My DJ career can be traced right back to my earliest moments in life. Not even three years old, I recall giving peace signs to Hell's Angels on motorcycles on the New York Thruway as my parents made their way to Woodstock 1969. Though I only remember that one part, it even gets stranger about the first song I knew. "My Cherie Amour" by Stevie Wonder. That being a gifted young Blind entertainer, teaching me French before I knew English. In black and white. The year was 1969. As with most DJ bios these days, there is the parents record collection, but in a fine fashion, the first record I actually owned was a Rock Comic called "From Beyond The Grave" by Spider-Man and it was on this 1972 Buddah Records release where the story-line would somehow read out the future fate of my life. Peter Parker discovers he has a gift, becomes a super-hero and the minute he gains fame, his Uncle Ben is murdered in a botched robbery. When the police arrive to deliver the bad news they explain where there shooter was. Parker says "I know that old warehouse, it's been deserted for years, you can hold off an army in that moldy dump".


The irony being my Father was tragically murdered in a similar act of violence in 1985. On a hellbent mission, I was just about to graduate High School. I began producing records.


I wound up in London U.K. in 1989 to become the first and only American DJ to play at a Festival with 25,000 people and the mission was to bring that back to America and spread the word about my discovery.


The timing of this was at the very start of 1990. And anything that connects today's scene, the festivals and EDM started in the very first moments of 1990.

Sure we had clubs in the states, and House & Techno in the 1980's, but we were all stuck in our own city limits, but the U.K. youth picked up on our music, Chicago, Detroit, New York and that is what fueled their early scene. The Rave Scene in London had become the next big thing. I knew my music was becoming more popular in London then in New York. So a tour was planned, headlining a 5000 person event called I walked into his future that morning 25,000 people in unison were about to witness the strength of street knowledge.


The promoter Tin Tin Chambers wrote: "When Frankie saw it, it totally took his head off. He played the morning set til the sun came up, so he played the dawn, basically. For him to witness the impact of the people, who would chant & sing to the music he made and played, it really blew him away. Of course he would bring that back to America, but up to that point, there never was a scene in America. He went back and wrote “Energy Dawn” for XL and that turned into quite the classic".

I met Paul Oakenfold & Carl Cox that night. They all made history @ Energy. I now thrust right into the minds of the U.K. youth. The rest of Europe paying close attention and I playing the first events in France, Italy, Germany, Denmark, Holland. The history left in the names of the 1990 & 1991 Love Parade’s in Germany. “My House Is Your House” & “The Future Is Ours”. Tracks produced by me made me an early rising star in Germany.


I never really wanted to rise to fame and fortune in Europe. In fact I was quite content with his former New York City status and many times homesick after living on and off in London. It was a hectic schedule which included many countries and lots of travel. It wasn’t a problem for the first year, but when Irealized the potential in America after being booked as London’s most recognized rave DJ for a party in Los Angeles, the countdown had begun. June 1, 1990. The promoters were expecting a Brit and were virtually upset when they heard a New York accent. They had no idea. Now I realized the West Coast scene was also about to explode, I went back to Brooklyn and started throwing STORMrave.

I became popular on both coasts simultaneously. From 1990 on. It spread quickly towards the center and by 1993 you pretty much had a scene in every state in the nation. I am the only DJ able to be part of all three original scenes which fueled rave. It's here where the origins of PLUR begin.


To understand how all this happened, we have to travel back to the very start of my DJ carrer. Electronic Music became popular through the early Hip Hop scene as far back as 1982. The year the Roland 808 drum machine was released Arthur Baker & John Robie created “Planet Rock” which gave Kraftwerk street sensibility. Hip Hop. Hip being in the know. What was happening in the streets and hop. Hop being the movement, DJ’s, MC’s, break dancers & graffiti . The subculture of Hip Hop took the street element right below the surface. To define “Underground” in its true context, I was spending many nights exploring subway tunnels and writing “Bones” on every train in the system.

Allow me to switch from first person to third person as this was written by a P.R. person:

In true warrior fashion, like the plot of the movie, Bones would explore every part of New York City. In the 80’s, the buzz was created through a network of record stores which sold vinyl. On any given Saturday, Bones would just go digging for beats. In 1984 Bones met Omar Santana & Carlos Berrios who were getting popular from doing edits on Reel-to-reel tape. Omar was getting lots of work from record labels and it took on a life of its own, steady work was pouring in. At 18 years old, Bones started a resident slot as a DJ in a Long Island club, and on December 1, 1984, NY state raised the drinking age to 21. This forced Bones into writing and producing. Omar, Carlos & Bones meeting was a blessing. Still teenagers, hungry & determined, names on records gave them street credit.

Aldo Marin from Cutting Records signed Sa-Fire & Corina which both were certified radio hits in NYC and Miami. Bones was ghost-writing lyrics for Omar & Carlos and once the first tracks were released, there was no looking back. L’mour & La’mour East were Brooklyn & Queens biggest venues, Carlos began playing in Queens and Bones got the Brooklyn residency in early 1987. Omar introduced Bones to Tommy Musto & Lenny Dee and this was right when Fourth Floor/Nugroove records were moving into new offices in Manhattan. Within the first two years, Bones had produced dozens of underground tracks, selling 227,000 units in New York City.

This is where the real story begins. Bones daily routine was not one of paying dues, it was more like playing a part. Apexton Records was a record pressing plant in Queens. Bones began working there as the guy who shrink-wrapped the records. Within two weeks Bones had an office after hearing a Todd Terry demo and wandering into a closed door meeting asking “What is that?” It was the first Masters At Work demo. They were about to pass on it when Bones curiosity suddenly sparked interest. 10,000 copies later, Bones would oversee the projects, sign demo’s, box records, sell records. Bones
was in the abyss. 21 years old and not a moment wasted.

When 1988 rolled in, Bones and Lenny Dee were spinning in Long Island, Staten Island & The Jersey Shore every weekend on both Friday & Saturday nights. New records were released every week and suddenly everything is being licensed to U.K. labels. The Rave Scene in London had become the next big thing.

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