Info courtesy of Wikipedia
Fred Brathwaite (born 1959), more popularly known as Fab 5 Freddy, is an American Hip hop historian, Hip hop pioneer and former graffiti artist. He was active in New York City in the 1970s and early 1980s. He is credited with helping to broaden the exposure of Hip-hop beyond The Bronx.
Biography
In late 1979, Debbie Harry suggested that Nile Rodgers join her and Chris Stein at a Hip Hop event, which at the time was a communal space taken over by young kids and teenagers with boom box stereos, which would play various pieces of music that performers would break dance to. The main piece of music they would use was the break section of Chic's "Good Times," which Harry wanted Rogers to appreciate. Rogers experienced this event the first time himself at a High School in the Bronx. A few weeks later, Blondie, The Clash and Chic were playing a gig in New York at Bonds nightclub. When Chic started playing "Good Times," Fab Five Freddy and what were the members of the Sugarhill Gang jumped up on stage and started free styling with the band - Chic joined in and let them as Rogers put's it "do their improvisation thing like poets, much like I would playing guitar with Prince." A few weeks later Rogers was on the dance floor of New York club LaViticus and suddenly heard the DJ play a song which opened with Edwards bass line from Good Times. Rogers approached the DJ who said he was playing a record he had just bought that day in Harlem. The song turned out to be an early version of Rapper's Delight, which Rogers noted also included a scratched version of the songs string section. Rogers and Edwards threatened legal action over copyright, which resulted in them being credited as co-writers.[1]
Art career
In 1981, Freddy was cast along with fellow Lower East Side graffiti writer Lee Quinones in Glen O'Brien's film Downtown 81. That film showcased artist Jean-Michel Basquiat in his Lower Manhattan environment and the culture that surrounded it. Shortly after, Freddy began production along with filmmaker Charlie Ahearn on his film Wild Style (1982), which showcased artist Lee Quinones in the Uptown, Manhattan environment of the Bronx and the music that surrounded it. In April 1981, Freddy was booked on Michael Holman and Keith Haring's art show "Beyond Words" at the Mudd Club, which also featured Afrika Bambaataa. This was the first time the Bronx hip-hop scene appeared in the Downtown NYC art-scene. The following month, Freddy was booked on Henry Chalfant's "Graffiti Rock" performance with Rock Steady Crew at Common Ground gallery in SoHo (not to be confused with Holman's Graffiti Rock TV show pilot). That show was cancelled due to violence, but was rescheduled in October at another venue called "The Kitchen". After the Rock Steady Crew and Afrika Bambaataa were booked as the opening act for Bow Wow Wow at The Ritz nightclub in September 1981, Ruza Blue decided to book them at Negril and begin a night called "Wheels of Steel". That became so popular that it was closed down by the fire department for over-capacity, and Freddy helped Blue (whom he dubbed "Kool Lady Blue") find another home for the party. Together they chose The Roxy roller rink in NYC, which gained national fame once used in the film Beat Street (1984).
Media work
Fab 5 Freddy was referenced in Blondie's 1981 hit song "Rapture". The "Rapture" video, in which Freddy has a brief cameo, (actually, Fab 5 Freddy was ill the day of the shoot, so artist Jean-Michel Basquiat took his place behind the turntables) was the first hip-hop video to be shown on MTV. In 1983, Fab 5 Freddy produced a hip-hop version of "Eisgekühlter Bommerlunder" called Hip Hop Bommi Bop" together with German punk rock band Die Toten Hosen which is said to be the very first co-production of Punk and Hip Hop. In 1988 Freddy became the first hip-hop VJ by hosting the MTV music video show entitled "Yo! MTV Raps." He later went on to be an associate producer on 1991 hit New Jack City and also appeared in the movie.[2] In 1994 he directed the music video "One Love" by emcee Nas.[3]
A graffiti art piece titled "Mr. Potato head" (1983) by Fab 5 Freddy has been displayed at the Brooklyn Museum of Art as part of their 2006 "Graffiti" exhibit.[4]
Fab 5 Freddy had a guest appearance on the February 13, 2007, episode of Law & Order: Criminal Intent titled "Flipped."Fab 5 Freddy's 1982 single "Change The Beat" ends with the processed vocalization: "Aah this stuff is really fresh." This is arguably the most important sample in turntablism/scratch DJ history as most aspiring DJs (and most accomplished DJs) regularly use it to scratch with due to its versatility. The line shows up in hits such as Herbie Hancock's "Rockit".
Community Work
Both in real life and in the film Wild Style (1983), Braithwaite was a catalyst for action and change in the hip hop community. In the book Yes Yes Ya’ll (2002), Braithwaite is described as a “hip-hop renaissance man who helped bring graffiti and hip-hop culture to the downtown art scene” (Frick & Ahearn xiii). He strived to connect the artistic elements and participants within the hip hop community of which he was part. Not only did Braithwaite participate in hip hop culture as a graffiti artist, he also frequently participated in the lower side’s avant-garde art scene. He started to notice connections between the art and music scene in lower Manhattan and the hip hop scene in the South Bronx. Braithwaite’s passion for synthesizing diverse aspects of art and culture formed as a major building block for hip hop's development in mainstream culture.
Biography
In late 1979, Debbie Harry suggested that Nile Rodgers join her and Chris Stein at a Hip Hop event, which at the time was a communal space taken over by young kids and teenagers with boom box stereos, which would play various pieces of music that performers would break dance to. The main piece of music they would use was the break section of Chic's "Good Times," which Harry wanted Rogers to appreciate. Rogers experienced this event the first time himself at a High School in the Bronx. A few weeks later, Blondie, The Clash and Chic were playing a gig in New York at Bonds nightclub. When Chic started playing "Good Times," Fab Five Freddy and what were the members of the Sugarhill Gang jumped up on stage and started free styling with the band - Chic joined in and let them as Rogers put's it "do their improvisation thing like poets, much like I would playing guitar with Prince." A few weeks later Rogers was on the dance floor of New York club LaViticus and suddenly heard the DJ play a song which opened with Edwards bass line from Good Times. Rogers approached the DJ who said he was playing a record he had just bought that day in Harlem. The song turned out to be an early version of Rapper's Delight, which Rogers noted also included a scratched version of the songs string section. Rogers and Edwards threatened legal action over copyright, which resulted in them being credited as co-writers.[1]
Art career
In 1981, Freddy was cast along with fellow Lower East Side graffiti writer Lee Quinones in Glen O'Brien's film Downtown 81. That film showcased artist Jean-Michel Basquiat in his Lower Manhattan environment and the culture that surrounded it. Shortly after, Freddy began production along with filmmaker Charlie Ahearn on his film Wild Style (1982), which showcased artist Lee Quinones in the Uptown, Manhattan environment of the Bronx and the music that surrounded it. In April 1981, Freddy was booked on Michael Holman and Keith Haring's art show "Beyond Words" at the Mudd Club, which also featured Afrika Bambaataa. This was the first time the Bronx hip-hop scene appeared in the Downtown NYC art-scene. The following month, Freddy was booked on Henry Chalfant's "Graffiti Rock" performance with Rock Steady Crew at Common Ground gallery in SoHo (not to be confused with Holman's Graffiti Rock TV show pilot). That show was cancelled due to violence, but was rescheduled in October at another venue called "The Kitchen". After the Rock Steady Crew and Afrika Bambaataa were booked as the opening act for Bow Wow Wow at The Ritz nightclub in September 1981, Ruza Blue decided to book them at Negril and begin a night called "Wheels of Steel". That became so popular that it was closed down by the fire department for over-capacity, and Freddy helped Blue (whom he dubbed "Kool Lady Blue") find another home for the party. Together they chose The Roxy roller rink in NYC, which gained national fame once used in the film Beat Street (1984).
Media work
Fab 5 Freddy was referenced in Blondie's 1981 hit song "Rapture". The "Rapture" video, in which Freddy has a brief cameo, (actually, Fab 5 Freddy was ill the day of the shoot, so artist Jean-Michel Basquiat took his place behind the turntables) was the first hip-hop video to be shown on MTV. In 1983, Fab 5 Freddy produced a hip-hop version of "Eisgekühlter Bommerlunder" called Hip Hop Bommi Bop" together with German punk rock band Die Toten Hosen which is said to be the very first co-production of Punk and Hip Hop. In 1988 Freddy became the first hip-hop VJ by hosting the MTV music video show entitled "Yo! MTV Raps." He later went on to be an associate producer on 1991 hit New Jack City and also appeared in the movie.[2] In 1994 he directed the music video "One Love" by emcee Nas.[3]
A graffiti art piece titled "Mr. Potato head" (1983) by Fab 5 Freddy has been displayed at the Brooklyn Museum of Art as part of their 2006 "Graffiti" exhibit.[4]
Fab 5 Freddy had a guest appearance on the February 13, 2007, episode of Law & Order: Criminal Intent titled "Flipped."Fab 5 Freddy's 1982 single "Change The Beat" ends with the processed vocalization: "Aah this stuff is really fresh." This is arguably the most important sample in turntablism/scratch DJ history as most aspiring DJs (and most accomplished DJs) regularly use it to scratch with due to its versatility. The line shows up in hits such as Herbie Hancock's "Rockit".
Community Work
Both in real life and in the film Wild Style (1983), Braithwaite was a catalyst for action and change in the hip hop community. In the book Yes Yes Ya’ll (2002), Braithwaite is described as a “hip-hop renaissance man who helped bring graffiti and hip-hop culture to the downtown art scene” (Frick & Ahearn xiii). He strived to connect the artistic elements and participants within the hip hop community of which he was part. Not only did Braithwaite participate in hip hop culture as a graffiti artist, he also frequently participated in the lower side’s avant-garde art scene. He started to notice connections between the art and music scene in lower Manhattan and the hip hop scene in the South Bronx. Braithwaite’s passion for synthesizing diverse aspects of art and culture formed as a major building block for hip hop's development in mainstream culture.
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