It was a warm summers day, that July of 1967 as I walked down DeKalb Avenue from the #2 train off at Nevins Street for my first day of summer school at Brooklyn Technical HS to catch up on the needed industrial processes, technical drawing and drafting classes.
On the way past the liquor store near to Ashland I was stopped by a rough looking young man that demanded I go into the liquor store and buy him a bottle of Wild Irish wine with the only $1.25 I had for the day. Of course I said no, for which then the man produced a business card with a Top Hat and a Cane, and said do you know who I am? “No”, I replied. The Fort Greene area Chaplains, where you restin’ at? he replied. I said The Bronx. It got worse as he exclaimed, “Now your gonna get ya ass kicked, where at in The Bronx?” Edenwald Projects I replied as I took two steps towards the street. The to my surprise he said, “Ohh Edenwald huh? Ok you can pass we got some good friends up there in basketball and singers in music.
That is when I realized if you could overcome the artificial geographical separations of disparate people , they could get along with one another in cooperation and collaboration. This brings me to this special project we have that was envisioned way back then in 1967, code named now “Crimsonality Pirate”.
Early on circa 67′ I knew and felt what I was witnessingwas the birth of a new art form. For over four decades, I found my self for some unknown reason, always drawn back to Brooklyn where my life had forever been changed musically by witnessing a Christmas Murray The “K” show around 1964.
|Bbus129 by dondi panelpiece on a New York City subway car, 1984|
The graffiti got recognition as an art form early on but never the music. This became part of my mission as a self proclaimed avant-garde artist, to get Hip Hop music and B-Boy breakin’ dance elevated to an art form, just as it’s predecessor Jazz was. During this time I met and befriended many of the artists such as Afrika Bambaataa,
KRS-One, Treach from Naughty By Nature, and my personal buddy still to this day The Grand Surgeon.
The Grand Surgeon and I got re-acquainted on social media, because you see even early on I was always pushing the envelope of the art form, that may have not been readily understood, like working with my Conguero teacher Jose Navedo of the Latin Salsa band “Tipica Novel” and trying to bring the Afro-Cuban Salsa Jazz drumming sound into Hip Hop. So many saw me flashing through the South Bronx, especially around 174th St in the West Bronx, Webster Av and Kool Herc’s Yankee Stadium area, but it was providing a different element to hip hop that was I envisioning, but not readily adaptable to those I was meeting, that closed their minds to elevated possibilities.
For decades in the struggle I decided to go into an albeit rather self destructive, hibernation mode, but it allowed me to work, support and raise a family, all the while suffering the pain of unfulfilled dreams as Hip Hop took a decidedly, commercial production direction. Bringing us to the present time and day and age when finally my market prediction was substantiated.
Now we go into operation starting with The Grand Surgeon, to provide a new style of economy, whereby “real artists”, not manufactured brands or products can be found in a networked format, made by and for musicians and artists. Have a look see as we continue to build out the network.