Meaning behind some of the words and sayings from the Stretch & Bobbito show (Video)

‘Hoppo’. ‘Honolulu’. ‘Bananas’. ‘A taste of cadbury’. *’89 Tek 9′. Only if you were a loyal listener of the Stretch & Bobbito 90’s radio show will you get these terms…

*The frequency that the show was located on was 89.9, thus >> 89Tek9

Stretch And Bobbito: Radio That Changed Lives (Cassette Tape 3/94)


Finally got the chance to watch the documentary last Friday up in Harlem and i’m glad i did. Brought back lotta memories of staying up Thursday nights taping all of the madness that Stretch & Bobbito were serving. After the show they had a bit of a Q&A with one of the producers (Omar Acosta) of the documentary, and one of the questions was “would there ever be another radio show to come along and make the same type of impact like Stretch&Bob”. The answer was NO, New York itself has changed too much and with the internet there’s no reason for kids to stay up late and not miss out on the exclusives. I totally agree with that. I’m just glad i got to grow up in that time frame.

Anyway, for all those that still rock with a cassette or two here’s a special limited edition episode from the time vaults, March of 1994 to be exact that you can purchase over at UGHH. Go back in time and enjoy a special time that will never be replicated.


Stretch, Bobbito and the decline of Hip Hop radio…



They always say hip-hop doesn’t live on the radio, but that wasn’t always a true statement. In it’s younger, and arguably better days, hip-hop was very much on the airwaves. I’m also not talking about notable stations like (NYC’s) Kiss that had the likes of Red Alert spinning iconic sets – I’m talking the college circuit. College radio shows were once a breeding ground for the rawest, uncut hip-hop. Where it’s mainstream counterparts jammed the most commercially notable records (like actual vinyl) of the day, college radio shows played the shit that mattered.

No matter where you grew up, there was a local college station that had a show – in my case, It was the Peaceful Journey (on CKCU in Ottawa), with Mikey Wisdom and DJ Ducats. No matter what I was doing, I was home at Fridays at 12am with a cassette tape ready to record all the newest shit so that I could show off at school the following Monday – after meditating on it all weekend (of course). What the internet and much networking over the years has shown me is that this experience is anything but unique. Many a hip-hop head tuned into their respective “Peaceful Journey” with a blank Memorex ready to rock.

If there was one show that set the bar, and arguably still stands as a benchmark for hip-hop radio, it’s the duo of Stretch Armstrong and Bobbito. Their show was broadcasted on Columbia University’s WKCR-FM for four hours every early Thursday morning from 1990 to 1998, and was also broadcasted on Hot 97 from 1996 to 1999. They played combinations of vinyl, cassettes and, on occasion, ADAT reels – dropping intense exclusives and breaking the likes of Biggie, OC, Jay-Z, Nas, Eminem, Mobb Deep, Brand Nubian, DITC, Big L, Wu-Tang Clan and Busta Rhymes. They even rocked with local cats from my city like Thrust and Choclair. The duo’s chemistry, their iconic freestyles, (now) unbelievably mind blowing demo tapes, online antics and ridiculous mixes had heads filling up tapes and walking around like zombies at work on Fridays. The show was named best radio show of all-time by The Source Magazine – well deserved if you ask me!

Their iconic episodes became a hot topic online, and heads were feverishly trying to piece together episodes from their old recordings. Any of the cats who actual give a shit know the struggle – digitizing tapes is a long thankless process; however an incredible team of die-hards on the Philaflava forum worked together to chronicle the show’s full timeline and systematically piece together rips. The culmination of years of work can be heard here. Literally they’ve amassed what plays out as an evolution of golden era hip-hop. There’s everything from classic freestyles by Percee P and Big L (with Children Of The Corn), to classic interviews and promotions for iconic albums that you grew up on. Also great guests DJ’s like Funkmaster Flex and Lord Sear were often heard on the mic, and on the mix. It’s probably the best collection of (hip-hop) music you’ll ever hear. If you will, it’s probably the most effective way I can imagine summing up the best years Hip-Hop had, before things got so, you know, commercial and shit.

The internet is a blessing and a curse. It made primitive concepts like taping songs off the radio, or recording music videos, obsolete. What’s the point? You can just download it right? But that was the beauty of it – it was harder to get. You either bought it, or lost hours of sleep. It had value. It wasn’t as disposable. Can you imagine recording a song off of anything nowadays – for that matter, can you imagine being dedicated enough to tune in at an inconvenient time to catch your fave anything? PVR’s and social media has you covered.

In this context the new one-of-a-kind Wu Tang Album seems like a great idea. Bringing some value back to music…some genuine excitement to get your hands on a physical product. My own “fly on the wall” search for the lost Stretch and Bobbito episodes, even though digital, took me back to hot summer evenings sitting by my boom box trying to get a snippet of that hot shit.

Long live the late night cassette tape warriors – and be sure to look out for their upcoming Stretch Armstrong and Bobbito documentary!

Cassette Culture with Stretch Armstrong…


Welcome to Cassette Culture, a column devoted to the content and context of audio cassette tapes.

First, let me introduce myself. I’m a born-and-raised New Yorker who fell in love with the sounds of the city at a young age. I went from The Beatles, Elton John and Fleetwood Mac to Queen, The Police, The Clash and Talking Heads to Chic, Stevie Wonder and Donna Summer to Grandmaster Flash & The Furious Five, Black Uhuru, Kurtis Blow and Run-DMC and finally to the vast world of underground music, 12-inch vinyl and DJing.

In 1990 I adapted the moniker Stretch Armstrong in the tradition of some of my favorite hip-hop DJs taking names from comic books or superheroes (Flash, Clark Kent, Richie Rich). I also befriended a Def Jam employee named Bobbito Garcia who, in October of that year, joined me on the radio on Columbia University’s WKCR. For nearly a decade we produced a radio show which gave the world unsigned or as-yet-unheard future rap stars like Nas, The Notorious B.I.G., Jay-Z, Eminem, Big L, Cam’ron, Fat Joe, Big Pun, Mobb Deep, Common and many more. The Source magazine voted it the Best Hip-Hop Radio Show of All Time, a flattering (though slightly embarrassing) accolade. Through the 90’s and beyond I wore many hats in music but always considered myself a DJ first. That’s true to this day.

Now, let’s talk cassettes. Anyone that was a teenager or older in the 70s and 80s could most likely talk about what tapes meant to them. With the exception of the short-lived 8-track, the tape cassette meant that for the first time, audio was mobile. Prior, music listening was a stationary endeavor, confined to wherever your record player was. But with tapes, we were finally free to enjoy music anywhere we liked—on a boom box in the park, in a car, in a Walkman, anywhere.

Equally as important as portability: cassettes are recordable. Think about how revolutionary a change that was. Amateur and unsigned bands and singers could record themselves. Fans could record concerts and radio programs. Tapes could be copied and shared. The tight control that major labels held over their artists’ output was loosened with bootleg tapes of concerts as well as fans’ sharing of their favorite music. For the first time, we were able to compile music any way we wanted. And unlike records, we could get creative with the inserts, decorating the tapes with styled-out penmanship or hand-drawn illustrations, making them unique and prized.

Within one significant part of the musical spectrum of the last quarter century — hip-hop — the importance of tapes cannot be overstated. For nearly a decade (the 70s), hip-hop existed solely as a live thing — parties thrown by DJs in Bronx basements and project parks. It wasn’t until late 1979 that hip-hop music was commercially available on vinyl, but for much of that decade, tapes of live jams were widely copied and distributed hand-to-hand, giving DJs like Grandmaster Flash, Kool Herc, Grand Wizard Theodore and groups like the Treacherous Three and Fearless Four cult-like fame, while at the same time growing this new form of music. Without the cassette, these live jams would have only been remembered by those that were there, confining hip-hop, DJing and MCingn to the neighborhoods where they were born.

As a fan of hip-hop from 1979 on, for me the cassette was a big deal. Before I became a DJ, I consumed a lot of cassettes on my portable box and the various incarnations of Sony Walkman that I collected. When I discovered radio shows with Red Alert, Marley Marl and Chuck Chillout, I became a tape fanatic, religiously recording Friday and Saturday night mix shows, which I then listened to like albums — memorizing not only the songs, but the cuts, the live in-studio appearances by guests, the banter and shout outs, and even the commercials. There was no internet so once a show aired the only way to ever hear it again was on a cassette.

Later, after getting my own radio show, I learned over time how critical the cassette was to the success of that show and the recognition I received as a tastemaker and DJ. Informally called the “Stretch Armstrong and Bobbito Show,” we broadcasted from a disheveled, student-run studio on Columbia University’s campus over a weak signal at 89.9 on the FM dial from 1am to 5am on Thursday nights. How was it that so many people heard this show, and not just people in NYC and the tri-state area? Tapes. There were never any metrics for the show, and to this day we have no idea how many people were tuning in. But it’s obvious that more people heard the show on tape than live. Tapes of the show were traded, dubbed, sent across the country and overseas. No tapes, no show, no Stretch.

Tale Of The Tape:
DJ Red Alert | 98.7 Kiss FM | June 13, 1987

I’m inaugurating this column with a tape of Kool DJ Red Alert’s pioneering radio show on NYC’s 98.7 Kiss-FM, from June 13th, 1987. This is as classic as it gets. 1987 was a stellar year in hip-hop, with the release of a slew of influential records, including Paid In Full by Eric B. & Rakim, Criminal Minded by Boogie Down Productions, Yo! Bum Rush The Show by Public Enemy, Bigger and Deffer by LL Cool J, Saturday Night by Schoolly D, Down By Law by MC Shan and Kool & Deadly by Just-Ice. The production aesthetic from ‘86 thru ‘89 was probably the most kinetic ever, with new innovations and styles coming out weekly. ‘87 was something of a transitional year, with vestiges of the trademark production style of ‘86 — programmed beats, scratching and vocals with heavy reverb and delay — morphing into a more sophisticated use of samplers. Producers started incorporating drum sounds from records, percussion patterns and even loops of music and beats.

Red Alert held down Kiss FM and Marley Marl — a trailblazing producer responsible for establishing trends in hip-hop production — was on WBLS up the dial. In ’87 the two DJs were in the middle of their radio beef, which elevated them to rock star status in the Tri-State area. This radio war was reflected in their record selections and the competitive tone of their shows. This competition — which at the time felt very serious — motivated Red and Marley to make their shows as strong as possible so as to not get outshined by the other. To say we looked forward to catching Red and Marley is an understatement.

Press play and read on!

The tape starts at the beginning of the show with the sound of a siren, signaling it’s time for Red Alert. The first song is actually one of Red’s signature promos “The TR-808 is Coming,” created by the closely-affiliated Boogie Down Productions crew, featuring a very young D-Nice — who, in addition to rapping on the track, produced it. Following at 3:30 is “Hey Love” by King Sun and D-Moet, a shaker-heavy love rap that samples the Art of Noise’s “Moments In Love.” At 16:00 Red plays another promo-turned-record “Red Alert Is A Great Man” by The Mighty Mitch-Ski the Rappin’ Comedian, followed at 19:27 by an unreleased, cassette-only version of “The Ruler’s Back” by Slick Rick which Def Jam gave to key radio DJs to air.

In the 80s, as common as it was for hip-hop production styles to become trends, it was considered a sin for an MC to bite. The greats all had unique styles, but not everyone was completely original. At 22:55 Red drops Sparky D’s “Sparky’s Back,” which sounds like the MC was riding LL Cool J a little hard. At 28:26 Red drops a show ID by Baby Chris and the Violators. Chris was the “fourth Jungle Brother” — another member, Mike G, was Red’s nephew. “Baby” Chris Lighty would later become one of the rap industry’s most powerful managers, guiding the careers or 50 Cent, Busta Rhymes and others under his management company Violator. The outfit was perhaps the only visible alternative to Rush Artist Management which, back in 1987, had a virtual monopoly on any rap group or solo artist, including Run-DMC, Eric B & Rakim, Public Enemy, Beastie Boys, Stetsasonic, LL Cool J… you get the picture.

At 30:45 the B-side begins in the middle of a Red Alert staple, Boogie Down Productions “P is Free Remix,” followed by LL Cool J’s classic “I’m Bad.” At 37:42, Kiss host JR Vance gets on the mic and lets the listeners know they’re in the middle of a “Kiss-FM Saturday Night Mastermix Dance Party,” which was technically the name of the show that Red DJed on. Black radio in ‘87 had a confused relationship with hip-hop, and Kiss-FM clearly hadn’t embraced it wholeheartedly.

Next, Red drops Boogie Down Productions’ “The Bridge is Over,” a cannon blast aimed at Marley and Shan and their home, Queensbridge. A weekend wouldn’t go by without Red doubling this up with his simple, funky signature scratches. Following this upper cut is a jab by The Mighty Mitchski, who again shows his devotion to Red Alert on “Brooklyn Blew Up The Bridge” while further dissing Shan and attempting to forge a musical alliance between Brooklyn and the South Bronx. The chorus cleverly samples “Brooklyn” from Cutmaster DC’s “Brooklyn in the House,” MC Shan’s “The Bridge” and “South Bronx” from Boogie Down Productions.

Next up, at 48:40, Red cuts in his own voice, introducing Black, Rock and Ron as some “brothers from Hollis” who he was feelin’. “That’s How I’m Livin’” — produced by hip-hop pioneer Jazzy Jay (Red’s cousin) and engineered by the late Paul C — got a lot of burn by Red, who was probably diggin’ it because of the huge bassline from the club staple “Heartbeat” by Taana Gardner. Red next drops another Jazzy Jay production called “We’re Troopers” by BZ2 MCs, a quirky joint that really sounds like nothing else out at the time. Red then plays the shaker-heavy “Tramp” by Salt-n-Pepa and the R&B-infused “Falling in Love” by the Fat Boys.

This tape is just a little over an hour of what was a two hour show, but it’s a fine snapshot into the center of the hip-hop universe in 1987, namely New York City. Red was a tastemaker, a record breaker and a star in his own right. The songs he selected, the creative, often hilarious radio promos that every relevant artist would record for him, plus his charismatic personality and original slang (though he doesn’t talk on this tape) come together to make Kool DJ Red Alert’s show on Kiss-FM an essential piece of hip-hop history and cassette culture. And as they used to say… Peace!