The site where all things OLDSKOOL reside. From videos,columns and interviews with your favorite artist. This page is dedicated to everything OLDSKOOL from Hip Hop, R&B and even Caucasian Classics. Come through and reminisce about the times when everything was Funky Fresh.
Keep It Oldskool Presents How two Philadelphia rap artists fell from grace. Here is a snippet of a column written by Michael A. Gonzales
How Cool C and Steady B Robbed a Bank, Killed a Cop and Lost Their Souls
By Michael A. Gonzales
“Philadelphia banks are not hit by takeover teams very often, and with good reason: there are few ways out.” ~Duane Swierczynski, The Wheelman
It was nearly opening time at the PNC Bank on Rising Sun Avenue in the Olney section of North Philadelphia. As early pedestrians ambled past on the cold, foggy morning of Tuesday, January 2, 1996, the bank manager entered the low-rise building alone. At the SEPTA bus stop a few feet away, a pair of construction workers casually looked on. Wearing white hardhats, the two young men appeared to be simply sipping hot coffee, puffing on Newports and talking about the forthcoming blizzard. Except they weren’t.
Instead those two men — later identified as Christopher Roney, 26, and Mark Canty, 22 — were watching every move, waiting for the opportunity to bum rush the manager and rob the bank. On the streets of Philly, Roney was more popularly known by his professional hip-hop handle, Cool C. A hit song called “Glamorous Life” had made him a local celebrity back in 1989, but a lot had changed since then.
Canty was not famous, having been recently fired from a lunch-room gig at Albert Einstein Medical Center. But rounding out the motley trio was another familiar face: Warren McGlone, 26, who acted as the heist’s wheelman. McGlone was well known as a key figure in the Philly hip-hop scene, a chubby microphone sensation who called himself Steady B.
DJ Ease, Cool C and Steady B as the short-lived C.E.B. (Countin’ Endless Bank), one year before the attempted bank robberyCanty carried a 9 millimeter and Roney a 380-caliber semi-automatic; both knew this branch had no security guard. When PNC’s first employee arrived, they pushed their way through the building’s doorway. The manager was forced to the floor while Canty took an employee to the back to access the vault. Having pulled off successful heists previously with the rappers, Canty surely anticipated a major payday. So what if it was supposed to snow? Later that day, it’d be raining green.
However, within moments of entering the PNC Bank, the silent alarm was tripped; the pair’s clumsily thought-out plan began to go haywire.
Riding solo in patrol car #2516, female Philadelphia police officer Lauretha Vaird, a former teacher’s aide who had joined the force nearly nine years prior, responded to the call. As Vaird stepped towards the bank door with her gun drawn, Canty reportedly screamed to Roney, “Here comes the heat!”
for the full column go tohttps://medium.com/cuepoint/how-cool-c-and-steady-b-robbed-a-bank-killed-a-cop-and-lost-their-souls-d24d404f120a
Wild Style -Released on March 18, 1983 this movie directed by Charlie Ahern and starred graffiti writer George "Lee" Quinones and Hip Hop icon Fab Five Freddy. This movie had cameos by Cold Crush Brothers, Rock Steady Crew, Grandmaster Flash and Busy Bee. Some of the memorable scenes in the movie is Double Trouble (Rodney C, KK Rockwell)"Here's a little story that must be told" on the steps and Grandmaster Flash doing his thing in the kitchen. But for many it must be the Fantastic Freaksversus the Cold Crush Brothers on the basketball court with the memorable line "Eat ya ass up like a steak an take" Wild Style trailer
The film which would not win any acting awards was one of the first to show all of "elements" of Hip Hop "Breakin", "Rappin","Scratchin" and Graffiti Check some of the clips from Hip Hop's early years. Double Trouble (Rodney C and KK Rockwell)
Grandmaster Flash cutting it up. Rock Steady Crew breaking
Keep It Oldskool Presents Artist Profile Curtis Mayfield
Few artists achieve iconic status in the genre of music and social awareness Curtis Mayfield was a man that decided that his gift could be used to help people as well as entertain them. As one of the most socially conscious singers of all time Curtis gave us thought provoking songs on Civil Rights, street life and issues that some artists would not touch.
Origin of an Icon
Curtis Mayfield who was born in Chicago Illinois got his start as most soul singers had done. Curtis sang in a church choir. After meeting future soul star Jerry Butler he joined a group called the The Roosters. After a short stint as that the name was changed to The Impressions. Once Butler left the group Curtis became lead singer. Already a prolific writer (having penned songs for the Impressions as well as now solo singer Jerry Butler) the Impressions began to hit their stride with songs like "People Get Ready","It's All Right", "Keep On Pushing" and "We're a Winner"
Solo With songs like "We're a Winner" Curtis took a decided leap in social awareness music. Mayfield's music became synonymous with 60s Civil Rights music. Curtis always the writer continued to write songs for the Impressions as well as other singers and acts. In 1970 Curtis decided to go solo. Having established Curtom Records in 1968 it was one of the first record labels OWNED by and African American recording artist. Mayfield's first solo album was 1970's Curtis. The album featured songs like "Don't worry if there is a Hell Below, We're All Going to Go" and "Move On Up" The aforementioned "Don't Worry If there is a Hell Below..." was known for the beginning bars that start: "Sisters, Niggers, Whiteys, Jews,Crackers don't worry if there is a hell below we're all gonna go"
Soundtracks While his debut album did garner some acclaim. What put Curtis over the top was his writing for several movie soundtracks.His first and most groundbreaking soundtrack was for a movie that was funded by two African American dentists and directed by Gordon Parks Jr. The movie told the story of a disillusioned drug dealer trying to make one big "score" so he could get out of the life. The movie was 1972's SuperFly that starred stage actor Ron Oneal. Some of the best songs ever made detailing the struggles and fears of people in that life are on that soundtrack. Songs like "Freddy's Dead" and "Pusherman"
His next soundtrack was for a movie about a single mother trying to make ends meet, having a love life and deal with the department of Public Welfare. Mayfield did not sing on the soundtrack but wrote and produced all the songs for Gladys Night and the Pips. The movie was 1972's Claudine which starred Diahann Carroll and James Earl Jones. Nevertheless Mayfield's song "Mr Welfare" gave voice to the despair of the time at a system designed to help but was the source of so much anger and pain.
He followed up that soundtrack with another in a movie about two mild mannered men who decide to fix a boxing match to get the money they need for their closing social club to buy a new building. They encounter gangsters and the police. The movie was 1975's Let's Do It Again starring Bill Cosby and Sidney Poitier The movie was the 2nd in the Cosby/Poitier trilogy of movies. The most well know of the songs that he wrote for the soundtrack that featured the Staples Singerswas "Let's Do It Again"
Another of the Curtis Mayfield penned soundtracks is 1976's Sparkle.The movie told the story of a a trio of sisters looking to make it in show business. The movie starred Irene Cara, Lonette Mckee and a pre Miami Vice Phillip Michael Thomas. Although the actors sang the songs in the movie the actual soundtrack featured Aretha Franklin. Two distinct songs from the soundtrack (One of whom would be covered by En Vogue) were "Giving Him Something He Can Feel" and 'Look Into Your Heart"
Legacy Curtis continued to write and release material well into the 1990s He wrote social activist music as well as sensual and good old fashioned soul music. After a lighting accident while performing in 1990 left him paralyzed from the neck down, Curtis continued to compose and sing his music. Mayfield's final album was 1997's New World Order. Curtis sang for the recordings by lying on his back. Curtis Mayfield died on December 26,1999 at the age of 57. His music still inspires to this day. Curtis Mayfield's musical achievements include Grammy Legend Award Grammy Lifetime Achievement Award The Impressions Anthology 1961-1977 album is #179 on Rolling Stones list of 500 Greatest Albums of All Time KEEP IT OLDSKOOL
Recorded in 1984 when Hip Hop was on it's way to becoming a phenomenon. "King of Rock" the sophomore LP that was the follow up to the the 1984 self titled debut called "Run-D.M.C" found the "Kings from Queens" ascending to the zenith that would be achieved with 1986's "Raising Hell". King of Rock was a album that the group embraced the global appeal Hip Hop was gaining. With songs like the title track "King of Rock" Run-D.M.C declared (especially with the video for the song) that Hip Hop and Run-D.M.C especially were not taking a back seat to ANY musical genre.
The group was cocky and unapologetic.That was Hip Hop. Gone were the clothes(Spikes, elaborate costumes) that were favored by the groups before them. The group took their cue of dressing from Jam Master Jay. In an instant everyone was walking around with no shoestrings and leather blazers with Adidas jackets under them. The album also included a James Todd Smith (L.L Cool J) penned song that spoke about their growing fame. "If I eat a little kid sticks his finger in my plate I'll be signing autographs for 3 months straight" Also coinciding with the with the release of "King of Rock" was the movie "Krush Groove" which told a loose story of the origins of the Def Jam label co-headed by Run's brother Russell Simmons
The album peaked at #52 in the Billboard Charts Top 200 and was #12 in the Top R&B/Hip Hop charts. The album also contained to my mind the greatest Run-D.M.C song ever made. When I say that I do not mean by how many records it sold because this song was never released as a single. It was Krush Groove 3 aka "Darryl and Joe" The song showcased everything that epitomized Run-D.M.C. There was Run being his braggadocios self "Got credit in places I never been cause the records I write are in the top 10" There was D.M.C sharp with the lyrics "In my pocket I'll keep on stuffin when I say I'll beat em up I won't be bluffin they can't beef cause that ain't nothin" and for the finale Jam Master Jay scratching for the last 3 minutes of the song.
On this day we also celebrate the birthday of the late great Jam Master Jay. Gone but never forgotton. King of Rock is a snapshot in time of what Hip Hop was in 1984-85 and it still stands up well against todays Hip Hop.
Old Backs (column also running on www.lyricallyfit.com)
It seems that in music everything seems to come back around for new and original audiences. Hip Hop which is an art form that was built on this very principle is no different. In most major cities there are the generic “Hot.Flamming,KISS,Power” stations that are going to play the same 10 songs all day every day. I have no problem with that. Those stations have their niche and loyal listeners. For the rest of us that although we do enjoy the “Heavy Luther Vandross Hour” we would also like to hear something that doesn’t go too far back. Hence the term “Throw-Back”. These are songs not really considered “Oldskool” but are not current. For some time people were not really able to understand the subtle distinction between an Oldskool song and a Throw-Back song. A song like "The Theme" (aka It's Party Time) by Tracey Lee came out in 1997. That makes it too new to be Oldskool but being 18 years old, it cannot be classified as "current". Now compare that with "I aint no joke" by Eric B and Rakim which came out in 1986. That would be an "Oldskool" song
"Radio them suckas never play me"-Public Enemy
Like Oldskool which
is near and dear to this author's heart Throw-Back songs have
now become genre unto itself. In Philadelphia in addition to main staple Power
99 there are 2 stations that have captured a fan base that really had
to place to go to listen to music other than satellite radio stations. There
is Oldskool 100.3 with an afternoon show that features
Philadelphia Radio and Hip Hop icon Lady B. Recently native
Philadelphian and longtime radio personality Colby Colb who is
now Vice President of Programming at Radio One has brought Boom 107.9 to Philadelphia.
The city's first Throw-Back Hip Hop station. When asked how
many Throw-Back stations that Radio One operates Colby
stated "We have 4 stations". I am glad to see that African American Radio seems to understand what Caucasian stations have known for some
time, when it comes to radio stations there needs to be more diversity. Now In
Philadelphia you can program those 2 stations into your car presets and hear a
song like "The Show" By Doug E Fresh and Slick Rick, click the next presetting and hear "Shook
Ones" by Mobb Deep
Oldskool and Throw-Backs are like step-brothers
growing up in the same house. Hip Hop is the "Parent" that loves them
both the same. Hopefully more mega-radio conglomerates who own multiple
stations will see that there is a fan base already built up for all Oldskool or
all Throw-Back stations. At 44 I am old enough to remember both genres of
music. I am also young enough to still dance to them too.
Keep It Oldskool. If you can’t there “aint nothing wrong with a
Throw-Back song.