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I think that was the only club and the only movement and the only scenes for some weird reason that was actually bringing young black and white kids together. And with hip-hop and the whole punk rock scene merging, there was obviously a get-together in those hardcore days. And from there, we had “thrash bash” sessions and most of the punk rockers that came were predominantly white kids that were into the scene. And because of that, the scene became big. And then it became a half an hour and later on in that year we found a way to actually creep behind the decks and play our own music. And more and more b-boys and b-girls heard about this. At first they allowed us about ten minutes to b-boy. The punk rockers, they were cool, everybody was very, very cool. We went into the club, started b-boying and everybody was cool. For people coming out of our community, dressed up all in black, painted faces and being into this punk rock thing and we were very, very curious. “Fuck, let’s go and see what this punk rocker stuff is!” For us it was weird. We just knew these guys with the heavy spikes and the hair standing like this. And they told us, “Look, you guys got to come to this club, come and see because this is like some next shit.” And we didn’t know what punk rock was all about. And some friends of us, who used to be in the punk rock scene at that time told us about this club called Club Teasers, which was a punk rock club, they had the Saturday punk rock sessions. All over the city center, all over the streets. And we were the scruffy kids coming out of the Cape Flats and, “Well, fuck this, we got nothing but we got moves.” And after coming into the city center, where all the events take place, you always used to battle. The sneakers would match the tracksuit pants and the pants would match, and the hair was nicely combed and blow-dried and all that. They were always looking good, always dressed well. And also the white kids were the guys that had sponsorships, the money. You are fucking us over and one way we are gonna take you out with the windmill or the headspin or some shit like that.” So at a certain degree it became very, very personal. It was a good opportunity for us to take out the white kid, you know? Just to let get them know, “Look at you, you know. And also for some weird reason there was lot of white kids into b-boying as well.
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We brought it into Cape Town because it was a central place for crews to meet from all over the Cape Flats in fact. We were heavy into the b-boy scene at that time and hip-hop was pretty much on the streets, apart from being out on the streets out in Mitchell’s Plain and other areas. And also because how we have been divided and pushed into certain areas, obviously, we were only operating or traveling in the Cape Flats because you couldn’t travel over into other areas or just cross the road. We encountered hip-hop in the form as we know it in the early ’80s, early as 1982-’83 I would say, and hip-hop predominantly. And the very first two clubs at the time were a place called Teasers and then later the Bass. It is something where you didn’t need to be rich, didn’t need to own stuff in order to be accepted. For the first generation of hip-hop heads, it provided us with an opportunity to express ourselves in our terms with something that we could identify with. I think both of us are regarded by a lot of heads as part of the pioneering generation of hip-hop in South Africa. He is kind of the all-rounder in South Africa. He is a producer, MC, b-boy, graf-artist.