Grand Wizard Theodore, Fantastic 5 M.C.s, Cold Crush 4 M.C.s, special guest, Lil Rodney C, at I.S. 167, New York, NY, January 17, 1981

Party flyers were a staple in the early years of Hip-Hop and hard-copy invitations were the main medium for communicating information and promoting an event. The flyers symbolized many key appearances, acts, conventions, DJ performances, and contests in the Hip-Hop scene. Many flyers were created by local graffiti artists such as Buddy Esquire and Phase 2. The flyers were often presented by Hip-Hop promoters, DJs, and MCs who hosted the parties. Money was given to the artist to draw creative art and graphics for about $40-$60 for approximately 1,000 party flyers. The parks’ open public spaces have provided the perfect venues for park jams, impromptu dance-offs, DJ battles, and rap battles that established the sound, fashion, art, and message of Hip-Hop. Most of the Hip-Hop parties were a space for positivity where many of the Hip-Hop community could escape the realities of racism that included police brutality, drug abuse, and gang violence in their surrounding communities.

Many of the original Hip-Hop parties took place at local roller rinks, community centers, parks, and clubs. Roller rinks were an important cultural site for fun in the late 70s and 80s where adults and teens would attend roller discos and Hip-Hop parties. The space would be used as a place for DJs to spin, rappers to show their talents, and for breakers to showcase their dancing skills on the large skate floor. Community centers were another important space in the early years of Hip-Hop for youth to gather and escape their everyday life. Additionally, community centers and recreation centers were the original spaces where DJ Kool Herc would spin in his early era of DJing. The community centers such as the Bronx River Center and the PAL were usually located in the middle of the projects. But local promoters would give parties and give money back to the center for books and trips for the local kids in the community.

Often referred to as the Fantastic Freaks or Fantastic Romantic 5, The Fantastic Five consisted of Grand Wizard Theodore (Theodore Livingston, b. 1963), Dot-A-Rock (Darryl Mason, birthdate unknown, d. 2015), Ruby Dee (Rubin Garcia, birthdate unknown), Master Rob (Robin Strong birthdate unknown), and the Original Kevie Kev (Kevin Strong, birthdate unknown). Known for their single, "Can I Get A Soul Clap" (1980) The group also appeared in the film Wild Style (1982) and recorded a song in 1994 with the Cold Crush Brothers and Terminator X which appeared on Terminator X's album, Super Bad

Cold Crush Brother’s original lineup consisted of DJ Tony Tone (Angelo King, b. unknown), Easy AD (Adrian Harris, b. unknown), DJ Charlie Chase (Carlos Mandes, b. 1959), Grandmaster Caz (Curtis Brown, b. 1960), Almighty KG (Kenneth Pounder, b. unknown), JDL (Jerry Dee Lewis, b. unknown) and Money Ray (Eric Hoskins, b. unknown). Whipper Whip (James Whipper, b. unknown) and Dot-A-Rock (Darryl Mason, b. unknown) were original members. Eventually, Whipper Whip and Dot-A-Rock left and joined the Fantastic Five, which they considered to be a more established group at the time. Cold Crush Brother member, DJ Tony Tone came up with the group’s name, saying that “Cold Crush” meant anybody could get crushed, cold crushed, with no remorse. The Cold Crush Brothers were known for their remarkable routines which included harmonies, melodies, and stage-stomping performances. The Cold Crush Brothers set the standard for emceeing. They built a reputation as the Rolling Stones of HipHop. Because of the attention they began to attract, many groups would try to battle them to gain Rap credibility and Hip-Hop superiority.