ZUULU KINGS was created on November 12th 1973.
the crew was handed down to me on November 1st 2000, and i ushered in the forth generation of ZULU KINGS taking it from just the bronx and manhatten, but to every single continant on the planet making it the first ever INTERNATIONAL zulu chapter and at 145 members world wide the biggest.
We have made alot of noise, but no shine in the world for us individualy is higher than the name itself, and those brothers who started ZULU KINGS.
with that said, on Nov. 10th 2011, THE MIGHTY ZULU KINGS WORLD WIDE (4th generation zk) honored our first, second, and 3rd generation forefathers with awards. for the first time in history, representatives all 4 generations were united.
ZULU KINGS FOREVER, FOREVER ZULU KINGS
Yes, us must trust us, who? Us must trust
not fuss with us, us must trust us discuss trusting us
Us must trust us, who? Us must trust
not fuss with us, us must trust us discuss thus trusting us
Trusting us, us must trust discuss
Discuss not trusting us must not fuss
Us with us means us discussing trusting us
Us must trust us, who? Us must trust
not fuss with us, us must dicuss trusting us
At first I was a one man b-boy show, I did things by myself as far as b-boying went. So, one day this DJ named Sisco came by to tell me that there was this crew up the block by the name the CC Crew. So I asked my brother b-boy Easy Mike to come with me to meet them. As soon as we got there, there was this black kid sitting there in the hall way. I went up to him and asked him, "where is b-boy Spy and Shorty rock" and he asked me "why". I told him "I am here to take him out" and the black kid ran upstairs and came back down with the whole crew. At first Easy Mike and I were like damn, but then we looked at each other and said "lets do this". So, we battled for a while and the battle ended in a tie. Spy then asked Easy Mike and I if we wanted to get down with his crew.
In mid-1979, When Bboy Easy Mike( My brother )and I both part of The C.C.Crew at that time stop hanging out with Spy and Shorty Rock and started reppin for ourselves.Shortly after is when i met Jimmy Dee at my boy Ricky D's crib,Jimmy and I became real close Friends,and when Jimmy Dee found out that I was a Bboy he asked me to show him how to dance. I started teaching him and later became a good Bboy. At a jam in J.H.S 82 where Dj Whitehead was Djing is where I met Jimmy Lee. Jimmy saw me and asked if I could show him how to get down,I told him to meet me at my crib the following day so we could get started and he did. Soon after between the four of us started a Crew called the Untouchable Four Bboys. One day Jimmy Dee and I were at his crib came up with the idea of starting a New Crew because of other Bboys wanting to get down,so we came up with a new name The Rock Steady Crew. I remember The Rock Steady Crew being formed in 1977 the same year as the famous New York City blackout, but after speaking with Bboy Easy Mike(My brother)and Bboy Spiderweb(Ex-Bboy partner) recently both reminded me of The Rock Steady Crew being founded in 1979. In 1981 a chapter was given to Crazy Legs to take to manhattan and by the time of the Lincon Center Battle against Dynamic Rockers Jimmy Dee and I were the last remaining Original Rock Steady Crew members and the rest is HISTORY. I want to take this time to show love and respect to the other crews reppin the Bronx, The Bronx Boys Rocking Crew, C.C.Crew,and StarChild La Rock.
Sorry for my misinterpreting the years and crew members.
JoJo Co-Founder of The Original Rock Steady Crew and Original 1976 Bronx Bboy 4 LIFE.
"A culture is useless if it does not enforce its rules. A culture that defies its own rules, is a con. It has a purpose other than the health and well-being of its members. A culture that espouses a set of cultural rules that it has no intention of following, is a hollow culture. Living in a hypocritical manner is worse than anarchy. Such a culture mocks itself."
~ALi Abate Georgia
'd like to introduce to you new website for bboys / bgirls and organizers:
http://www.BboyEvent.com
Site is made for sharing info about all breaking events like jams, battles, champs all over the world:
For bboys / bgirls it is beautiful, elegant and easy to use calendar.
For organizers - it is the single place for sharing info about their events. You don't need to be registered to publish your events. All you need is to fill in the simple form.
This is the main idea.
The site is FREE. And we are going to support it and implement more very and very interesting features in future. But...We need promotion and we need support from the side of users.
Therefore I have 2 things to say:
1. If you will organize any breaking events please publish it to as well: http://www.BboyEvent.com
2. If you have a chance to tell other organizers about the resource - it will be very helpful
Hells Angels legend Ralph “Sonny” Barger is probably somewhere around 75 years old, but still looks like a vibrant man in his mid 50’s, close-cropped white hair and clean shaven. He looks more like a MARINES drill sergeant than a lifelong outlaw as he moves through the room with the confidence and sureness of a sultan in his harem.
This is the man, the legend, the one who moulded the Hells Angels into what they are. It’s not a stretch to say that Sonny Barger was a visionary who essentially created the image of the outlaw biker as we know it.
Going back as far as the late 50’s until this day, Sonny Barger and his crew which consisted of cats who are LEGENDARY in the outlaw biker world: Johnny Angel, Terry The Tramp, Magoo, Junkie George, Mouldy Marvin, Cisco Valderama, with a host of other members from their Hells Angels Charter, created the image-- the leather, the hair, the grime, the hardness, the silence, the impenetrability, the bikes, and everything that constitutes an outlaw biker, especially the bikes.
Without the Hells Angels we wouldn’t have floor model Harleys that look like striped down scream machines. No Ape Hangers (motorcycle handle bars with grips above the shoulders), no flared fenders, no bitch bars (sissy bars), no spool wheels, no front end extenders. There would be less chrome, less creative custom paint jobs, less style, The HA were obsessed with going fast, and without this obsession bikes would be slower. They were relentless in stripping their bikes of all but the barest essentials. The formula was simple, less weight and bigger engines equalled more speed. Every pound they shed gained them 2 miles per hour. Thus “CHOPPERS” – chopped down motorcycles. What they did was mimicked by everyone who wanted to be a Hells Angels but couldn’t be. Their influence can be seen today in bikes designed by Jesse James of West Coast Choppers and the Teutuls at Orange County Choppers.
Bikes aside, a world without Sonny Barger would look pretty much the same, but the world of the outlaw biker, if it even existed, would look a hell of a lot different. He is the iconic outlaw biker, and all members of every club all look up to him as the godfather of their culture. He is respected for who he is but he is also respected for his vision. He saw the Angels could go international. That though American in origin, they didn’t have to be limited to American Borders. Former ATF agent Jay Dobyns refers to the Hells Angels and in part all American style biker gangs as the USA’s only organised crime export. This is all because of Ralph “Sonny” Barger. He embodies everything about the Hells Angels from their distinct image to their contradictions.
The contradictions you ask?
The Hells Angels are separate from society, but they’re rooted in it; they’re nonconformists, but they all look the same; they’re a secret society, but also flamboyant exhibitionist; they diss the laws of the land but they’re governed by a strict code, protocols, and rules; their name and “death head” logo represents freedom, individualism, toughness, and lawlessness, but both name and logo are protected by trademarks; and since the very beginning , again, this is all the doing of Ralph “Sonny” Barger.
Source: Jay Dobyns- Former undercover agent for ATF.
Donald D came into hip hop as a bboy
breaking on the streets of the Bronx.
Legend be told is that when he saw Busy Bee Star sky rocking the mic at 123
par k in the sound view section of the Br onx with DJ Disco King Mario he knew
where his mission in hip hop was headed. Donald D
recall’s that he r an to the
cor ner bodega got a paper bag & pencil, and wr ote down the r hymes Star sky
said. While gr owing up, and playing basketball at the local Boys & Gir ls club he
met a DJ name Rashid, and along with rhyme partner Easy AD who would
later become a member of the Cold Crush Br other s star ted their own crew the
As Salaam Br others. They would play house par ties & a few out door jams
before they decided they wanted to go big time, and while walking down the
str eet one day they met DJ Kool Her c. Donald asked Her c could they play with
him, and he invited them to r ock with him at a club called the Spar kle, but
before the par ty could take place the club burnt down. After the As Salaam
Br other s broke up Donald D
became a member of the Universal Zulu Nation
when he join for ces with DJ Afrika Islam, DJ Jazzy J ay, DJ Super man, and 3
The Hard Way MC’s Kid Vicious and El J ay as the group The Funk Machine.
They would go on to become one of the best hip hop crews around in that time
period mainly known for their routines and Donald D
story telling rhymes. Islam and Jazzy Jay would be the fir st DJ ’s to do mixing & scratching routines together
on the turntables.
Radio & amp; Ma king Records.
When Hip Hop made it’s way into the downtown scene at the Roxy’s club, and
Afr ika Islam became the resident DJ he also had Donald along for the r ide. That
led to Afrika Islam star ting his radio show the Zulu Beat on W.H.B.I (New
York) in 1983, and when he needed an MC to rock them fresh rhymes he called
on D, also DJ Red Aler t was on boar d. What they did was unique by bringing
what they did at the par y’s to live radio. With Islam playing break beats and the
beat box Donald D would take the audience on a journey with his story telling
rhymes about Bruce Lee, Liza Minnelli, his friends,and a day in the life of
Donald D.
The Zulu Beat would be the fir st hip hop radio show to included live
inter views, and was the fir st to inform the public about the movie Wild Style
when Islam inter viewed Fab 5 Fr eddy. With the show intro done by actors
Cheech and Chong and the crazy voice overs the Zulu Beat tapes would be the first
Introduction, about the hip hop culture fr om New York when it made it’s way
To England.
Donald D's
recording journey began when the CEO of Vintertainment records
hear d him rhyming, and came up to the radio station. He would go into the
studio to record the song’s Two Three Break, Rock The House and Cuttin Herbie
under the group name The B Boys along with DJ Chuck Chill Out. The Rock
The House Ya’ll would go on to become one of hip hop’s most sample lyrics.
After 3 Recordings as a team Chuck went solo, and Donald would add a rap
par tner named Br other B,
and DJ Master T.
They would record the classics
Girls, Stick Up Kid and Girls Par t 2, and soon be out doing shows with Dougie
Fresh and Slick Rick, The Boogie Boys, Sparky D and others. After Master T
left
the group the DJ became a high school friend name DJ Jazzy G
as they continue
to r ock the house through out America. When the label decided not to have the
B Boys in their futur e plans Donald D went solo and recorded the songs Outlaw
which was on most radio play list & Dope J am on the label Rockin Hard
Records in 1987. Donald D along with Bronx Style Bob would also write the
lyrics for the Fat Boys song Ar e You Ready For Fr eddy for the movie A
Nightmare On Elm Street.
The West Coast
In 1988 Donald D headed out west to Los Angeles to be apart of Ice T's
Rhyme Syndicate Family. His fir st recording would be for the Rhyme Syndicate Comin Through compilation album as he brought his New York swagger to the land of
sunshine on the song titled Name Of The Game that featured Bronx Style Bob.
He would co write the song called the Syndicate that was on Ice T
Power album, and the summer of 88 he would tour with Ice on the dope jam tour that included big name artist Eric B and Rakim, Kool Moe Dee, KRS ONE and Biz Markie.
Donald D would go on to write, rhyme and produce, and be a major player on
many Ice T’s albums.
In 1989 Donald D would get his first full album record deal when he was signed
to Sony records. With the music production produced by Afrika Islam they
would record the album Notorious that would bring to life the hit single F.B.I.
that told the reality and truth about the world of drugs. He would become a r ole
model & spoke’s per son to travel to schools to speak to the youth about the
downside of drugs, but somehow Donald would wind up on the FBI hit list along
with rappers NWA, Public Enemy, Ice T and 2 Live Crew for his songs Car Chase
and Who Got The Gun.
The second album was recorded on the Warner Brother s label titled Let The
Horns Blow. The lp was fir st released through out Eur ope with it’s original
mixes, but when it was time for the American release the lp was put on hold,
because of sample clearance. By the time Donald got in the studio to r emix the
album the Rodney King up rising happen which delayed the lp, and he even had
to change one of the song titles which was called Looter s the original name for
the movie Tr espass, because the song was also featur ed on the soundtrack as
well in the film. Dr ama would come calling again when it was time for release
Ice T’s
cop killer song was the talk of the music industry, and within the
political world. With the threat of major corporation pulling stocks Warner
Br other s Records dropped Ice T, Donald D, and all r ap ar tist on the label.
Movies, TV and Radio
After many years as a recording artist Donald D took his act into the film
industry. He would go on to work with the movie soundtracks for Ricochet,
Trespass, Rhyme and Reason, The Freshest Kids, A Nightmare On Elm Street,
See No Evil Hear No Evil, Vatikan killer , and DonaldD instrumentals could be
hear d as background themes on Fox sports. He has acted in the movie Bang
which also featured Lucy Liu and rapper Everlast, he also acted in the gospel play
Faith and Temptation in Los Angeles. Donald would go on to do radio again with
rap legends Kurtis Blow and Whipper Whip doing the old school show on power
106 in (L.A.) Inter FM(Japan) with DJ Joey Slick, and his own Street Team
Show on Controradio (Italy).
The Future
The 21 st Century has seen Donald D
release the ep titled B.R.O.N.X which
means Beats Rhymes Of New Xperience. There will be a new B Boys album and
Donald D album Coming soon, also he is now wor king on his documentary
about his journey over the year s in hip hop. A man that’s always on a mission to
whole down the true hip hop foundation he has star ted a new group with rhyme
partner s Kid Jazz and Dynamax called the Bronx Syndicate. He has also been in
the studio recording new songs for the Stupid Americans project with JRO &
May Lay Sparks. Never one to be locked down to only hip hop music Donald is
also apart of the electronic/reggae/italian band Capucino.
IN THIS PHOTO, AFRIKA BAMBAATAA EXPLAINS HOW THAT ALBUM WAS PRESSED FROM A CASSETTE TAPE AND HE WAS NEVER COMPENSATED.
PHOTO CREDIT JOE CONZO https://www.facebook.com/jconzo
If I ruled the schools, from pole to pole
the entire judicial system would fold
I would get rid of the books cause they bogus
and in school, Knowledge of Self would be the focus
Kids would flock to the schools like locusts
Cause school now relates to them, and you would notice
violence in society would be a minimal
Cause the education yeah, would now be metaphysical
Not livin by laws, but livin by principal
If you disobey, the UNIVERSE gets with you
We would study giving so no one would steal
And we would read each other's magnetic fields
Petty crimes times petty crimes
equals prison for lifetimes
The universe divided by two
equals me and you
Me and you, go into the universe once
or as one united front
But listen up, when I was growin up in hip-hoppin
we had a thing called Jailhouse Boxin
That's why I'm STILL here rockin
cause my competition never pulled a Glock in, yeah
~KRS1
Squash ALl Beef
The late 1960s and early 70s ... burn baby burn. It seems appropriate, that during a time period of political debate, racially heated atmosphere and struggle, black and Latin power let their voices be heard. Writing became a voice of many of the youth in the inner cities of New York.
Philadelphia had its cool earls, Philadelphia phils, names of whichever rang a bell in New York City where the writer who made a name for himself like Comet, Ajax, or Mr. Clean, was a Greek kid named Demetreus who says he adapted the form after seeing the name Julio 224, on upper west sidestreets in his neighborhood.
The late 1960s and early 70s ... burn baby burn. It seems appropriate, that during a time period of political debate, racially heated atmosphere and struggle, black and Latin power let their voices be heard. Writing became a voice of many of the youth in the inner cities of New York.
Philadelphia had its cool earls, Philadelphia phils, names of whichever rang a bell in New York City where the writer who made a name for himself like Comet, Ajax, or Mr. Clean, was a Greek kid named Demetreus who says he adapted the form after seeing the name Julio 224, on upper west sidestreets in his neighborhood.
Adapting the moniker "Taki 183," and using a thick marker, "Taki," as he called himself, scribed his signature with a vengeance throughout New York City and the Tri-State making it part of his job as a messenger - thus becoming the culture's first official born icon and king.
In time, through influences such as his, writers became somewhat of a sport ... calling themselves "writers" and their signatures hits, they eventually moved the practice to New York City's underground subway system. Spray paint was introduced, they say, by a writer named R.A. 184, also of Manhattan. While in the meantime, Brooklyn was also making its mark while creating (as was Manhattan) a distinctive style of its own. Brooklyn's scribe seemed precision-cut and ornamented, adorning arrows and calligraphic swirls and neatly rendered letters. Undertaker Ash, The Last Survivors, Flowers Dice, App super . The latter two combing the named of two writers. While names like King of Kools and Fuzz or Dead, incorporated images as well as drew marker rendered letters to impact their names visual esthetic.
Manhattan's was a style - mixed with swerves and curves and traditional handwriting, its Js and Ts were often cropped by disconnected curls and combinations of letters that merged or force to represent underlines such as Cay and Spy 161's y's. The uniqueness of signatures or hits, as they called them, stood out amongst Frank 227, SJK177, Tan & 0202, 744, JOE 136, Jec Star and Junior 161 who were among the first kings of the first subway lines bombed (Manhattan 1, 3, A Lines). While Barbara and Eve 62 became the first female superstars, the ever-evident influence of mentors like Joe 182 and Babyface 86 was clear with its adorning crown still shown as more and more names appeared at a rapid pace.
Bombing the system did indeed seem to be the inner city youth's battle cry and with that, last but not least, the fever caught on. Amongst its very early writers, who combined their own styles were SLU II and El CID, followed by LEE 163d!, the Bronx first king, who along with Phase 2, set another unprecedented stage for bombing, where writers like Super Kool would catch on an take the trend to heights as yet to be known. Its early influences were Uncle Rich, Johnny 800, Pior 168, Lionel 168, Tracy 168, M&M 177, and a DJ known in the Bronx as Kool Herc who's face in the letters K-O-O-L changed about as much as his beats in a Jam.
Super Kool's summer of '72 brainstorm, forever changed the writers approach to writing. By placing his name on the side of the train in thick extra letters, the master piece was born and adapted by the entire writing movement, as was his next venture - a masterpiece that started at the top of the car to its bottom practically from one end to the other. He also introduced a spray cap which enabled one to fill in their pieces with more efficiency and also write their signatures large with less effort. With the culture ever evolving and adapting different paths to "Get Up," (have ones name in as many places as possible), the transformation of the letter as it was known, was taking place, bombing had to reckon with the style factor and concepts such as 3ds. At the same time while cars and scenic backgrounds came into the picture to compliment its most important element - the name - which in the light of respect, one seemed to cherish as they did life. Indeed. To go over one's name was indeed as if to break a law, which could result in the harshest of penalties. The name was one's honor, one's claim to existence, thus an area where violation was virtually intolerable.
From the early to mid 70s, writing now with a basic foundation, had more or less a blue print for up-and-comers seeking to fill its ranks. As time past into the later 70s and 80s, those picking up and taking on its trade continued metamorphosing the letter, defining style and continuing the evolution that's been a trademark of aerosol writing.
Hence forth in the 90s, the science of the letter and the sport of getting up/around remains as a forum for youth worldwide to adhere to and become practitioners in, which in itself, is a testament to its longevity and the strength of its existence, as a force to be recognized and reckoned with.
PEACE!!
OF COURSE WE ALL KNOW THAT MICHEAL JACKSON WAS A HUGE INFLUENCE ON DANCERS ALL OVER THE WORLD. BUT TO STREET CATS, IT WAS THE YOUNGER MICHEAL JACKSON OF THE JACKSON 5 WHO MADE US DANCE.
WE WERE EITHER INSPIRED FROM WATCHING HIM DO THE ROBOT ON AMERICAN BANDSTAND AND SOUL TRAIN, OR HIM AND HIS BROTHERS DANCING AROUND IIN THEIR OWN CARTOON. I PREFER THE YOUNGER MICHEAL JACKSON WHO WAS FUNKY BUT STILL SMOOTH AS OPPOSED TO THE OLDER MORE ABRASIVE DANCING OF MICHEAL. IN THIS SPECIFIC CLASSIC FORGOTTEN GEM, MICHEAL DISPLAYS HOW FUNKY HE CAN BE WHILE STILL MAKING IT LOOK LIKE HE AIN'T EVEN TRYING.
San Clemente, CA - February XX, 2011- C1RCA Select is proud to announce the collaboration with hip-hop legend, Afrika Bambaataa, on the Spring 2011 tee and sneaker collection entitled the Zulu Collection.
Bronx native Afrika Bambaataa is one of the originators of break-beat deejaying, and one of the architects of Hip Hop Culture. In fact, he is credited for coining the phrase, “Hip Hop”for the culture and pulling the 5 elements together. He also helped fuel the development of other musical genres such as freestyle or Latin freestyle, Miami bass, house, hip house, electronic and early techno. He was the first to use a synthesizer on a Hip Hop record, ultimately creating the electro funk sound.
C1RCA is proud to work with Afrika Bambaataa again (initially in a sponsored concert 10 years ago), and is excited about the sneaker and t-shirt offerings in the Spring 2011 Select Collection.
Afrika Bambaataa and C1RCA have teamed up to create two shoes for the Spring 2011 collection, the Convert and the 99 Vulc. The Bambaataa Convert features a High Top design with a molded EVA insole for added comfort. The Bambaataa Convert comes in a green, black and red color way with Suede, Patent Leather, Perf Action Nubuck, and a 3M reflective Upper. The Convert advertises the collab with “UZN” on the heel and “Zulu Nation” on the bottom sole representing the Universal Zulu Nation.
The Bambaataa 99 Vulc features a Mid-Top design with specialized, unique logo and material treatment. The Bambaataa 99 Vulc comes in black and gold with soft Nappa and wrinkle patent leather and the UZN branding on the tongue.
The Zulu collection also features three Zulu tshirts.
Be a part of World Hip Hop History and get yourself a pair of Universal Zulu Nation First Family of Hip Hop Culture Sneekers
THE HOMIE BBOY SPAGETTI FROM NORWAYS KING WINGS CREW FLEW OUT TO THE BRONX AND HAD A SIT DOWN WITH THE OG'S. THIS FOOTAGE IS PRICELESS.......
THANX TO BBOY SPAGETTI
Last time I bought y'all the FURIOUS ROCKERS. This time its my pleasure to bring y'all a lil something featuring one of my oldest friends DON TONY.
DON TONY came into the game about the same time i did, 1982, when he first saw neighborhood chapter leader of the ZULU NATION called ZUBANG doing the ELECTRIC BOOGIE (a Bronx term).
By 1983 DON TONY was already breaking along side his partner and crew mate CHIQUITIN where they started a crew called POWERFUL BREAKERS, and later hooked up and became friends with another old friend of mine who was well plugged into the scene and together DON TONY & TIC MASTER set out to make there names known in every hood. (pictured below Don Tony on the left, Tic on the right)
By 1984, DON TONY was rocking with notorious crew from the Bronx called HOT FEET ROCKERS, which was like a sub division of ROCK STEADY CREW with members (pres)FLEX, (v.p.)SPANKY, TONY ROME, LIL OUTLAW, HEADSPIN JANET.
DON TONY is also responcible for introducing me to BUCK 4 of ROCK STEADY CREW and the rest is history.
The thing with Tony was not just the Electric Boogie, or Breaking, but that he was DANCER! no matter what dance was in style Don Tony could flow with it and was a dope freestyle dancer and rocker as well.
Currently Don Tony is the President of the Bronx Chapter (of course) of THE BRONX BOYS ROCKING CREW. pictured below are DON TONY & BATCH, the founder of T.B.B. ROCKING CREW
Anyone who has ever taken a short workshop with me (90 mins.) knows that i dedicate a 3rd of the class to top rocks.
a good 3rd of that top rock session i`learned from mr wiggles. ive done alot of research with a lot of heavy hitters in the game, but when it comes to bronx style rocking, it was wigz who always either lit the fuse or droped the bomb itself for me. there are a lot of styles and toprocks, but what wiggels breaks down in this vid are the core fundamentals of all styles of rocking and top rocks from the BX
ENJOY
MANY DON'T KNOW IT, BUT MR WIGGLES STARTED OF AS A ROCKER FIRST, BBOY SECOND, BOGGIE BOY THIRD!
HERE IS SOME DOPE FOOTAGE OF THE INCREDIBLE JACK OF ALL TRADES MR WIGGLES
THE FAMOUS MC'S FAMILY. NOW THIS GROUP HAD SOME TALENTED BROTHERS. THEY MADE IT ALL THE WAY TO THE FINALS AT RADIO CITY MUSIC HALL AGAINST THE FAT-BOYS. IN MY OPINION SHOULD HAVE WON. DON'T BELIEVE WHAT YOU SAW IN THE MOVIE KRUSH GROOVE. THE FAMOUS MC'S EDENWALDS OWN. MISSING IN THE PHOTO'S ONE OF THE MOST TALENTED MC'S/SINGERS I'VE EVER KNOWN. FLOYDD AKA. MELLOW-ROCK. FAMOUS ALUMNI'S JOEY-O MELLOW-DEE AND EASY-DEE. DJ'S CHARLI-CHAN AND ERIC-O AND CHRIS CHAN.
Please forward to everyone this is crucial for Hip-Hop!
Happy New Year!! Here's something to cheers about! After a lot of work and a lot of anticipation we as No Easy Props Hip-Hop 101 After School Program Expansion Project are in the running for $250,000 Pepsi Grant. What this means is that if we can get everyone to support this by voting for our idea every day, we will win which means many LA dancers that can teach, and want to work teaching youth their style of Hip-Hop dance for $50hr will have work, and can impact youth's life positively thru Hip-Hop!! This is really huge! Voting is worldwide so forward to everyone that u know that cares!
We can do this!!! Voting starts now for the entire month of January. The way to win is by getting the most votes in our category of $250k!! Time is of the essence! We need people to vote everyday for us! Lets show people Hip-Hop can change the world for good!
You can vote 3x per day 3 different ways:
1. http://www.refresheverything.com/hiphop101project
2. http://www.facebook.com/pepsi?v=app_4949752878
3.Text* 105567 to Pepsi (73774) its Free!
Thank you for using your voice to help bring jobs to Bboys/Bgirls/Hip-Hop Dancers in order to help our commUnity thru Hip-Hop!
