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Tony Draughon (“Wesley”) was born in the Bronx NY in 1965, a leap year baby (born February 29th. Tony the first son and second of five was born at a time in Bronx history and national history. The mid-60 and 70’s represented a time of economic decline for Bronx residents. The 60’s historically were a time of civil unrest throughout the nation and New York was no different. The event that most captures the overall climate and cultural unrest of the 60’s in New York occurred on February 21, 1965 in the borough of Manhattan; Former Nation of Islam member, leader and civil rights activist Malcolm X was assassinated at the Audubon Theater. The impact of this event and the numerous civil rights movement activities of the 60’s were the precursors for much of what was to happen in the socio-economic and cultural world of the Bronx and much of New York (as well as other parts of the nation). By the 70’s much of the immigrant population of Bronx had decreased many of the older generation were retiring and moving to warmer climates. By the 70’s the Bronx had become associated with a high rate of poverty and unemployment. Property owners hoping to cash out rather through insurance claim payouts rather than waiting to try and to sell property in economically distressed areas began to commit arson on their own properties. The Bronx fire, economic blight, the migration of much of the immigrant residents left a population of largely African-American and Hispanic residents became - the borough became associated with the very essence of urban decay. The dearth of limited opportunities to work and thrive led many to alternative means of financing and self-expression. In New York and the Bronx in particular street gang activity rose (peaking in 1973) and then began to decline as gangs became less of an appealing way of expression. The Dawn of Hip Hop During the 1970’s a new type of part became popular. This new outdoor party was centered on music. Disc Jockeys would take center stage spinning music of the time including soul and funk styles. The appeal of this new style party and musical playground was particularly strong amongst African American Bronx youth. Feeding off of the strong response of crowds DJs began adding their own twists isolating the breaks of popular songs. Finding its roots in Jamaican music introduced into New York by Jamaica immigrants. Hip Hop activities were appealing to many through the same subtle changes began gang involvement declined as many gang and former gang members started getting involved in this new phenomena. For Tony, while he like others appreciated this new culture it was a particular event in this childhood that triggered his ultimate love of dance. His childhood was forever changed by a television performance – Michael Jackson dancing the robot. As Tony, the child watched Jackson perform the robot on television he became enamored with the art of dance. Those stiff yet lifelike halting moves performed with sheer perfection and automation impressed and amazed him. Little did he realize the foundational impact this small event a child watching a then rising music star - would make on his life path. Tony attended JHs 80 in Mosholu Parkway. In spite of valiant efforts frankly academic pursuits was simply “not his thing.” He began spending more and more time around the neighborhood and frequented the new in thing - block parties. He was particularly taken by the music of the neighborhood DJs and rap artists. Africa Bambatta, Kool Herc, Grandmaster Flash were among those included in that crowd. Moving in conjunction with the music and the inspiration felt just by listening to this new style of music a new style of dance style also began to immerge. B-boying, breaking or breakdancing a type of street dance is what it was called. It was a style of dance all its own and on that is firmly associated with having originated from the machinations African American and Latino youth. The term itself (B-boying) described the dancers who performed to music and specifically DJ Kool Herc’s breakbeats technique. For Tony, listening to and feeling this musical genre re-ignited his childhood experience. In connecting the dots it’s pretty clear that for Tony that boyhood love Michael Jackson’s robot - was at that time reinvented in a world according to the movement of Tony Draughon. He naturally took to dancing entertaining with his own personal twist on this dance phenomenon. Through his impromptu dance performances at local block parties, hosted by those same artists and DJ’s (Africa Bambatta, Kool Herc, Grandmaster Flash and Red Alert to name a few) whose music spurned his body movement, Tony began to be known around the community. He adopted the alias Dr. Electric because of his ability to make his body move as if he were actually vibrating with his end moves punctuating as if hitting a wall like an electrical current pulsating and suddenly hitting a ground. In 1983, Tony was introduced to Kid Nice, a member of a NYC B-Boy group; The New York City Breakers. Kid Nice instantly fell in love with Tony’s unique and innovative dance style. He was so impressed that he suggested he audition to perform at a local vent for which they were looking for dancers. The event was to be sponsored by legendary dancer, choreographer, and company director Katherine Dunham and held at the Kennedy Center in Washington DC. Dancing his signature style impressed the auditioners and he was extended an invitation to and performed at the 1983 Kennedy Center Honors with then President Ronald Reagan and his wife Nancy. At that audition Tony approached by a member of the New York City Breakers and their manager Michael Holman who were holding group auditions to come and perform they extended to him an invitation to join the group on the spot. Now a part of a larger group featuring: Powerful Pexster, known for his power moves, backspins and sudden freezes. Action, known for his speed and head-spins and treacherous windmills. Flip-rock, known for his magnificent acrobatics, Lil Lep, known for his head - spins and swipes, Glide Master, known for all his amazing hand glides and Kid Nice, known for his fancy footwork and head glides. But even as a member of the group Tony’s individuality and specific dance moves stood out. It soon became evident that Tony was truly in a league of his own. His dance style was dependent mostly on upper body movements. Tony was able to move his limbs, shoulders, and head in exact synchronization. In doing so, he created the illusion that his body parts were waving. This fact led to his renaming himself Mr. Wave. His incredible dance style was unlike anything anyone had ever seen. Bob Hope was quoted saying “Mr. Wave couldn’t possibly have a single bone in his body”. Tony was soon able to achieve a new level of popularity including new fans and an enormous response for his peers in his native Bronx. This popularity led to Tony being granted the opportunity to be asked to the White House. Upon returning home to the Bronx in 1984 “Wave” and the rest of the NYC breakers were in for an even bigger surprise and one that forever cemented their names and talents in hip hop dance. On To The Next Stan Lathan a television and film director/producer from Boston had been working since the 70’s on contributing to performance arts series on public television. He directed Alvin Ailey (Memoirs & Visions) as well as dance specials. Stan had joined forces with the incredible singer/dancer/actor and civil rights activist Harry Belafonte to work on a production that would highlight the hip hop community and the incredible power it had become. The film entitled “Beat Street” was set in the Bronx and followed the lives of a pair of brothers and their friends, all of whom are dedicated to some element of hip hop culture. Belafonte produced and scored the film which starred Rae Dawn Chong. New York City Breakers were hand-picked as the group that would be featured as the film’s dance crew with each individual member, including Mr. Wave given several featured dance spots. Beat Street was a box office hit. The popularity amongst mainstream America success of this film legitimized and above all it injected humanity into a culture and a world outside groups could relate to. The film humanized what the hip hop culture was all about. The New York City Breakers were embraced too. Their notoriety was instantly expanded beyond Bronx and the city of New York. The group began to be peppered with numerous offers to perform from sites all over the United States and around the world including Germany, Spain, Italy, Japan, Trinidad, London, and Sweden. In 1985 the NYC Breakers world tour concluded with a return to the states and an invitation to perform the Presidential (Ronald Reagan) Inaugural Gala. From there Wave and the breakers were involved in various other televised performances including Graffiti Rock, Good Morning America, Soul Train, The Current Affair, and an all-star salute to the USA Olympians, where he shared the stage with Ben Vereen. Wave’s talents extend beyond dance, in 1986 he co-wrote and performed a rap record entitled “Mr. Wave the King” in 1986. While had the opportunity to tour with LL Cool J, Biz Markie, Salt-n-Pepa, etc. I NEVER LEFT It is no secret that Mr. Wave is a pioneer in the Break Dancing culture. His innovative dance style and ability to stand the test of time have cemented him as a living legend of dance. Today, Tony lives a normal life humbled and emboldened by the incredible support (comments, posts and personal messages) of “Wave” fans from as near as NYC and as far as Japan and Asia, Wave is currently in the process of re-establishing his brand with the launch of his “I Never Left” campaign focused on dance, work-shops and the fight against obesity through movement. Wave intends to open several dance studios around the USA that will provide children of all ages the opportunity chance to learn dance while simultaneously fighting obesity. A documentary is currently being filmed on his gift and his dance legacy.
