By using this website, you agree to our Privacy Policy and use of cookies and similar technologies. We store cookies and similar technologies on your computer or device to provide you with a great experience and help our website run effectively.
Man Dip Lite Presents Part 2 of The Grand Master Flash Show, Starring Grand Master Flash, Furious 5 M.C.s, T. Flare & The Act II Crew, Kaos II Crew, and Special Guest, Theodore, the Grand Wizard
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.
Grandmaster Flash and The Furious 5 expanded the culture of Hip-Hop across the globe with their rapping and DJing skills. Making their debut as a group that performed for local parties in the Bronx and then the world, the Furious 5 included Grandmaster Flash (Joseph Saddler, b. 1958), Melle Mel (Melvin Glover, b.1961), his brother The Kidd Creole (Nathaniel Glover, b.1960), Keef Cowboy (Robert Keith Wiggins, b. 1960-1989), Mr. Ness a.k.a. Scorpio (Eddie Morris, b. 1960) and Rahiem (Guy Williams, b.1963) from the Funky 4+1 more. The group is widely regarded as one of the greatest Hip-Hop groups of all time and was the first Hip-Hop group to be inducted into the Rock & Roll Hall of Fame in 2007. With hits like, “Freedom”, “Birthday Party” and “The Message”, Grandmaster Flash and The Furious Five stood out as a unique group due to their ability to finish each other’s rhymes, mixing melodies and harmonies while also being able to keep the crowd hyped and engaged.
Black and white flyer in black ink listing performers, location and details of event.
Buddy Esquire (Lemoin Thompson, b.1958 – 2014) is a graphic designer from the Bronx. Producing 300 graphic materials in the form of flyers, Buddy Esquire was the most well-known show flyer artist in the Bronx in the early days of Hip-Hop, from 1978 to 1982. Grandmaster Flash, Afrika Bambaataa, Kool Herc, the Funky 4 Plus 1, and the Cold Crush Brothers were among the Hip-Hop legends whose early performances were advertised on his flyers. He was self-taught and learned drawing and typography principles from books at his local library. Graffiti, Japanese anime, superhero comics, and Art Deco architecture were among his influences. Buddy Esquire's visual styles helped to set the tone for Hip-Hop, where his work used jukeboxes and historic theater marquees as inspiration.