Nas Comes Back to Queensbridge to Donate Gifts

[Amestafuu (Emeritus)]

it does and it doesn't. Feel free to educate me otherwise. Grandmaster Caz gave an interview a year or so ago talking about how most Hispanics weren't fukkin with rap music in the beginning and were on the same racist shyt as your typical cac. It was basically a tiny percentage of Ricans that were there putting in work. And I imagine that as shyt became more mainstream, the other Ricans and brown folk jumped on the wagon.

Shut up hoe

 

[Kliq_Souf]

Illmatic John Boy Ice founder of the term

he mentioned him on 2nd Childhood too...

 

[IllmaticDelta]

it does and it doesn't. Feel free to educate me otherwise. Grandmaster Caz gave an interview a year or so ago talking about how most Hispanics weren't fukkin with rap music in the beginning and were on the same racist shyt as your typical cac. It was basically a tiny percentage of Ricans that were there putting in work. And I imagine that as shyt became more mainstream, the other Ricans and brown folk jumped on the wagon.

blacks and ricans had a connection/association BEFORE hiphop IN NYC starting from 1920's Jazz to 1970's disco but as far as HipHop,

but it's true that in beginning, they were nothing more than spectators.

Ricans started getting involved more after 1975. Most of them never tried to get involved musically they felt they had to honor their own culture by their elders. Charlie Chase and Disco Wiz both attested to this. Disco Wiz interview

What was it like growing up in the Bronx and seeing the birth of a new genre?

It was a one-of-a-kind experience when hip-hop got started. Between the ages of eleven and fifteen, the streets of the Bronx raised me. I was running in packs and putting in work—robberies, stickups, the whole nine. That’s who I was before I got into the music. But once I met Caz, we instantly connected. And not too long after that, hip-hop started exploding all around us. Kool Herc’s name was ringing bells. Bambaataa and Flash were doing their thing on the other side of town. No one was really making noise on our side, so it was just a natural progression that we became students of the culture. We had already been dressing the aesthetic, we were both graffiti writers, and so becoming a part of the music was just the next natural step for us.

What were the biggest hardships of the ’70s?

Back then, New York was fukking bankrupt. There were no programs, no resources. After my father died, we became a family on welfare. My mother was working two jobs at that point just to support us. I went to school, but I think I got a better education in the streets. We were definitely aware of our social environment at a young age. When my brother and I started going to Catholic school, we were less than a handful of the Latinos there. Even before my mother went on welfare, they were already calling us welfare recipients. It was a tough time for a lot of folks. Gangs were running rampant in the Bronx, and I soon became a part of that. We were all in the same boat—broken homes and a lack of anything else to be a part of.

What kind of impact did the music have on you?

Once I got involved in hip-hop, I spent less time in the street, and I started to gravitate away from those friends. But my mind-set was still pretty much the same. I still had a really quick temper. I wasn’t that overly talkative dude you’d want to kick it with, but the music taught me a lot about being a pioneer. I was the first Latino DJ, the first Hispanic dude behind the turntables, so there were a lot of biases about that from the Latino community. Hip-hop was perceived as a Black movement when it first got started, so I was perceived as a Spanish guy trying to be Black, trying to be non-Spanish.


Disco Wiz with the Coldcrush Brothers, 1982. Photo courtesy of Disco Wiz and powerHouse Books.



What were most Latinos listening to then?

They were listening to disco, salsa, and Top 40. Whatever was available on WABC, the one station we had in New York. But we weren’t accepted at fukking disco joints. It’s not like I could have rolled up to Studio 54. So it was tough at first. But once hip-hop became more popular, and my crew started to do community events, hip-hop became distinctively ours. From there, we just gravitated to it even more and began to create our own mark, our own niche. I was still a very aggressive dude, so I started to channel that aggression out through the music. Caz used to get mad at me, ’cause I would break the knobs on the mixer. Sometimes, I’d even slam shyt and break a needle. I was known for that. I got behind the turntables like I wanted to beat a motherfukker up. That’s why I got heavy into breakbeats.

http://www.waxpoetics.com/features/...op-pioneer-dj-disco-wiz-spins-hard-knock-yarn


Dj Charlie Chase

DJ Charlie Chase, born Carlos Mandes, was the first Latino DJ who played a key role in establishing Latinos as a contributing force in the Bronx, New York hip-hop culture. Hitting the Hip-Hop scene in 1975. Charlie Chase was a founding member of the Cold Crush Brothers along with Dj Tony Tone. The groups other members are Grandmaster Caz, JDL, EZ AD and Almighty Kay Gee. Charlie Chase and Tony were also responsible in forming the first ever MC convention in Hip Hop history in 1980.

Chase was born in Manhattan on Jan, 16 in 1959 to Puerto Rican-born parents. Chase's family moved often and lived in many different New York City neighbourhoods which were primarily Puerto Rican or Black. Chase began playing music as a bassist in bands at the age of 14 representing a variety of musical styles. Chase produced his first album at the age of 16. In the 1970s, Chase DJ'd for WBLS alongside the legendary Funkmaster Flex. Chase received criticism from both Blacks and Hispanics for playing hip-hop music because at the time it was believed to be a genre reserved for Blacks. However, Charlie Chase's talent outweighed racial differences.

talking about criticisms from both the latino and black sides

@ 3:00 mins



@ 2:54....and 5:04 on his mother on him playing "black" music and not his own culture music (salsa) @ 5:18 Bboy,Trace "Salsa is beautiful we love it but you can't dance/bboy to Salsa, we needed that Funk"

 

[old boy]

this thread was educational

 

[mobbinfms]

@IllmaticDelta :psalute:
I guess @SirBiatch Saudi Arabian schools didn't cover Puerto Rican involvement in early NYC hip hop. :prodigylol:

 

[WaveMolecules]

rafters this thread.


goat is goat

 

[Illeye buckmatic]

Goat shyt:escosalute:

 

[SirBiatch]

blacks and ricans had a connection/association BEFORE hiphop IN NYC starting from 1920's Jazz to 1970's disco but as far as HipHop,

but it's true that in beginning, they were nothing more than spectators.

Ricans started getting involved more after 1975. Most of them never tried to get involved musically they felt they had to honor their own culture by their elders. Charlie Chase and Disco Wiz both attested to this. Disco Wiz interview



http://www.waxpoetics.com/features/...op-pioneer-dj-disco-wiz-spins-hard-knock-yarn


Dj Charlie Chase





talking about criticisms from both the latino and black sides

@ 3:00 mins



@ 2:54....and 5:04 on his mother on him playing "black" music and not his own culture music (salsa) @ 5:18 Bboy,Trace "Salsa is beautiful we love it but you can't dance/bboy to Salsa, we needed that Funk"

so all this confirms what Caz (and me by extension) said. Got it