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Posts from the “Bronx” Category

I Want to Go Home

Posted on September 19, 2011

Frida Kahlo. The Wounded Deer, 1946.

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My grandfather, who gave me his name and his intellect and his arrogance, has lung cancer. He is refusing to see an oncologist, and rightfully so. He is 96, and it is time to go. He was never a smoker, never a drinker, and being a diabetic, he had always been rather fit, but I do not know if it was sober, sugar-free living that kept him going for nearly a century. I think my grandfather is the prime example of the will to live.

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His mind is fully intact, albeit much slower, but he is fully aware of what is happening to his body as it has been corroding rapidly over the past five years. There may be something to be said for dementia, which is a burden to the family but perhaps protects the individual. If you do not know you are dying, if your brain disconnects you from our shared reality, you might find greater peace.

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On second thought, I take this back. My grandmother, his wife of over fifty years, died of Alzheimer’s disease, and from the little I witnessed, her final years were an agony that has filled me with pain. She had been abandoned, exiled to a home exclusively for victims of this cruel disease. My sister, in her infinite compassion, wanted to visit my grandmother. I did not.

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I was twelve, maybe thirteen, at the time and my heart had grown so cold that the only thing I wanted was to sunbathe in Boca, watch soap operas, and eat Entemann’s chocolate chip cookies. Somehow, I knew what I would witness and the apprehension tore at me. I nervously chewed my fingers and silently cursed my sister, thinking her foolish for caring.

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We entered the home, me fresh with resentment, my sister hopeful and excited, my grandfather detached and officious. The smell of fresh ammonia remains in my nose today and I can still feel it numbing the front of my brain. As always, the air conditioning was much too high, and everyone was dressed accordingly. I stood there in my oversized Betty Boop shirt, short shorts, and Keds thinking more about how I looked in order to block out what was happening around me.

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The wait was interminable and I could not relax. A patient, an elderly man wearing his pajamas and bathrobe sat in a chair and did not move once while I was there. I watched him with a kind of painful awe. But it became too much, so I looked away and began chipping away at the nail polish on my index finger. I could hear the sounds of nurses bossing and cajoling their patients into submission while the patients were as docile and helpless as newborn babies. But unlike babies, I didn’t hear any of them cry out. They seemed to have accepted their fates and retired to a place deep inside themselves that no one could reach. I began chipping away at the nail polish on my thumb.

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Perhaps the wait was not so long as I thought. Time play tricks where pain is concerned. At some point we were allowed to go to my grandmother’s room. The door was wide open, which seemed strange. I peered in and saw a nurse helping my grandmother into a long white slip. A rush of embarrassment swept over me. Here was a woman whose appearance meant everything to her, a woman who took great pride in being put together, and now she was fully exposed. I stood at the door struck dumb, wanting to run but having nowhere to go.

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Frida Kahlo, Self Portrait as a Tehuana, Diego in My Thoughts

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The nurse was having a hell of a time getting my grandmother dressed. Submissive throughout her life, the disease had released her from my grandfather’s control and a she-cat was born. With all of the attendant mewling and hissing and clawing that comes from a feral animal, my grandmother resisted all instruction. When she realized there were visitors at her door, she recognized my grandfather but seemed confused by the sight of two adolescent girls. “Is that my sister?” she asked, looking at me and my throat closed while my heart soared. A very strong part of me was cheering for her.

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“Rose, these are your granddaughters,” my grandfather corrected, as though the facts at this point still mattered. Let her think I am her sister, I wanted to shout. My grandmother didn’t quite follow, but that’s okay because she had other things on her mind. As we took a thirty-foot stroll through the small and enclosed garden of home, my grandmother gripped my grandfathers’ arm and repeatedly pleaded, “I want to go home.”

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I want to go home.
I want to go home.
I want to go home.

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Her voice echoes in my ear as I write this. My stomach clenches just as it did that day. My grandmother, who never had a mean word for anyone, who accepted her domination in a way I never understood, could no longer be controlled. Her knuckles were white as she cling to my grandfather for her life. “I want to go home.”

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My grandfather had had enough. Not even ten minutes into the visit, and we were through. He handed her back to the nurse, saying he would call or something equally irrelevant and he told us to wait by the car while he sorted out something at the front desk.

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Under the scorching Florida sun we stood on the asphalt, besides the Lincoln Town Car that my grandfather drove to the early bird specials. My sister and I exchanged no words, which was probably for the best because I desperately wanted to blame her for making me see this.

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I never saw my grandmother again.

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www.missrosen.us

Categories: Art, Bronx

Martha Cooper: Down by Law

Posted on August 2, 2010

Martha Cooper

MARTHA COOPER: DOWN BY LAW

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Eric Firestone Gallery, East Hampton
August 14–September 26, 2010

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Martha Cooper is a documentary photographer born in the 1940s in Baltimore, Maryland. She began photographing in nursery school after her father gave her a camera. She graduated from high school at the age of 16, and from Grinnell College with a degree in art at age 19. From 1963-65, she taught English as a Peace Corps volunteer in Thailand and then journeyed by motorcycle from Bangkok to England where she received an ethnology diploma from Oxford. She was a photography intern at National Geographic Magazine in the 1960s, and worked as a staff photographer for the Narragansett Times in Rhode Island and at the New York Post in the 1940s.

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Martha is perhaps best known for documenting the New York graffiti scene of the late 1970s and early 80s. While working for the New York Post she began taking photos of creative play on the Lower Eastside in order to use up the remaining film in her camera each day before developing it. One day she met a young boy named Edwin who showed her his drawings and explained that he was practicing to write his nickname on walls.  Edwin offered to introduce her to a graffiti king. This is how she met the great stylemaster, Dondi, who eventually allowed her to photograph him in the yards at night while he was painting. In 1984, with Henry Chalfant, she published Subway Art, a landmark photo book that subsequently spread graffiti art around the world.

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In addition to publishing more than a dozen books, Martha’s photographs have appeared in innumerable magazines including National Geographic, Smithsonian and Vibe. She is the Director of Photography at City Lore, the New York Center for Urban Folk Culture. She still lives in Manhattan but is currently working on a photo project in Sowebo, a Southwest Baltimore neighborhood.

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Cooper will be exhibiting four silver gelatin prints from her early b-boy documentary work in “Down by Law” at the Eric Firestone Gallery, East Hampton, opening on August 14, 2010. She has graciously agreed to speak about her work here.

Doze Green, Rock Steady Park, Photograph © Martha Cooper

New York in the 1970s and 1980s was a city bursting with originality, innovation, and experimentation. Please talk about how you see the relationship between your early work as a photographer and the environment in which it took hold.

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 I’ve long been drawn to anything made by hand perhaps because my parents always encouraged creative play. In 1977 I began working as a staff photographer for the New York Post and the job required that we cruise around the city all day in our cars with two-way radio contact to the news desk in case there was a breaking assignment. When not on assignment we were supposed to look for feature “weather” photos. My favorite neighborhood for photos was Alphabet City on the Lower Eastside where I could almost always find kids making something from nothing.

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It has recently been suggested to me that the term “graffiti” is marginalizing, and loaded with negative connotations. How do you feel about the use of the word in general, as well as application to your work?

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 Writers probably enjoy being associated with “negative connotations”. Being bad can be cool. Of course the term graffiti has been around much longer than markers and spray paint. In NYC, it’s most fitting for tags but less appropriate for sophisticated spray painted walls. Words and their connotations change over time. Just let me know what you want me to call it and I’ll be happy to oblige. If you prefer the term aerosol art, I’ll go with that stilted though it may be.

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As a working photographer over the past three decades, you have seen first hand how the art world—from galleries and dealers to museums and collectors—responds and reacts to contemporary American art. What are your thoughts on the differences (and similarities, if applicable) between the US, European, and Asian markets?

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As a documentary photographer I’ve always been more interested in publishing my photos in books and magazines than showing them in galleries. I never paid much attention to the art market until very recently. Collectors in Europe and Japan seem more eager to collect “graffiti” (should I say aerosol?) related work. I’m just happy that people anywhere enjoy looking at my pictures.

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Who are your artistic inspirations, and how have they influenced your ideas, aesthetics, and actions through the course of your career?

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My dad was an amateur photographer and he used to take me on “camera runs” with the Baltimore Camera Club so my first experience with photography was just going out looking for pictures and that’s still my approach today…

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I’m from a generation of street photographers who never studied photography. I grew up seeing photojournalism magazines like Look and Life and National Geographic and wanted to become a professional photographer so that I could travel the world. I was always more interested in thinking about what I wanted to photograph than how I was going to shoot it. It was never my intention to make art.

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For “Down by Law” you will be exhibiting your silver gelatin prints of Rock Steady Crew members Frosty Freeze, Ken Swift, Crazy Legs, and Doze Green . Please talk about your work documenting the b-boy movement, and the way in which these photographs—in particular that of Frosty—have become historic markers of the culture.

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I first encountered b-boys by chance in 1980 in Washington Heights and was so impressed that I contacted Sally Banes, a dance writer, to help me document them. It took us a year before we had enough material to publish a story. We asked Henry Chalfant to help us find dancers. He was organizing an event with graffiti, rapping and DJing and thought dance would be a great addition. Through his graffiti contacts, we met Crazy Legs.

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The resulting story in the Village Voice in April 1981 with Frosty Freeze on the cover introduced breaking and Rock Steady to the world. Because NYC is a media town, magazines and film crews quickly covered the “new” dance. Henry filmed them for his movie Style Wars as did Charlie Ahearn for Wild Style. The words “Hip Hop” were not in general use at the time but as people became more aware of the culture, breaking was included as an integral part and the Rock Steady Crew became worldwide celebrities. As far as I know my photos are the earliest documentation of b-boying.

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There has been a wide array of artists to emerge from the early graffiti and Hip-Hop movement. How have your earlier experiences documenting b-boys, young writers in the yards, and trains running along the lines influenced you ideas about art, and in what direction would you like to go?

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I don’t think a lot about art. Still photography is a wonderful way to document. In a fraction of a second the camera can capture and preserve a million details. I’m interested in using photography for historic preservation. I want people to look at my photos and get a sense of what life was like at a specific time and place.

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I’ve seen New York City change radically over the past 30 years and my photos are appreciated because they are a record of a different time. For the past 4 1/2 years I’ve been documenting a difficult neighborhood in Baltimore with a vibrant street life. My hope is that in thirty years these photos will similarly be enjoyed.

Ken Swift, Photograph © Martha Cooper

Frosty Freeze, Photograph © Martha Cooper

www.12ozprophet.com/index.php/martha_cooper

www.ericfirestonegallery.com

Categories: 1980s, Art, Bronx, Exhibitions, Graffiti, Manhattan, Music, Photography

DJ Disco Wiz: The $99,000 Question

Posted on June 14, 2010

Flyer courtesy of DJ Disco Wiz

DJ Disco Wiz has been collecting original Hip Hop party flyers dating back to the earliest days in the game. Back in the days, these flyers were made by hand, and their painstaking precision is just one part of their charm. Both an art form unto themselves as well as a part of our culture’s history, these party flyers take us back to a time and a place that is unlike any other.

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Many of these flyers are now in the collection of the Experience Music Project in Seattle. But don’t worry, if you can’t get across the country that quickly, you can still check them out in the incomparable oral history of Hip Hop’s early years, Yes Yes Y’all by  Jim Fricke and Charlie Ahearn.

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In conjunction with his June 24 book signing event at Fat Beats, Wiz agreed to chat about his mind blowing collection.

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Flyer courtesy of DJ Disco Wiz


Please talk about the inspiration to donate your collection of original Hip-Hop flyers to the Experience Music Project.

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DJ Disco Wiz: I had just started recovering from my first of two bouts with thyroid cancer in 1999, when Grandmaster Caz strongly suggested that I attend an interview session taking place in Harlem moderated by Jim Fricke the senior curator of The Experience Music Project in Seattle.

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That was the beginning of a series of events that followed, our oral interviews were used as part of the museums opening Hip-Hop Oral History series and later transcribed onto text in Jim Fricke and Charlie Ahearn’s book Yes Yes Y’all. The Experience Music Project Oral History of Hip-Hop’s First Decade.

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70% of my flyer collection was also used in the book. I made a donation of flyers to the museum on behalf of myself and Caz. The caption reads: “Donated solely for the preservation of Hip-Hop Culture, may no man take away what we created. —DJ Disco Wiz/Luis Cedeño and Grandmaster Caz/Curtis Brown.”

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How do you feel about having your collection part of a major museum?

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Honestly it goes beyond words for me, the preservation aspect happened for me because of personal health reasons and the sheer notion of not knowing how many tomorrows were left..

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The feeling of wanting to leave something behind for future generations is overwhelming and transcending. I am thankful and fortunate to have my archives in a respected institution.

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Back in the days—before InDesign and Photoshop and Kinkos—flyers were a handmade artform. Please talk about what it took to make these pieces, and what it was like to receive them?

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This was the beginning of an unforeseen unstoppable movement/culture and it was not televised. It was “each one teach one, each one reach one” it was definitely a process for sure…

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In the early days most flyers were simply hand written with a marker then it evolved with the use of stencils and elaborate tags/throw ups by legendary graffiti artist, along with common phases of the times. One of my favorites were Afrika Bambaataa’s flyers which used the phase “Come in Peace.”

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How did you and Grandmaster Caz come together to design the flyers for your events?

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Creation of our event flyers was Caz’s thing 100%. I pretty much just co-signed them as we went along…

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Why did you decide to collect the flyers for the parties that were happening back in the days?

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That’s the $99,000.00 question! I really don’t know why? and honestly don’t care to know I’m just so glad and thank God everyday that I did…

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I do remember coming home in February of 1982 after being away for more than four years. Hip-Hop was then hitting the radio airwaves and making its maiden voyage around the globe. I opened a box containing 100s of my flyers from the 70’s… It was absolutely magical  to say the least…

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Are there any flyers you collect today?

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Yes! of course, am not a hoarder.. but I do love to collect—flyers, banners, event ticket stubs, etc, because as history has clearly taught us… you’ll never know.

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Don’t Miss This!
Thursday, June 24 at 7pm
DJ Disco Wiz at Fat Beats, New York
Signing Copies of His Autobiography
IT’S JUST BEGUN

Categories: 1970s, 1980s, Art, Books, Bronx, Music, Photography

Janette Beckman: “When I First Arrived in NYC in 1982, Hip Hop was New and Fresh”

Posted on May 19, 2010

Grandmixer DST, Photograph © Janette Beckman

Janette Beckman and I were invited to appear on WFMU’s “Coffee Break for Heroes and Villains with Noah” on Tuesday, June 1 from 9am–noon, to discuss the art of Hip Hop photography. I first met Janette back when we were working on Made in the UK: The Music of Attitude, 1977–1983, a retrospective of her career documenting the Punk, Mod, Skinhead, 2 Tone, and Rockabilly culture in the UK.

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It was during that time that Janette showed me a copy of her first book, Rap, with Bill Adler, showcasing her work from the burgeoning Hip Hop scene during the 1980s. Needless to say, I fell off my chair when I caught a glimpse of her photographs, many of which have become icons unto themselves. From this, inspiration was born, and Janette published her third book, The Breaks: Stylin’ and Profilin’ 1982–1990, which she kindly allowed me to subtitle after her original subtitle, Kickin It Old School, appeared as the name of a corny Jamie Kennedy movie coming out at the same time.

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Janette has photographed the likes of… EVERYONE. Check out this list, it is legendary: Afrika Bambaataa, GrandMaster Flash and the Furious Five, the Fearless Four, the World Famous Supreme Team, Lovebug Starski, Salt’n’Pepa, Run-DMC, Stetsasonic, UTFO, Roxanne Shante, Sweet T, Jazzy Joyce, Slick Rick, Boogie Down Productions, Eric B. and Rakim, EPMD, NWA, Ice-T, 2 Live Crew, Tone Loc, Gang Starr, Ultramagnetic MCs, Rob Base and DJ EZ Rock, Special Ed, Leaders of the New School, Jungle Brothers, Beastie Boys, Rick Rubin—and more! Hell, honey, even shot Jomanda! That’s for real. Got a love for you. You know, I just had to do this interview…

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How did you get into shooting Hip Hop?

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Janette Beckman: I was working for a British music magazine called Melody Maker when I saw my first Hip Hop show back in 1982 in London. The show featured Afrika Bambaata, Grandmixer DST, Futura 2000, Dondi White, breakdancers, and double dutch girls.  It was absolutely mind blowing—we had never seen anything like it—and it seemed to me to be the new Renaissance in music, art, fashion and dance.

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FUTURA and DONDI, Photograph © Janette Beckman

Being from the UK punk scene what did you make of it?

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JB: The punk scene in London had reached it’s peak and I think everyone was looking for the next new thing. Hip Hop was much like the UK punk scene when it first started: so creative, groundbreaking, and in many ways both movements came from the streets—art and music created by “working class” kids who were inventing new things never seen before.

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What was Hip Hop like back in the days, when artists were first getting record deals, but still didn’t have the marketing machine behind them?

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JB: When I first arrived in NYC in 1982, Hip Hop was new and fresh. It seemed to me as an outsider coming from UK that the artists were free to do what they wanted, the music came from the streets and really told stories of what was happening in peoples lives, from the political like “The Message” and Public Enemy, to the raps about love, girls, sex, sneakers.

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Anything seemed possible and the small record companies were much more interested allowing the artists to have creative freedom from the way they dressed to the beats and the raps. There was an amazing creative energy—riding on the train hearing some kid rhyming, seeing girls wearing the first giant hoop earrings, the fake LV outfits, the new way to lace your sneakers, the graffiti. Of course this was before MTV, stylists, the Internet started to dictate the way you were supposed to look.

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Looking through The Breaks, I am totally blown away. You shot some of the photos that have long been burned into my brain. What was your favorite shoot, and why?

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JB: My favorite shoot was for the British magazine The Face. They asked me to photograph the emerging Hip Hop scene and sent me out to Queens on a warm summer day in 1984 to photograph a group called Run-DMC. I took the subway to Hollis where Jam Master Jay met me at the station and walked me to the leafy block where they were hanging out with some friends. I just took out my camera and started shooting. The photo of Run DMC and posse is one of my favorites because it is such a moment in time. Totally unposed.

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Photograph © Janette Beckman

Please talk about your Ladies of Hip Hop shoot for Paper, as that photo is a classic!

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JB: I had been working for Paper magazine since their first issue. They told me they were gong to get the Ladies of Hip Hop together for a shoot. I think it was in a Mexican restaurant on West Broadway. The ladies started to arrive and the boys were told they had to leave. Ladies only this time. What an amazing group—all getting along so well and having fun—and Millie Jackson was there, the “Godmother” of it all.

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Eazy-E, Photograph © Janette Beckman

Please talk about shooting Eazy E, as I find this photo so touching. No profiling, no posing, no gangsterism in Eric. I love it…

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JB: I was working on the final shots for my first book and had traveled to LA to shoot the important West Coast scene. NWA were recording their new album in a studio in Torrance and had agreed to have me shoot them. There was an alley at the side of the studio and I asked the group to pose for me. I only took a couple of shots of each of them.

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We were talking about the recording. They liked my British accent and asked if I would be up for reading some lyrics on their album (it turned out to be lyrics about how to give the perfect blow job, which I thought maybe would not be right for my debut in the recording industry).

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What do you think about the way Hip Hop has changed—as an economic force, a global culture, an art form, and a way of life for so many people of all ages?

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JB: Hip Hop has really changed the world. I love the idea that people are rhyming in Africa, India, France in every language. What some people thought was a fad is a now, thirty years later, a worldwide phenomena used for advertising, soundtracks, TV, billboards. Artists like M.I.A, Ben Watt, and Santogold are mixing Hip Hop with their own beats and making some thing completey new—much like Hip Hop artists took disco and R&B beats and made them their own. And still kids on the street
around the world are keeping Hip Hop real.

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www.janettebeckman.com
Don’t Stop! Get It! Get It!

Categories: 1980s, Art, Books, Bronx, Brooklyn, Fashion, Manhattan, Music, Photography

Guy Gonzalez: Peep Man/Deuce 42

Posted on May 4, 2010

Photograph courtesy of Guy Gonzalez

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On Thursday, May 6, Guy Gonzales will be reading excerpts from his upcoming book, Peep Man/Deuce 42 at Happy Ending, New York, as part of the Sex Worker Literati project, Embarrassing Things I’ve Done for Money. The event starts at 7pm—but since I cannot be there, I asked Guy for an interview about his book, cause I have been hearing stories for a minute now, and I am curious as fuck! Yup Yup.

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Your autobiography, Peep Man/Deuce 42, is nearing completion and I cannot wait to hear more about this project! What has the process of writing your memoirs been like?

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Guy Gonzales: The journey itself is cathartic; the recapitulation process quite revealing. As I scour my brain, the missing pieces fall succinctly into place, allowing me to finally come clean; the ultimate redemption.

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What have you discovered about revisiting your past in this manner?

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GG: Such an undertaking is one thousand percent necessary, for facing consequences that still remain unresolved, especially on an emotional level. However, I am thrilled and blessed to have been an integral component of what was once a glorious transgression, that will inspire countless artists and writers to come!

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Photograph courtesy of Guy Gonzalez


What brought you to Times Square in 1982?

GG: Like a forlorn moth I gravitated toward the neon, which burned incessantly with meaning. Although I am from a decent family, we were soured by dysfunction; the emotional evisceration I endured somehow qualified me for membership amongst the underbelly caste society of Times Square.

What was it like to work in one of history’s most infamous red-light districts?

GG: Times Square and “the Deuce”, 42nd Street, instilled meaning beyond mortal comprehension; an unparalleled sense of belonging. I shall always deeply treasure the indisputable fact that I actually worked in legendary peep palaces like Show World, Les Gals, 711, and The Pussycat. We were just too cool; there will never be anything like it ever again.

 

Photograph courtesy of Guy Gonzalez

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How did you transform your career from cashier/mop man to Love-Team, performing live sex acts on stage with your girlfriend?

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GG: While swabbing sperm I began to notice that many of the “Love Teams” were actually young couples, although a little strung out. The Fantasy Booths were occupied by showgirls who often did sex shows as well. The “booth babies” often selected someone who worked on the premises, like a cashier, because that was someone you could usually trust, used to handling money. Initially, doing continuous sex shows was invigorating, until we became burnt to a crisp. Then the shows became somewhat sad.

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The May 6th event is titled, “Embarrassing Things I’ve Done for Money.” Was being a performer embarrassing in any way, or are there other stories that fit this subject!?

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GG: Having sex in front of strangers is not embarrassing in the least, if you’re really into it. Especially in that sexually uninhibited period that was the early 80’s. The only incidents I can construe as slightly embarrassing are when the male member of a boy-girl Love Team can’t summon his fabled erector set to perform the show. But that happened a lot, because we were stoned out of our fucking minds…

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You were working in the sex industry at the time AIDS first became a public health crisis. How did this change the spirit of the world you were in?

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GG: We rarely, if ever, used condoms. Regardless of the consequences, we were irresponsible, period. We flaunted a lifestyle of complete abandon. But disease doesn’t discriminate; the fatal wake-up call came too late for many of us. Even more devastating than the health crisis is the hypocrisy were subjected to now!

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Photograph courtesy of Guy Gonzalez

Check It Out: May 6 at 7pm

Categories: 1980s, Art, Bronx, Manhattan

DJ Disco Wiz: “A Man Is Made By What He Accomplishes Against All Odds”

Posted on April 22, 2010

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It’s Just Begun: The Epic Journey of DJ Disco Wiz, Hip Hop’s First Latino DJ is a gritty and gripping tale of one man’s struggles to not only survive, but to triumph over adversity and abuse.

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I have always held Luis Cedeño (or Wiz, as his friends like to call him) with the highest regard and have always felt that he was family. His warm and generous personality belies his horrific personal history, a history of which I had not even a clue before editing of his autobiography. To know someone who has endured and overcome physical, emotional, and psychological pain so intense it could have easily destroyed a lesser man renews my faith in the redemptive power of love and humanity.

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For every person who believes Hip Hop is about money, status, and fashion; for everyone who equates violence and destruction with street credibility; for everybody ready to believe that the only way to succeed to ensure others fail, It’s Just Begun offers the antidote. Wiz’s story is more than a glorified, romanticized look at street life—it is a chilling, gripping, and ultimately uplifting saga of one man’s quest for emancipation from the prisons in which he has been living.

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Even at this late date, so many years after we first met, I still find it difficult to reconcile the charming and cuddly DJ I love with stories I have read. Which is, I believe, a testament, to the transformative possibilities on this earth. As I type these words, chills spill across my back, not wanting to give anything away, but unable to hold back.

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Wiz sat down for an interview to talk about what he’s been through, and how he has made it this far.

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Your grandfather Norberto Cedeño was a respected artist and you say that this was the one aspect of his life your family felt comfortable talking about.  As a child, what was their reaction to your interest in art and drawing and eventually music and performance?

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DJ Disco Wiz: As far as I remember I was always artistic. My family always commented “you got that from your grandfather”.  But the sad thing is that once I got into Hip Hop, they were totally not supportive. To them it was a black thing and they could not associate themselves with what I was doing. They never went to see me DJ, nor did they care about what I was doing. They really didn’t grasp the movement, nor could they see beyond their prejudices.

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Apart from Hip Hop, what music did you listen to growing up?  Did you follow what was happening in Latino music at the same time?

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Wiz: First of all, as a child there was no such thing as Hip-Hop music. We created the genre and movement that would later be termed Hip Hop. I was a lover of all genres of music, Motown, rock, R&B, Disco, funk and soul. And eventually the sound of the Fania All Stars Salsa music as well.

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That montage of music, was what later helped me as a DJ become that avid “crate digger” in search of those great break beats which would become synonymous with the early years of Hip Hop. It was all about the DJ back then.

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There’s a moment in the book when you talk about watching Kool Herc set up for a jam at the P.A.L.  When did you cross the line from being in the crowd to DJing on the stage, and what was it about hip hop that makes this possible?  Was there a single moment early when you realized that this was something you could really do?

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Wiz: It was an epiphany at the moment, but seeing Kool Herc the first time was not the deciding factor. Crossing over is all credited to my childhood friend and partner Grandmaster Caz. He was the one who pulled me into the role of becoming a DJ. I really can’t answer specifically what in Hip Hop makes it possible; I can undoubtedly say that for me it was an indescribable feeling that compelled me towards the movement.  At that time we did not know what we were doing. But we knew it was an alternative to the obvious, of street gangs, prison or early death. So to answer your question, no one knew or realized its full impact or significance at that moment. It wasn’t until many years later that we realized what we had created.

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You describe the negative feelings other Latinos had about your involvement in Hip Hop.  What problems did you encounter from the African Americans you were performing for and with?  What kind of prejudice did Grandmaster Caz and your black friends encounter for including you?  Did you bring anything from Cuban or Puerto Rican music to DJing that they didn’t like because it was from Latin music?

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Wiz: Caz and I both got hassled by our respective communities. My street credibility was enough to keep any personal attacks from stopping me by either community from doing what I wanted to do. As matter of fact, in the beginning no one really knew I was Spanish. Everyone presumed that I was black until they got to see us perform live. Then they were shocked to see a light skin Latino rocking the turntables.  But as far as the music was concerned I definitely found my distinctive signature by gravitating towards the break beats that came from ancestral African drums which is the foundation of all Spanish and black music. I also had this aggressive style behind the turntables that would later be termed Battle Style DJ.

Photograph courtesy of DJ Disco Wiz

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Photograph courtesy of DJ Disco Wiz

 

Did your presence bring more Latinos to your shows that may have stayed away otherwise? Do you follow Latino Hip Hop now, specifically in Cuba and Puerto Rico?

 

Wiz: Once they started realizing that DJ Disco Wiz was Spanish, I’d have to say yes. The Latino community started coming out to the events. I definitely support the young up and coming Latino hip hop artist from both Cuba and Puerto Rico like Mellow Man Ace, Immortal Technique, Rebel Diaz, and T-Weaponz etc… I actually support the movement in all Latin countries for example Mexico’s Boca Floja, who I just performed with in Mexico City. I also have a weekly radio show on UrbanLatinoRadio.com called the Hip Hop Chronicles where I feature the new Hip Hop artist as well as the old school fundamentals.

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Studying with Peace and the Latino organization in prison, you describe how cycles of violence throughout history have affected our communities.  Did this alter or change your feelings towards your father and grandfather as products of the same cycle?  You had extremely volatile relationships with the men in your life but the women seem to have been a more constant presence.  How has their influence helped you break some of these patterns?

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Wiz: Honestly, I never really thought about my father or grandfather or related with them when it came to my life. I never met my grandfather so I really never harbored any negative feelings towards him. As far as my father was concerned, once he passed away I rarely thought about him until I started writing this book.  All the life lessons I acquired during my incarceration I applied towards myself.  Through the constant love I received from the women throughout my life, especially my wife Lizette, I have learned to love myself and those around me in order to break that vicious cycle of violence that I once lived by.

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Has the experience of writing your memoir changed your relationship to some of the people in your past?  Have you gotten any feedback or reaction from the people you’ve written about?

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Wiz: I would have to say yes, especially the relationship with my daughter Tammy. I believe the book was an eye opening experience for Tammy. It gave her a new perspective to who her father really was and to what really happened thirty years ago. I believe she now understands me better and she has expressed to me how much the book has changed her own life. I feel it has definitely helped us both heal. As far as feedback, my partner Grandmaster Caz just told me how incredible he thought the book was. He mentioned how the book took him back in time to even some of the memories he had forgotten.  This to me was very significant because he even mentioned how much he didn’t know about me until he just read the book.

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You chose not to rejoin Caz when you were released from prison in the early eighties.  How did you follow Hip Hop during the period you weren’t performing?  You’re very critical about the way hip hop has evolved.  What are some of the points or events you feel changed it for the worse and for the better?  How could people reclaim it now?

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Wiz: Once I went away, my life was pretty much scripted for me. When and if I came out, I would have to be a productive member of society. To me and many that meant getting a real job and staying out of trouble. Unfortunately, Hip Hop did not provide that life style at the time.  Hip Hop has always been a part of my life in one way or another. Although I wasn’t performing, I was on top of what was happening with Caz and the movement.  In the beginning hip hop was about the people and for the community that really had nothing else. After I came home, it was no longer that. When Hip Hop became a business it changed its essence and became something new and very different from what we had created so many years earlier in the streets of the South Bronx. Exactly when that happened, I can’t pinpoint. But in my opinion the change was neither good nor bad. It was a change that helped hip hop become global. And it is a business that has helped many. I truly believe that for anything to survive it must reinvent itself and change with the times, and hip hop is a perfect example of this. People reclaim it everyday. Today, real Hip Hop lives in the grass roots and underground movements. In some places it still is about the people and for the community

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Your memoir preserves an important part of Hip Hop’s history.  What do you believe is the future of Hip Hop?

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Wiz: Its future is just like it’s past, the possibilities are endless.

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Many of the struggles in the book come from your need to establish a street reputation for survival.  If you could say one thing to the kid you were then, what would it be?  What did you believe made a man then and what do you believe makes a man now?

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Wiz:  I would tell that kid to believe in himself no matter what his circumstances are, because no one believed in me as a child. They never told me I would accomplish anything. Needless to say that I would be a part of an incredible global movement like Hip Hop, a top chef at some of the finest eating establishments in the world and an author of a book I believe and hope will change many lives is something no one saw coming. I believe now that a man is made by what he accomplishes against all adversities and all the odds. And what he eventually leaves behind for future generations to learn from and the lives that he touches along the way.

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Photograph courtesy of DJ Disco Wiz

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Luis “DJ Disco Wiz” Cedeño, the first Latino hip hop DJ, is credited for being the first DJ to make a “mixed plate” in 1977 along with Grandmaster Caz. In the years since, Wiz has been an influential force in educating the world about the early years of hip-hop. Wiz was a major contributor in the opening of the Experience Music Project in Seattle in 2000, and was instrumental in the making of Jim Fricke and Charlie Ahearn’s Yes Yes Y’all (Da Capo Press, 2002). He was also featured in the Emmy-nominated VH1 Rock Doc NY77: The Coolest Year in Hell, and is the creator and founder of the Hip-Hop Meets Spoken Wordz series.

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