Like Perico, he was one of the stars of the movie, the Spanish kid. So he was running with that crowd, and when the audition came up, he was just the best actor. And he could break a little, he could rhyme a little, he could do a little bit of everything. So he just managed to get the part. In the movie they had Lee do a little bit of breakin', and they had Tiny from Dynamic Breakers do all of his big moves." Wiggles stated. .
He went on to explain to me how Lee went on to learn how to break real good, and ended up battling and getting served by Crazy Legs, approximately two years afterBeat Street came out. All of the graffiti in the movie had a generic feel to it. No "real" graf artists were used by the movie creators. Because of regulations, a union artist had to be used to create all of the pieces. After Beat Street, I remember seeing Breakin'. I viewed it as a West Coast reenactment of the B-boy scene, not really knowing the science behind its creation. Wiggles schooled me on the what went on behind the scenes, that resulted in the evolution of the B-boy culture on both coasts. .
"There was a meeting when Sugar Pop came to New York in like 1980. We all hung out in my hallway. Sugar Pop was the Californian dude down with the Electric Boogaloos, the group that created poppin'. And he schooled us on poppin', we schooled him on breakin' in my Hallway, this was like 80 or 81. He went back to Cali, showed everybody what he learned, of course we learned some poppin' from him. The poppin' is their sh*t. And then he called us up and said, Hey I got three friends coming to New York with Lionel Richie, they got a big hit record. Lionel Richie has these three dancers that are our boys. I want you to take them around, hook em up, and practice with them. So went over there, we went to the hotel, and hooked up with Shabba Doo, you know, Shrimp, Ozone, Turbo, and Papa Taco, the Mexican cat. So we practiced a lot, and then we just had a sit down and we talked about the West coast culture and the East coast culture.
