPOKE ABOUT IN THIS SMALL ARTICLE…

A: I rock with the name Honey Rockwell. I’ve been dancing bgirl style 16 years but physically involved with gymnastics anddance for 30 years. I’m originally from the Boogie Down Bronx and Inwood Park, Manhattan. I currently reside in westchester, NY.

Q: What/who inspired/mentored you to in becoming a Bgirl and about the culture?

A: Louie “New Wave” (may he rest in peace) inspired and motivated me to incorporate my gymnastics with some bboy/bgirl moves. He also is responsible for introducing me to my Mentors Ghetoriginal dance company, Rock Steady and it was through this company and crew where i met the rest of my worldwide Bfamilia

Q: Describe the biggest solo battle you ever been in. Who was it?
A: Actually i never really battled in an organized battle before. That came after . lol But i do remember a time when me and the crew (RSC) went to France and i was dancing in a circle and these guys started battling me and i was like oh snap why are they all tryin to jump me, so i looked around for back up and i saw Flo master being attacked and then i realized i was on my own for this one. lol

Q: Is the scene different from when we were celebrating RSC anniversaries at 98th & Amsterdam (in 94-96)and how the scene is now? Please explain.

A: Yea i feel the scene has changed alot since our 94-96 rsc anniversary days. I mean there are some postive and negatives to it.  The scene back then i felt was a little more intimate like u knew what was going on all the time. There wasn’t that much going on so when something went down we all knew. These days the scene is so large and world wide i can’t keep up. I feel like i know no one anymore. On a positive note the evolution of bboyin is sick. The skilll levels are amazing on what these dancers are doing. I feel all aspects of the culture have definitely taken a step up as well as creating a market for us to support ourselves and our families .

Q: Is there a difference between the way a BGirl dances verses the way a BBoy does? What are the diferences?

A: Actually i do believe bgirls dance and move differently than bboys , but i have seen bgirls imitate the bboy swagger. Some may say, girls look like they are dancing like a guy but i see it like they just like rocking that style and swag . I also think that 10 years ago maybe could’ve been a big difference but now girls have been rockin for along time and are just as good. Skills, power, Flavor. They got it too now.

Q: In the resurgence of the dance in early 90′s there were only a small handful of Bgirls. Name others like yourself that have helped pave the way for the Bgirl movement.

A: Other bgirls i saw in 94  rockin it were Rocafella, Masami, Deena, Wandee, Z boogie, Brendi, Marcela (Italy).  about a year later Asia, Miss twist, Beta and then after that it just kept multiplying.

Q: Breakdown 3 of the most important things a beginner Bgirl can learnfrom you?

A: 3 things a beginner bgirl can learn from me. hmmm 1. basic bboy/bgirl history facts 2. Basic foundation moves and terminologies 3. stretching and conditioning techinques.

Q: Do you have any students (Bgirl or Bboy)you are closely mentoring?

A: Right now i have about 8 (twelve yr old) boys that i just started teaching from scratch . I see incredible potential with them. Hopefully they stay consistant with it .

Q: What direction do you see the dance going in 5yrs? Progression or regression and why?

A: I see the dance just getting stronger in the next 5 years . Def progression because there is a whole new generation out there training as we speak. As well as the ones that are currently active and competing. The bar has been raised in this dance and there are no ez props out there , so everyone needs to step their game up.

Q: How important (as a BGirl) is it to have a sick hand style (tag) signature and why?

A: Haha because if East see’s it he will check u on it and make sure u rock it better? lol remember that (very good and patient teacher East is i must say

Q: List 5 of your all time great songs for dancing (artist and tittle)?

A: All time favorite beats , Just Begun, give it up and turn it loose , The Mexican , Let the music play, ain’t no body, etc… wow the list goes on

Q: what crew u reppin now days?

A: Crews i rep these days

Bgirl Mafia

Truessencia

7 Grandmasters

Wots (wizards of the style)

Heart breakrz

Rock da Floor

How did you develop your original singing style? Any influences?
I constantly sing and listen to singers.  I find the whole process completely fascinating and I am continually learning and honing. Phrasing , diction, colour, nuances, dynamics, different modes how they can be combined. At first, in the early days, it was just a case of me experimenting by myself whenever I was alone to try different aspects of my voice and pushing myself with dynamics and emotion. Formative years was spent in California round the Bay Area. I was exposed to Janis Joplin, Grace Slick, Joni Mitchell, Sandy Denny and really liked their free style.  I like singers who can convey emotion and truly bring a tune to mean something and touch people. It was a fantastic time late 60s I was very young but still bunked off  school to go frisbee throwin in Golden Gate Park and Haight Ashbury soaking in the culture that was the hub of the hippy psychedelic movement. Bands like Santana who were local were constantly playing , I used to listen to Led Zeppelin, Sly and the Family Stone, Blue Cheer, Quicksilver Messenger Service,Traffic,  Moody Blues, Stones, Saw BB King at Filmore West and he totally influenced me in the way he reached out to an audience. I was mesmerised by him. I love his voice he kept it real. He seemed to reach out the audience as an extension of his family i loved that.

What do you think about todays music and the direction its going?
Its awsum!  There is such a melting pot of ideas flowing from drum n bass, r n b, hip hop, garage, hardcore trance and dance, techno etc… I  love beatz . Artists like Akon ‘right now na na na’, ‘keep u much longer’ The Professionals ‘flava 4 rava’ , Masta Shortie ’dead end’  ‘under the moon’, Neyo ‘closer’, the late Ayaleya ‘one in a million’ she is inspirational, Tinii Tempeh ‘pass out’, Calvin Harris ‘im not alone’ and the anthemic  Darren Styles ’ i will come runnin’   I love what they do.  Its fascinating to see how rap and music have created such a canvas for creativity and i get well buzzd by it all. Constantly listn to M8s who put me onto nu beats n tunez catch netin that tuches the vibe. N the calibre of girl singers today…. is wikid…Sometimes its not how gr8 a voice is but how its used in the whole tune or way its bin used to hilite the tune to its best advantage.

In the Hip Hop community your song “The Mexican” has inspired millions of people for over 3 decades, what are your thoughts about that and how did you develop the lyrics, vocal style and music for it?
Blows us all away that a community has honoured this tune for so long, its humbln…. Alan has always been fascinated with western themes so alot of the First Base showed that in lyrics like Mexican and Wells Fargo.  After joining  I would go to Als house n we’d go thru the tracks including the mexican on just piano and voice.  Working out the phrasing and timing within the structure over a cup of tea his mum would make.  From there it was down to the rehearsal studios with everyone and start playing it through… Its there really that ‘Mexican’ and the other tunes would develop.  Once familiar with the structure, melody, phrasing and timing the next stage was to listen to the band and what they were sayin with their instruments to become part of the whole.  Adjusting and developing within the band structure.. Then the sheer energy of the perfomance creates new dimensions, you forget and sink urself into the music…

Are their any more songs ( like “The Mexican”) that have the same vibe that your audience can be exposed to?
Wells Fargo certainly follows the western theme from First Base, and on the new album Que Pasa Break 4 the Border continues the story of Chico Fernandez from the Mexican complete with that lil guitar and piano run from the mexican inserted.  Mother Tongue has some gr8 bpms and grooves for the Breakers, bboys n bgurlz. Sun Moon and Stars follows the harmonic runs that are Babe Ruth signature with guitar and piano.  Doncha wana dance is up tempo and has a blistering guitar solo at the end by Al.

What & when was your latest album release and how did it come together?  Where can your fans purchase the album?
‘Que Pasa’ the new album came about after Babe Ruth played The World BreakDancing Championships in Brixton London  on invitation by Hooch who  is champion of the Band. We wer so buzzd with playin wiv one another agen, having the original touring members including David Punshon  key to the bands signature sound  that we pledged to do another album. We wanted to honour the community that had honoured us for all this time.  The next few years was spent writing, formatting and laying down of the tracks.  I then flew to Nashville and recorded the voice with Al.  Over the summer period we invited EAST3 from Rock Steady Crew NYC and living in Hawaii to create the artwork for the cover.  E3 n mself would be working  connected by the computer working it all out. Revolver Records took up the distribution rights and  it is now beginning to take a life of its own.  The album is available globally and can be purchased thru Revolver Records or I-tunes, Amazon… u can contact any of them.

What projects are you currently working on?  Any touring?
Im working with DJ MIN-1 in collaberation on some tunes. Beats are Sik…  Also possibly with Mr Wiggles.

Babe Ruth are in Canada  July 2010 this year .  We’re  playing the Cisco Ottawa Blues Fest on July 9th hittin da stage at 9.15pm. Other dates 2b confirmed. We all cant wait to be playin live agen, chargd at the thought of combining the new tunes … we cant wait to start rehearsin.2getha. we laugh alot!!!

FEB. 2010 PRODUCTION

CLOSE UP OF INVISIBLE BBOY HEAD AND TORCH HAND

EAST3 WORKIN ON PLANET ROCK

THIS PRODUCTION TOOK PLACE IN THE BAY AREA.  ALL WRITERS INVOLVED ARE ORIGINALLY FROM

OAHU HAWAII.  THANKS KRAZE FOR THE OPPORTUNITY.

THE FIRST TIME I SAW FROSTY FREEZE WAS ON STYLE WARS 83′.  HE MADE ME LAUGH WHEN HE WAS BREAKING DOWN THE HUMP FREEZE!  AS I CONTINUED WATCHING THE DOCUMENTARY I BECAME AMAZED WHEN WATCHING FROSTY DO HIS FOOTWORK.   11 YEARS LATER I GOT TO MEET HIM AT MY FIRST RSC ANNIVERSARY IN NYC AT ROCK STEADY PARK 1994.  HE WELCOMED ME IN THE CREW WITH OPEN ARMS AND I WAS IN DISBELIEF BECAUSE I FINALLY GOT TO MEET ONE OF MY CHILDHOOD HERO/INSPIRATIONS.  IMMEDIATELY I ASKED HIM TO TAKE A PICTURE WITH ME AND HE SAID “WORD”.  THAT WAS A CLASSIC MOMENT.

THE CENTER PHOTO OF FROSTY, SWEEPY, Q, AND LEGS REMINDS ME OF HILARIOUS MOMENTS THAT TOOK PLACE DURING THE TIME OF THAT PHOTO.  MAN…WHEN YOU PUT SWEEPY AND FROSTY IN THE SAME ROOM THE JOKE WAS ON!!! THEY CRACKED ON EACH OTHER LIKE BROTHERS DO!

THROUGH OUT THE YEARS I WOULD TAKE NUMEROUS TRIPS TO NYC FOR THE RSC AND ZULU ANNIVERSARIES AND WAS PRIVILEGED ENOUGH TO HEAR FROSTY FREEZE TALK IN HIS NEIGHBORHOOD IN SPANISH HARLEM.  HE ALWAYS REMINISCED ON THE HISTORY OF HIS LEGACY AS WELL AS OTHERS AROUND HIM.  ALL I CAN SAY IS THAT FROSTY WAS A HISTORIAN AND KEPT THE HISTORY ACCURATE… I DONT KNOW HOW HE REMEMBERED SO MANY NAMES, DATES, AND PLACES.  THOSE OF YOU WHO KNEW HIM KNOW WHAT IM TALKIN ‘BOUT.

FROSTY FREEZE WILL LIVE FOREVER IN MY HEART. HE LIVES THROUGH ALL OF US AND WILL ALWAYS BE MISSED.  THANK YOU KING SCOTTY AND FABEL FOR ALWAYS TAKING THE TIME TO TAKE ME UPTOWN AND CHILL WITH FROSTY DURING THE RSC OR ZULU ANNIVERSARIES.