- published: 15 Apr 2007
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Thomas "Herc" Hauk is a fictional character on the HBO drama The Wire played by actor Domenick Lombardozzi. The series introduces Herc as a detective in the Baltimore Police Department's Narcotics Unit, begrudgingly detailed to the initial Barksdale investigation. He is generally portrayed as encapsulating the failings of the contemporary Baltimore police officer: simple-minded, concerned with petty street arrests and minor drug charges, and priding himself and his colleagues on 'banging heads'. He is also partner and loyal friend to Ellis Carver, the two rarely being unpaired until later seasons. Following his promotion to Sergeant, he is dismissed from the force, subsequently finding employment as a private investigator for attorney - and invariant legal advisor for drug organisations - Maurice Levy.
Herc and Ellis Carver typically worked as a pair in Narcotics, and both are intimidated by Kima Greggs' ability and annoyed at her superior attitude towards them. All three join the Barksdale detail headed by their shift Lieutenant Cedric Daniels. Herc and Carver get into trouble early on in the investigation when, along with Detective Roland "Prez" Pryzbylewski, they drunkenly charge into a Barksdale-controlled housing project and harass a group of youths. While there, Prez pistol whips one of the youths, blinding him in one eye and nearly inciting a riot. Herc is slightly injured during the incident when residents begin throwing bottles and firing at the officers, but returns early from his sick leave to take part in raids on Barksdale's operation.
Clive Campbell (born 16 April 1955), better known by his stage name DJ Kool Herc, is a Jamaican American DJ who is credited for originating hip hop music in the early 1970s in The Bronx, New York City. His playing of hard funk records of the sort typified by James Brown was an alternative both to the violent gang culture of the Bronx and to the nascent popularity of disco in the 1970s. Campbell began to isolate the instrumental portion of the record, which emphasized the drum beat—the "break"—and switch from one break to another.
Using the same two turntable set-up of disco DJs, Campbell used two copies of the same record to elongate the break. This breakbeat DJing, using hard funk and records with Latin percussion, formed the basis of hip hop music. Campbell's announcements and exhortations to dancers helped lead to the syncopated, rhymed spoken accompaniment now known as rapping. He called his dancers "break-boys" and "break-girls", or simply b-boys and b-girls. Campbell's DJ style was quickly taken up by figures such as Afrika Bambaataa and Grandmaster Flash. Unlike them, he never made the move into commercially recorded hip hop in its earliest years.
Hold on, you say you're always giving; I don't resent
receiving, its just that the generous are always first to
call the rest selfish. And now I stand accused and made
to feel indebted. I guess its sometimes easy not to feel
yourself draw in. If you decide to leave, well I know
I'll be the worst to grieve. But if Jesus reaches out to
me, I'll cut the beggars hand 'cause love dressed as
support I tend to perceive as demand. It seems to me,
when I come home and find a note on the lawn with a
suitcase and the dresser drawers, that says you'll wait
for the man that can hide you away from the world, that
if you would have wanted less, then I could be that man
right now. Listen. You finally caught me speaking. I'm
not too much for sharing; I just assume that you don't
need the weight of what I've been thinking. Here I am
consumed. And if you feel disparaged, then you should go
since I don't have the decency myself. If you decide to
leave, well I know I'll be the worst to grieve. But if
Jesus reaches out to me, I'll cut the beggars hand 'cause