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Mr.wiggles - Breaking & 52 Blocks

Mr.wiggles - Breaking & 52 Blocks

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Evidence of the link between breaking and 52 Blocks as discussed by Mr.Wiggles.
Constellation is the only cultural hub for 52 Blocks and the only research resource for it
in the world. Get engaged and join our facebook group.

Evidence of the link between breaking and 52 Blocks as discussed by Mr.Wiggles.
Constellation is the only cultural hub for 52 Blocks and the only research resource for it
in the world. Get engaged and join our facebook group.


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Published by: Blockstar Publishing on Jul 11, 2011
Copyright:Attribution Non-commercial


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By: ABoogie
Dope interview by Aboogie & FabOne. Photos by grzybecki.com. Check this out!!
Thou it’s just a mere formality: What’s Your name? where are You from? what crews doYou represent now?
 I’m Steffan Clemente – Mr. Wiggles from the Bronx. Represent Rock Steady Crew, Electric Boogaloos, TheCool Five – TC5 Generation, Magnificent Force, Electric Company. Part of them are from time when I was akid.
You’re in Warsaw for the second time now. How do You like Poland?
 People are warm but the weather is cold. ;)
You’re in touch with hip-hop culture from the very start and at its source. What were Yourbeginnings?
 My beginnings were at the street. You know, Mom was working all day, children got out from school andtried to not get into troubles. I was born in Spanish Harlem, we moved to the Bronx in 1970. It was a veryscary place where they sent people back from NY. So everybody was there on the street, especiallychildren. It wasn’t so bad because at summer time we got around there and had a lot of parties, every day.Everybody got out their equipment. Everybody knew what was goin’ on. Hip hop culture came from that. Itwas a life style for me, I grew up this way, doin’ all those things that kids do. Also we had there a lot of activities on the street – bombing, battling and things like that. We just do this at the Bronx and never thought that that will become something as big and go around the world.When we got older parties became our lifestyle. It was in connection with the things which were around us.Jams where there all the time. You could hear from your block that there is a jam at the park. So you gotthere and see that everybody was there. You are there on 52 and you hear that there is another jam. It wasfor us just for dancin’, hangout and get some girls. Boom. There’s another jam
and it was at one night.Jams were everywhere. It was the life in Bronx. In our time it was the hip hop.At this time everybody in my crew (in Bronx) were mc’s, dj’s, did the jams, bombed, danced. We did all thosethings which got in common with this culture, also dressed fly. You know, we just wanted to look fly in our neighborhood. We knew that everybody was lookin’ at our clothes and even the little details. For me it wasimportant. I changed color of my cazals for it. Take the lenses out. Get the spray change the color and justwear the cazals without the lenses. Do the same thing with my belt buckle. Everything had to match. It wasour style.
At first hip-hop was anescape from the reality of Bronx. The world has changed. What is the today role of hip-hop? Is the idea still up-to-date?
 That’s right. It was our escape. We’ve had nothing. Bronx was the worst ghetto but we’ve made it the bestbecause of hip hop. I think this culture is some kind of escape, no matter the status. It’s still the way of reaching and touching people, poor or rich. Getting them out from drugs or thinkin’ about a suicide and other problems. The real hip hop helps. It’s all about changing the way of thinkin’. You don’t have to be for 20years at an art school to grab a can, drop the outline and leave with props.Situations like this are also in common with unity. It’s all about the unity. Peace, love, unity and havin’ fun.Who don’t want to be in somethin’ like this? It was just good for us. It was about the lifestyle to get somethin’different. It was everything for us
dacin’, dressing fly, music, and so on. The way of getting out of theproblems. And I think it’s still the same
changing people.If someone asked me if I was in ghetto at this time, because of hip hop I wouldn’t know. But I think thatwithout this culture I would know what was the real ghetto. Right now when I’m not living there, got out fromthe Bronx, I can’t believe it. It was bad. You could see when people got murdered in front of you, also at the jams. It was crazy. The reality was scary but it is a part of our life.
Battling is a rather unique form in the world of dance. If dancing is having fun, then wheredid this form come from and what was its purpose?
 It came from the rockin’ movement and freestyle. It was all about the girls. If You dance better you will getthe girls. But there is also a different thing. For young ghetto kids in a gang representing their block it was abig thing.Gang from my block had a war with the gang from Brook Avenue. And the party was at the middle betweenour areas. So both gangs are coming in and they take the best dancers they have, in case it just pops off. Atmy gang I was the person whose job was to smoke off other dancers. It was my mission, my duty for myneighborhood to represent my block. It was the way of fighting but without fighting and it kept the peace. Itwas crazy. If you look at it you would think that we were fighting, that everybody was fighting. It was the wayfor representing the block.For me it was a path on which I don’t have to do all things kids did to get respect. The second thing was thatwe didn’t have studio and any place where we could practice. Battling was only way to get smoked andpractice your skills. If you didn’t get smoked you wouldn’t get better. If you got smoked, practiced and gotbetter 
you get back and take the revenge.
A lot of us often went to another neighborhood and smoked someone in front of his girl, mom, sister and allof girls from his neighborhood. It was all about the girls. You go to another neighborhood to see other girls.So if I smoked someone in front all those girls it’s extra prop. It was the reality. ;)So at first you have to represent your block and the second you should be the best to get more girls. ;) Wedidn’t stand into circles for all day and get sweaty. We just get in to do our thing and get out to get the partywith friends and girls. Music changes, gets smoother into slow dances. Hip hop jams change into slow jams.So if you could get a girl into slow dance it was an extra prop. It was a pay day for you. ;) It has a really bigpart in it, in this culture.
In the beginning there were4 elements of hip-hop. Is it still like that? How many elements are there now?
 4 elements
it was Crazy Legs promotion. At this time we didn’t count the elements. In the 90s we weretrying to bring it back. At this time there were magazines coming out like The Source witch only promotedrappers. In interviews we tried to struggle with this. In our opinion you cannot call a magazine a “hip hopmagazine” and promote only rappers. Media were always directed to rap. Crazy Legs realized it slowly and itcame out of nowhere. During our interview Crazy Legs was very upset and he just told that it ain’t hip hopand started to count elements. At the same time Afrika Bambaataa did the same thing, without talkin’ toCrazy Legs. They had the same idea and way of thinkin’ about this at the same time. And it worked,becamevery popular.Also Crazy Legs popularized an idea that it is not goin’ about old school or new school but the true school.He is brilliant at things like that. He has got a gift. Only few people from the ghetto know how to speak. Heknows how to turn the negative things into positives. He did that and it worked. He helped hip hop.A lot of people know about only 4 elements and use them (as bboying, graffiti writing, DJing, MCeeing). Themedia
hip hop organizations and so on, and it works. 4 elements are everywhere. But it isn’t right. We’vegot a lot more of them. Makin’ beats is an element, everything from recording to fashion and knowledge. Butthen everyone looks at 4 elements. I don’t count them but I know that there are more than 4. Even a hip hoplawyer, who knows every aspect of hip hop connections, businesses and so on. That’s important in hip hop.But we have to remember that hip hop is in itself the way of thinkin’, showing yourself, and the unity.
What is Your opinion on hip-hop being commercialized? Is hip-hop getting off the streetand becoming a merchandise?
 Honestly hustlin’ is one of hip hop elements. I can’t hate someone for being a hustler, especially when thisperson has nothing else. Also because I’m a hustler. Everything I do, it’s for to pay the rent. I’m not abusinessman, I’ve never been. I used to do different things – street stuff. I know how to do that not doin’businesses. People who made them get a million dollars. I just make it for survive. This is how it goes. Thisis not wrong.But I can see people who don’t believe in this culture and try to make money on it. I think too muchcompanies want to do business like this. I’m not talkin’ about businesses which support events, jams andhip-hop culture only about people who don’t understand this culture and try to get profits from it. In myopinion only b-boys, b-girls and “other hip hop members” should take the responsibility to not support thosecompanies. The best what I can say is “don’t buy it”. ‘Cause this is not the first and the last time when somecooperations break up the hip hop with money. That’s what happened with rappers. Let’s be real. Rap killed

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