Any roller skater who roll to the beat should get to know about Bill Butler… why? read on…

JAMMIN’ THE BROOKLYN BOUNCE

Often cited as the Godfather of Roller Boogie, Bill Butler is seen as the man who gave funky soul skate dancing to the world when he pioneered  Roller Disco at Brooklyn’s Empire Skate Rink. He co-authored the seminal Jammin’ published in 1979 (impossible to get a copy if you didn’t buy one in the 80′s). It was a ‘complete guide to roller disco and Butler’s Jammin technique’ in which Butler outlines moves and etiquette on the skate rink floor.

Bill show's how it's done in his book Jammin'

‘The Godfather’ has been skating for more than 40 years. He has seen Rhythm Skating go through many changes in that time, from the disco era of the 70′s to the jam skating era of today. His love and passion for the sport still has him enjoying skating well into his 70′s. He remained a strong part of the roller boogie underground even when the roller blading rose in popularity and quad skating was out of date in the eyes of mainstream America.

Even with rinks closing down across the U.S., more and more people still want to skate. The black skate scenes of Chicago, Atlanta and Detroit kept 8 wheel skate dancing alive, and remain strong albeit relatively invisible to outsiders. Young white Americans are gradually discarding their roller blades and returning to the art of rhythm skating in a form known as “Jam Skating”, a combination of rhythm skating and breakdancing to retro electro sounds (note: Jam Skating must not be confused with Bill Butler’s Jamming technique, but jam skating could not have existed without Butler’s jamming technique).

Spot Butler in this video at Brooklyn’s Empire Roller Rink in 1978, and wearing a tshirt with the Good Skates logo:

GOOD SKATES INTERNATIONAL

Butler was a driving force as part of the New York City roller skating activists Good Skates International. The company was conceived by fitness and roller skating fanatic Judy Lynn, who believed that lack of places to skate in New York city was a true crime. Inspired by the hugely popular skate scene in Brooklyn’s Empire Roller Rink, and the outdoor roller skating at Venice Beach in Los Angeles, Judy Lynn was determined to get New Yorkers healthy and happy through roller skating in Central Park. As a result, Good Skates pioneered an outdoor skating revolution when they set up a roller skate shop, skate hire and outdoor skate parties in the middle of Central Park in 1977. The area is still a popular spot for roller skaters today.

After years of plans to create the dream ‘Roller Ballroom’, Good Skates finally opened their own skate rink in East Setauket, Long Island which played host to roller dance parties and teams through the early 80′s.

In 2003, Bill Butler was featured in the movie 8 Wheels and Some Soul Brotha Music, a documentary that aimed to uncover black skating in America. Butler’s experience and ability was called on as Creative Director for the film Roll Bounce(2005), a film about roller skating in 1970s Chicago and starring teen rapper Lil Bow Wow. He also helped choreograph a McDonalds ad in 2007 starring JB skaters from Chicago.

Now check Bill Butler, still busting moves at the age of 74 this vid from mid-2008:

The JB Skaters in McDonalds Ad:

In his owns words:

Hiphop and the dance communities of the world owe alot to Don Cornelius and Soul Train, despite the struggle of the dancers for recognition of their art and fair treatement,Soul Train presented a platform where dancers of the early 70′s showcased the blue print of hiphop to the attention of the rest of America and the world.

Cornielius knew that dance was integral to the show and made sure he sought out the best dancers of the time, It was by no means a smooth ride for the dancers who never got paid to be on the show, although soul train dancers always received an unspoken equal status with any star performing, be it James Brown, Curtis Mayfield, or the even the Jackson Five,

This audio is an interview taken from the film Underground Dance Masters (a film we actually commented n before) it features Don Campbellock Campbell,the originator of the dance called known as Locking or the ‘Campbellock‘ as it was called back in the 70′s.
Campbell talks about the dance from its roots to how it was introduced on Soul Train, which led to the Campbellock taking the country by storm.
Don Campbell is frank when discussing his experiences with the late Don Cornelius.
Soul Train was a new show at the time and CorneIius was always 1st to introduce new dances and dance talent to the country,
Throughout Soul Trains prescence on television,dancers like The Electric Boogaloos, Damita Joe , Jefferee Daniel, and Jody Watley all appeared on the show.
Campbell pointed out that It was Don Corneliuse’s introduction to locking that led to Soul Train getting many great dancers through his(Campbell’s) connections.
Don Cornelius would recruit talent through dance contests, the likes of Don Campbell and Damito Joe would enter and were able to become regulars on the show.
Most of the original line up of the Lockers (Greg Pope Leo Williamson, Fred Berry Adolpho Quinones aka Shabadoo and Slim the Robot ) became regulars on Soul Train.
Campbell also talks about Toni Basil and her involvement with the Lockers and how Basil exchanging words with Cornelius let to Campbell being thrown off Soul Train. and how he felt vindicated when his group returned to the show as headliners.

Campbellock speaks. music mashup by holyroller

Shottsman brings together the Sankofaz and guests for a hard core underground Free-Jazz workout dedicated to the late Sam Rivers.
The Sankofaz Ensemble included Jason Yarde, Niles Asheber, ‘MR’ Mensah, Kikanju Baku, and Jonus Mbanu for this turbo jazz meets spiritual, session.
This is an hour section from ‘the Evolution Suite’- I’ve Known Rivers. the sound is raw, and the vibes is strong.
Holy Roller thanks all the musicians that took part in this amazing session.

Holyroller upoaded this rare performance by J Walter Negro and the loose Jointz.

The late J Walter Negro (real name Marc Andre Edmonds) of African American and Cherokee descent is an unsung hero of hiphop and the New York downtown Art and music scene of the very early 80′s
The success of the talented but troubled artist was cut short when the minor hit “Shoot The Pump” failed to gain momentum and came to a grinding leading to the group splitting due to J Walter Negro’s drug abuse (Negro, fell victim of the 1st epidemic of crack addiction that hit NYC), and gross mismanagement .

The footage showcases the Loosejointz raw Funk, Reggae, Jazz, Latin and true school hiphop infuences, along with Negro’s genius lyrical dexterity, and early rap star quality which was cut short before its prime.

Jean-Michel Basquiat the celebrated artist often guested with the Loose Jointz as most of the band knew him from their highschool days
Negro aka, pioneer graffit artist ALI ( part of a crew named the soul artists, with the likes of Futura and Dondi White) suffered a serious accident while out on a tagging run with Futura 2000, he was severley burned in the tunnels of 137 street. NYC in the early 80′s. His face recieved minor burnes but is arms and hands were badly burned.

J Walter Negro and the Loose Jointz never released an album, even though an album was actually recorded, the bands music and along with album advance dissapeared with the groups then manager John Moore.
The Loosejointz way ahead ecelectic approach and mixed appeal is felt in the performance, touching on the UB40esque reggae\spiritual Jazz feel of the opening song to the Cherokee chanting and fuzz funk boogie, of the rap song  52 Cars.

J Walter Negro’s lyrical genius shines inthe performances in this footage, rapping and singing his political and socially conscious rhymes, playfully name dropping Fab Five Freddie, Dondi White and Blondie, incorperating some of her ‘Rapture‘ raps into a verse.
The Loose Jointz not to be confused with the Loose joints on the Westend record lable, had the energy, the music, and the mystique of J Walter Negro, a frontman way ahead of his time, to easily have reached universal legendary status. J Walter Negro died in the 90′s due to cocaine addiction.

Shoot the Pump
Shoot The Pump is lost boogie hiphop classic and a minor hit for J Walter Negro and the Loose Jointz , this is a very special tune capturing the flavour of hiphop hop, latin, Graffiti, boogie, and jazz think Coati Mundi’s ‘me no pop eye’ on PED”s. A taste of Zoo York in a period of high art, incredible music and living on the edge.

“i’m a live forever or die trying

It is not an unusual tale, the broke artist with little to show of their career in the music business, however one would not expect to hear that of two of  the world’s legendary funk gods Sly Stone and Star child George Clinton.

Both these legends have been in and out of court fighting to reclaim the rights of their numerous hit songs. Somehow they’ve been duped by unscrupulous managers and representatives, who were supposed to have been working in the artists best interests. The amount of revenue generated from George Clinton’s extensive catalog, including Parliament Funkadelic songs should have made Mr Clinton a fortune in the 100′s of millions. But the huge bulk on these monies have not lined his or the pockets of or the numerous writers and players of the P funk entourage.

Equally, the many hit songs of Living Legend Sly Stone, that should be allowing him to live comfortably in the twilight years of his career, have been signed away, in moments of weakness, drug addiction and mismanagement.

The music of Sly Stone and George Clinton has dominated the R&B and pop charts for four decades, hits like One Nation Under a Groove, Thank you for letting me be myself again, and Flash Light, are blueprints for what was to become the new Hip hop music, artists like De La Soul, Dr Dre, Ice Cube, and Digital Underground sampled artists like Clinton and became superstars. The publishing rights to the sampled music, have been proven in court to have been signed away for life leaving Clinton penniless.

Armand Baladian was boss of Westbound, the home of Funkadelic, Ohio Players, and Junie Morrison. He was a business associate of George Clinton. Baladian say’s Clinton took advances to cover his massive expenses and put up his publishing rights as collateral.

As the sampling era kicked in, Baladian made millions of dollars in publishing rights Parliament and Funkadelic songs sampled by hip hop artists, and claimed that Clinton signed the songs to his company permanently.

Clinton’s legal team, maintained that the songs signed to Baladin, were never meant to be on a permentent basis, and that Baladian had altered the legal documents, to make it seem like Clinton had signed the songs over forever.  Clinton, however, could not prove this in court and on several occasions it has been ruled in court that he has no publishing rights to the material he has written.

Similarly Sly Stone of the hugely successful Sly and the Family Stone, filed a legal suite against manager, Jerry Goldstein, alleging that Goldstein had stolen $80 million in licensing and royalty income, and additionally that Goldstein had never provided him with any royalty accounting on albums between the years of 1989 to 2009.

It is common knowledge that in the past Mr Stone has been through serious drug addictions, and it is during these periods it is alleged that Stone signed paper work handing over the rights of catalog in order to feed his drug addiction etc.

Mismanagement, drug addiction, and carelessness on Clinton and Stone’s part has rendered them powerless in court, many attempts have failed to rectify this issue of misplaced intellectual property, and now much of the two stars funds have been squandered on legal fee.

Both artists now in their 70′s find themselves touring to make ends meet. It should not be the case that George Clinton has to perform 150 times a year – not because he wants to, but because he has to. Or that a Bitter Sly Slone must be on stage, unprepared and incoherent, and launching into bitter tirades to unsympathetic audiences who seek to get their money’s worth of entertainment.

Both these artists over the years have time and again opened their generous souls and poured out amazing music, that has inspired millions of people. But the mistakes they made along the way has left them fleeced, robbed of huge chunks of the massive revenue their music generates.

This is not an isolated case study, hitting many artists from superstar level to the most basic.

The percussionist, band leader, singer, rapper, writer, producer dancer, actor, vibesman extraordinaire took time out of his busy schedule for a pow wow with Holyroller Productions.

Coati Mundi is best known for his super cross over club smash, ME NO POP I, an all time classic.

In this special interview, Coati Mundi talks Kid Creole, Stony Browder, August Darnell, Corey Daye, Dr Buzzards, future vintage styling, dance and much more. This interview opens up the door to Mundi World in a unique style,  be prepared for some pleasant surprises.

Can you talk about growing up in Spanish Harlem?
CM:  Growing up in Spanish Harlem aka El Barrio was the cat’s meow and except for the occasional abuse by bullies and romantic rejections by the beautiful “mamacitas” I enjoyed every beat of it.

What were you into when you were growing up?
CM:  French fries, going to church, running from the law, going to confession, studying, hiding my big lips, begging girls for affection and making people laugh in that order.

Can you talk about your family, were they musical?
CM: My Dad (RIP) played guitar and percussion and mom sang. My sister Marina was an incredible dancer. Other members of my family were more about “drama” than music.

What were your musical inspirations?
CM: Through out the years I have been inspired by a plethora of amazing artists including my dad Cruz Hernandez, Tito Puente, Machito, Lionel Hampton, Cal Tjader, Pete Terrace, Eddie Palmieri, La Lupe, Joe Cuba, Milt Jackson, Mon Rivera, Beny More, Mongo Santamaria, Willie Bobo, Louis Jordan, the great Puerto Rican composer Rafael Hernandez, Ramito, Cachao, Danny Kaye, Santana, Jimi Hendrix, Elvis Presley, Ray Barreto, Armando Peraza, Ruben Blades, Cantinflas and the Drifters.

Also many of the local musicians in my hood inspired me like Joe Bataan – Johnny Colon – George Rodriguez & the New Swing Sextet  – King Nando – Little Louie Bonilla – Eddie “Hernandez” Iglesias – Rafael “Papo” Figueroa – Ralfi Pagan – Herman Saldana.

Was also inspired by events such as West Side Story, Woodstock, Hair the Musical, Motown, The NY World’s Fair, Central Park jam sessions, Orchard Beach Latin parties and television which allowed me to experience the Hollywood musicals and musical variety shows.

Can you talk about your musical training?
CM: Unfortunately I never had any at least not formal training in a music school like Julliard or Berkeley.

However at 15 years old, I did have private lessons for a year. Dad bought me my Vibraphones from the Henry Adler music store on 46th street in NYC. They had rooms upstairs for private classes so he enrolled with a teacher named Warren Hard. This cat was so good that in a year I had enough theory and skills down to start playing with bands without embarrassing myself too much.

Through out the years I would do a private lesson or a summer music course whenever  I could. Studied with salsa legend Pete Terrace, NY Philharmonic percussionist Morris Lang, arranger John Lissauer, Jazz artist Joe Chambers, arranger John Abbot and would also study various music books.

When did people realize that you were a genius?
CM: After a “hit” of LSD.

When did you start playing Vibraphone?
CM: Started in high school at the age of 15. It was my first successful attempt at playing an instrument. Before that my parents tried to get me to learn piano and conga but I was more interested in playing with my civil war set.

Why did you choose Vibraphone?
CM: I was too stupid to pick up a more practical instrument to carry around like maracas.

Can you talk about being an original future vintage styler?
CM: Basically it comes down to one word: “Dad”. He was a smart dresser and always made sure that I appreciated the art of dressing. By the time I joined Savannah Band and discovered the vintage look my body and mind was in shape rhythmically and artistically for this style.

How did you meet with Stony Browder and August Darnell?
CM:  I don’t know if I should be saying this but at the “Baths” in NYC. We were sitting next to each other at a Bette Midler show.

Can you talk about the idea behind Dr. Buzzard’s Original Savannah Band?
How the concept came together?
CM:  Not planned … it just happened….  We surprised ourselves.

Was Cory Daye the 1st female vocalist of Dr Buzzards?
CM:  Yes and the only one.

Can you talk about working with Cory Daye?
CM:  Have been most fortunate to have done some solo projects with her. Please check out my “MundiWorld” YouTube channel for a taste of what we have done.  She is just a doll and a sister.
Her solo record “Cory and Me” was just reissued as a CD.

Is there anything you wish to say about Stony Browder and August Darnell?
CM:  Stony(RIP) and his brother August blew me away with their talents and creativity. They have been a major influence and source of inspiration for me.  They amazed me to no end but I was more amazed on how they manage to get away with so much when it came to women. When I tried to do the same thing I ended up with marks on my face, ketchup on my suit and composing songs about masturbation.

Could you talk about your experience with Ze recordings and how it led to Kid Creole and the Coconuts?
CM:  Greatest time of my musical life …  Michael Zilkha was a visionary even more so than Clive Davis. It is because of him that a Kid Creole & The Coconuts and artists like Was Not Was, Lydia Lunch, James Chance, Cristina, Adriana Kaegi, Material and Coati Mundi even existed.

How did the Kid Creole band inspire you to eventually go solo?
CM:  I was 3 months behind on my rent.

Can you talk about Coati Mundi?
CM:  I would love to and I hope he doesn’t get offended.  He is small, bald and adorable.  He hurts people on the basketball court. He needs a patient and understanding girlfriend to help him break out of his celibacy state. He is stubborn and would be more successful if he learns to graciously kiss ass or be a smarter whore. He went to four years of high school without missing a day because he enjoyed being the class clown. He will not runaway from his duties for the sake of having fun. He lies about his age and needs a booking agent as well as an acting agent.

Do you have other aliases?
CM:  Besides Sugarcoated Andy and Coati Mundi there is one more: “Whatever happened to that mini-bald headed geezer who was with Kid Creole?”

How was hip-hop an inspiration to Coati Mundi?
CM:  Relatively speaking not a lot although sometimes I will incorporate elements of it into what I do.
I also like to or try to dance it.  I appreciate a lot of the music and which I had the skills to do it effectively.  I enjoy Slick Rick, Nicki Minaj, Missy Elliot, Mos Def, MC Lyte, Eminem, LL Kool J, Public Enemy among others.  In fact if I could be reborn I would like to be Jay Z and not just because of Beyonce although that alone would be a good reason. His productions and rapping is just so like a hip hop Charlie Parker.

Can you talk about Me No Pop Eye what was the idea behind that song?
CM:  I started writing that song back in the Savannah Band days. It was inspired by ex-wife who fucked my yoga teacher. I was so traumatized that I did not stretch for years in fact I wouldn’t even close my eyes for fear of meditating. As far as the name I looked at Popeye and Olive Oyl as the greatest love duet of all times. I was envious of them.

It was one of the early pioneering rap songs and the only reason it was rap was because I wanted to be a lead vocalist but I could not sing so I talked my way thru it. My rap style was inspired by the Last Poets, James Brown and a Polly the Parrot.  I performed in Spanglish because that is the way I talk. I speak bad English and bad Spanish but fluent Spanglish. It is actually spelled  “Me No Pop I”.  Originally I wanted it to be “Popeye” but was told I would get sued by who ever owns the cartoon so me ducked under the red tape.

Can you talk about the Me No Pop I video in central park?
CM: Actually it was Washington Square Park in NYC ‘s Village. Simply put I had a very little budget for a video but plenty of nerves or ignorance so I asked my friend Ed Steinberg to grab his video camera and just let it roll.

Where did you learn to dance?
CM:  I learned to dance from my sister Marina but I was inspired to use dance as a means of entertainment from Elvis Presley. When I first saw him dance jailhouse rock I was amazed by how people were so impressed by someone who sucked at dancing. I realized it was not the dancing but the energetic moving. Mick Jagger further proved this theory another cat that can’t dance but has a ton of energy. I knew I had better rhythm than Elvis and all I had to do was add energy.

I loved cats like Fred Astaire, Gene Kelley, Bojangles, Donald O’Connor and Eddie Torres but they were intimidating. They were too far in the ozone. Trying to dance like them would be like trying to compete with God in the “miracle” department.

Was it important to throw down on the floor as hard as you threw down musically?
CM: It was more important to dance because musically I wasn’t about to impress anybody but very few musicians are great dancers or have great visuals.  This made people take notice and satisfied my need to be the center of attention.

What is your dance style?
CM: My dance style is called Miscegenation Mundi Movement.

We would have loved to see more of your amazing skills as a dancer.
CM: So would I. Know anyone that wants to hire me?

What keeps you going many years doing what you do?
CM: Fear

What are you doing these days?
CM: I worked as a composer & sound designer on a children’s animation project with Karyn Parsons (“Fresh prince of Bel-Air”) and the Sweet Blackberry Organization. I am acting, composing for films, sound designing, music supervising and just whatever I have to do to survive in this bad boy called life. You can learn about some of my exploits via the IMDb or my web site (CoatiMundiWorld.Com).

The main thing promotion wise I would like people to know is that I got together with a talented producer/composer from the UK called E-Love (aka Elan Polushko) and produced a multi-genre dance record called  “Coati Mundi is Dancing for The Cabana Code in the Land of Boo-Hoo” (Rong Music). Also on the recording are Amber Edwards, Kemba Russell and the awesome DJ Doug Lee.

It is available on I-Tunes, Amazon, Turntable and other outlets.  It has some serious dance grooves but also a healthy dose of that infamous “Coati Mundi” musical quirkiness.

I am also writing a memoirs book full of sex, drugs and all those juicy celebrity stories people love to read about. It is called the “Bible”…. only kidding it is actually called “It Came From Spanish Harlem”.  I will be looking for a publisher when I finish it hopefully before the “Second Coming”.

How can a new generation of musicians and performers take it to the level of Coati Mundi?
CM: Do not let the lack of talent stop you from doing anything

We thank Coati Mundi for this special interview, Holyroller will be keeping you up to date with the music and projects of Mr Andy ‘Sugar coated‘ Hernandez aka Coati Mundi.

Below are 2 video’s courtesy of Mundiworld on YouTube, showing the diverse talent’s of Coati Mundi

http://rongmusic.net/artists/coati-mundi

http://www.facebook.com/pages/Coati-Mundi/108112894414?v=info

The late Bernard White once joked “You knew nothing before you came here”, but many a true word is spoken in jest.

White can easily claim responsibility for the education of the original first generation of crate diggers that started in the early 80′s. It’s not incorrect to say that the whole funk 7″ craze that was massive in the 80′s, and an integral part of club culture started with Bernard White in his store, Pop Beat Records.

Underground record junkies (known and unknown) such as Lescelles, Barry Sharpe, Roy the Roach, Greenie, Femi Fem, Charlie Dark, Funky Fly, Norman Jay, Marc B, Nick the record, Jazzy B, Judge Jules, Brother Marco, IG Culture, the Notorious Ratchet and many other musical tastemakers shopped at the now legendary Pop Beat record store in Camden Town.

Back in a time before the internet EBay auction, one had to be at the right place at the right time, and use one’s own imagination to know how to discover a beat. This was mainly due to the fact that all the funk records that are common place nowadays were pretty much still undiscovered.

Friday afternoon was when White brought out the fresh funk 7″s for collectors from all over the capital. There was no favouritism,one had to be on the spot for the first choice of fresh obscure funk records .These records were later unleashed on warehouse party scenesters who were obsessed with the 70′s funk era.

The charismatic and eccentric White, who was also deep with the knowledge of rock psychedelic, bluebeat, rock n roll  and 70′s pop, was years ahead in his knowledge of obscure funk and soul. Some of those schooled by him went on to worldwide success and important luminaries in the developement of  London club culture.

Bands like  Soul II Soul, Brand New Heavies, Diana Brown and the brothers, Push, the Young Disciples, Shake and Fingerpop, and Jamiroquai, were all directly inspired by the musical movement which came out of  the Popbeat record store.

‘You’ll all sellout in the end” he would claimed jokingly. But in truth, White was proud of some of his celebrity costumers, and even had pictures of special ones on his wall.

In the mid 80′s at clubs like the Cat In The Hat in Leicester Square, Legendary DJ’s such as Barry Sharpe and Lescelles from the original line up of The Brand New Heavies, would play this rare groove funk acquired from Popbeat. Lockers like Oily and Pat Cesar and funk dancers like Ronnie cold sweat and Fraggle threw down.The music educated the listeners, who in turn spread the word. and for a time the funk sound ruled the London club scene. in the many illegal warehouse parties  funky dreads, bboys, and trendys alike appreciated the funk

Maceo Parker’s Across the tracks, The Vibrettes Humpty Dump, Eddie Bo’s Hook and Sling, Bobby Byrd’s Hot Pant’s I’m coming, Lynn Collins Think, and Joe Quartermans So Much Trouble in My Mind, were all made popular by the likes of Norman Jay, and Jazzy B who bought these records directly from Popbeat.

Funk icons in pop beat record shop the late Bobby Byrd and Vickie Anderson

Props must be given to Bernard White for  schooling the original generation of collectors and DJ’s on funk and rare grooves, many costumers of Popbeat went on to do massive  groundbreaking things worldwide in music and club culture. Sadly Bernard is no longer with us, but his legacy is ingrained in in UK funk history Someone who also deserves a big up is Oisin Little, ex Push band member, and assistant in Popbeat record store.

A 12″ called She’s So Fine by a band called Petite. Petite was an all girl band put together by (the infamous) Dr York and released on his Brooklyn based York Records and Passion Productions labels in the early 1980′s.

PETITE – The Girls

Members were: Tisha Hunter, Monica Boyd, Kimberly Davis, Julia Robertson.

The sleeve notes claim that the girls were The Ebonettes from Malcolm McLaren’s Double Dutch song. Yes that’s right, the Ebonettes! The notes also say they toured internationally like a handful of other double dutch teams sponsored by McDonalds. Then in 1984, they were plucked up by Dr York to be groomed as the female answer to New Edition.

Addressing this curious claim to fame, we’ve been seeking answers. A source who was a Double Dutch coach and was actually at the Malcolm McLaren video shoot, told us that he thought ‘The Ebonettes’ were a concept made up by McLaren for the song, they weren’t well known as a competition team. Also from existing knowledge – it was The Dynamos who toured in London with McLaren performing on Top of the Pops. So the question remains – Who were The Ebonettes really?

Studying the Double Dutch video closely we’ve been face matching and we’ve come to the conclusion that at least two of the The Ebonettes on the Malcolm McLaren video are in fact from Petite!

Tisha Hunter:

And Kimberley Davis:

For the other two girls, we can’t make any claims… Monica could almost look like one girl but Julia does not seem to match the 4th jumper.

PETITE – The Music

Getting back to the song featured on the 12″ – He’s So Fine, is a song dedicated to the boy’s of the band New Edition , Bobby, Michael, Ricky and Ralph.

Also note the Double Dutch inspired dance moves in the video:

Their album Teens, also featured an excellent rap track “Word”:

In 1988 there was a name change to Kenne & Petite when they released their last single called “What is he to you?” (York Records). Kennethia York is credited as one of the co-authors, which could explain the Kenne addition.

In the early 90s three of the girls moved to Full Force Records and teamed up with Stacy Francis to form Ex-Girlfriend. ‘You’re the one for me’ was the second hit single from their debut album, the video of which cameos a little Double Dutching in the dance (at 1:53):

So while the claim that the Ebonettes was a real group that toured remains unconfirmed, Petite are still a little piece of hidden history making another solid link between Double Dutch and the early years of Hip Hop.

Sidenote on Dr York. Dwight York had a rich history as a musician, singer and producer from the late 60′ through the 80′s including working with Evelyn King. He produced arguably one of the best Roller Skate jams ever on his Passion records label called Skate N Shake, In 1989 he also remixed and released Afrika Bambaataa’s Planet Rock, “the second coming” featuring Jungle Brothers. In more recent years, he and his religious movement the Nuwabian Nation became the centre of controversy, which we won’t comment on.