Mr Wiggles: The Origins of Threads and Spideman Footwork

Mr Wiggles: The Origins of Threads and Spideman Footwork

What’s up y’all Here to break down… Lot of concepts and stuff, and controversy; not really controversy but issues the other way particular styles that I helped bring out Let’s start with threads, threading is from boogie There was no bboys doing threads and neddling thread type moves, it was the boogie boys, and a boogie boy is a bboy that started popping, we didn’t know what popping was. boogie essentially is popping with the bounce, popping with the bboy flavour so you saw a lot of bboys that left breaking in 1978 went into Mcing or went into Writing or went into other things, we just quit I was one of them cats and when popping came out in new york… there was a particular squad of people in the bronx that called it boogie so we didi it with a bboy flavour. Now the boogie boys were the ones coming up with these concepts, trying to copy shit off of the Soul Train and all that and we came up with a thing they called the thread and you would see us do this one This one you know all of this type of threading moves then you saw me do the famous one like this These are thing that me, Fabel, Loose… well not really Loose Boose, but my crew Electric company/Electric forces messing around with Eventually I learned how to do a Trac 2 floor track which Trac 2 was like a scientist on the floor, he was really intricate and when I learned this particular floor track, the way he did it dropped to one knee hit the pose and then flip and do the twist Every time i hit the pose I grabbed my foot automatically, foot just went through naturally it was my natural motion from boogie the foot went through. This practice took place with me, Powerful Pexter you could put the year because it was before he was a New York City breaker People don’t know there was floormasters, and I used to hang out with Pex a lot and Pex used to roll with me and Fabel, before he was a NYC Breaker we all hang out a lot we went to Toronto together before he became a NYC Breaker, because me, Fabel and Pex had a show out there and we flew out there, with some cat, put us up in a hotel, and in that hotel we started experimenting with these type of moves, it was Pex idea for me to put more boogie into my breaking, they all knew I could break and that move came out and we also did another training during the Kennedy Center Honors, when he became a NYC Breaker, me and Pex were still hanging out and me and Pex was training in a room, and put together more moves, you know but that was the main move The other move was kick worms, and all the worm combination, you know me and Pex again and Fabel, Fabel was always there mostly doing floor tracks because that became like a little thing I can hit a lot with breaking we did a floor track, we did a kick worm and flipped into a floor track, then I did a sweep kick worm, floor track and that was another concept me and Pex put together, always in combinations everything we did, the original bboys worked in combos we did that and we started adding worms and kick worms into my breaking As far as the spiderman The spiderman footwork was not really my idea, was something Legs did in a battle and it was him, after they did the movie Beat Street, there was some kind of beef so they set up a battle with Lee from Beat Street Joe Swift, one of his partners, versus Kuriaki and Legs I went, it was at a club in the Bronx called First Class and Legs and Kuriaki showed up…, and they put the smack down on them and that’s when Legs did that spider, which is just a regular spider movement to a backroll He did it in a sweet little combination and that’s why I got the idea, I always did spiders I always would put spider in my breaking but when I saw him do that I said: “Man that was sick” so I did the same thing he did, except I went like this and the little by little, I started doing footwork, and I would put my hand in the placement of the spider, and that’s the spider move and I would roll the leg out, and you would see it in a lot of my breaking Back in the days I’m always hitting that spider pose, and I’m rolling my leg out, then I started crossing it and doing it this way and then I started hitting more intricate spider freezes where I would just put my hand in all this different places, it’s in a lot of my in a lot of my footage, and you can see when I’m doing it, it’s not really a move like other people are doing it, it was just part of a style Now let me explain to you, I am no bboy pioneer Back in the 70’s I was a social bboy, below level You know? I never claimed to be no great bboy in the 70’s I was just a little Spanish kid that could break I learned how to break more from black bboys than I did from latin So you could see in my style, my swagger it was more on that side, you know? I wasn’t a six-tep kid, I didn’t learned the six-tep until Mr Freeze taught me in 81 My footwork was strictly kick outs, and russians, and knee rocks, and shit like that You could see my footwork was never really complete So all of that stuff build up to my style, you could see how it came together, I couldn’t really complete a full six-step and look cool, my shit looked wack so I would just kick out in the middle of my six-steps and all of this things added to the flow and when you see a lot of the cats young today They’re kind of doing that same flow and that flavor I never do this moves, because it was during the powermove/air move era So if I did it, in the cypher, they would laugh they would make fun of me So what I would do, I would go to Roseland, Studio 54 or Fun House, or the Roxy and when ever they would do a cypher, I would mix boogie, and I would go into breaking, and I would do what we called a Triple Threat, Triple Threat is when you could pop, lock and break Me, Mr Freeze, even Suga Pop would do this, we would do it all in one solo; pop, lock and break and thats when I would do a lot of these moves, back in the early 80’s But in the mid 80’s I was still performing when everybody quit so I’m doing shows on Broadway, and I’m mastering all of these techniques by the time the 90’s came, you could see… I’m nailing all of this shit, you know? and it’s on tape I had perfected it You got to remember I trained with Fast Break, early 80’s, Powerful Pexter I trained with Rocksteady I trained watching Legs and Kenny, how they put together combinations… One of my biggest influences was Little Lep teaching me sweep combinations and fakies, how to fake directions, you know Lep sat with me all night at the PA Yellow, my block in the Bronx, showing me how to fake out how to do fakies you know? misdirections Lep was a lot more intricate back then, so I picked up a lot of stuff from Lep. Freeze is the one that introduced me to Little Lep and of course Mr Freeze also a cat that did the same thing I did, but he was doing hammers into breaking moves, he was ticking in and out of breaking moves, you know Freeze was doing the same thing I was doing, but different flavor That’s just basically how it all came together, a lot of the stuff wasn’t called origami, it was basically boogie boy shit, electric boogie dancers mixing breaking with boogie

3 thoughts on “Mr Wiggles: The Origins of Threads and Spideman Footwork

  1. Interesting. I never thought of Freeze as having a ticking-inspired style, but now that it is mentioned here, I'm surprised I didn't see that in some of his flow.

  2. If you are bourican you are black. Do you mean African American compare to Puerto Rican? Both nationalities are of color.

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