HIP HOP FACTS

HIP HOP KNOWLEDGE

I dedicate these pages to the research and preservation of our culture HIP HOP. I have been a student and practitioner of this culture all my life and will remain a student till my death. And i will continue to present knowledge and history of this culture that has giving me many blessing and taken me throughout the world. I give mad praise to the forfathers and my personal heroes of this culture, from KOOL HERC, BAMBAATAA, BOOGALOO SAM, STAY HIGH, CORNBREAD, SUPER KOOL 223, DON CAMPBELL, THE TWINS, TRAC 2, PHASE 2, MELLIE MEL, CAZ, DONDI, CRAZY LEGS, DAZE, RSC, SPY, THE EB'z, ZULU NATION, RUBBER BAND, BEAVER, FLASH, GLOBE, THE LOCKERS, DYNASTY ROCKERS, DJ THEADORE, T KID, KEL, TRACY 168, LEE, and tooo many more legends that have dedicated there lives to this culture MrWiggles

FIRST HIP HOP DJ

CLIVE"KOOL HERC"CAMPELL BORN IN JAMAICA THEN MIGRATED TO THE BRONX, IT WAS IN JAMAICA WHERE HERC LEARNED ABOUT THE DJ CULTURE "TOAST"(where they would compete to see who's system was the loudest)AND APLIED IT IN NYC. HERC PIONEERED THE BREAK BEAT MOVEMENT BY MIXING SHORT PERCUSION BREAKS WITH 2 TURNTABLES TO EXTEND THE BREAKS FOR THE PEOPLE AND THE BBOYS TO GET DOWN. WAS FIRST USED AS THE NAME OF OUR CULTURE BY AFRICA BAMBATTA BACK IN THE EARLY 80'S.... BEFORE THAT THE WORD HIP HOP WAS A PHRASE THAT MC'S SAID ON THE MIC. DJ GRAND WIZARD THEODORE I 1975 AT AGE THIRTEEN DJ GRAND WIZARD THEODORE

THE NAME HIP HOP

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FIRST DJ TO SCRATCH FIRST DJ TO BACK SPIN AND NEEDLE DROP THE BEST SOUND SYSTEM

KOOL HERC WAS ALSO KNOWN AS THE MAN WITH THE STRONGEST AND LOUDEST SYSTEM IN HIP HOP...HIS AMP WAS A MACINTOSH THE MOST POWERFUL AMP OF THAT TIME... HIS SPEAKERS WERE SO LOUD HE CALLED THEM THE HERCULOIDS AFRICA BAMBATTA COKE LA ROCK (was one of herc's mc's along with the original KLARK KENT) FATBACK BAND "KING TIM THE THIRD"

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THE MOST RECORDS FIRST MC (RAPPER) FIRST RECORDING BY A FUNK BAND

FIRST RECORDING BY A SUGAR HILL GANG "RAPPERS DELIGHT" PUT TOGETHER RAP GROUP

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FIRST REAL LEGIT RECORDING BY AUTHENTIC GROUP

GRAND MASTER FLASH AND THE FOURIOUS FIVE MC'S, UNDER THE TITLE "THE YOUNGER GENERATION" SONG TITLE "WE ROCK SO MELLOW" (this was actually the 2nd rap record release after king tim the third)

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FIRST ALL FEMALE MC CREW HERC'S FIRST PARK JAM

MERCEDES LADIES

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1520 SEDGWICK AVE. ,BRONX, NYC..'1973 (it was said that HERC"s 1st gig was for a sweet 16, and he also played the comunity center on sedgwick often) "GRAFFITI ROCK" FEATURING NYC BREAKERS AND A BATTLE BETWEEN TREACHEROUS 3 AND RUN DMC STARTED BY AFRIKA BAMBATTA-ORIGINALLY CAME FROM THE GANG THE BLACK SPADES, THEN BECAME THE ORGANIZATION AND EVENTUALLY THE ZULU NATION PHASE TWO, AND BUDDY ESQUIRE

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FIRST TV SHOW DEDICATED TO HIP HOP ZULU NATION HIP HOP ORGANIZATION MOST FAMOUS FLYER CREATOR FOR HIP HOP JAMS

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MOST FAMOUS FOR TAPE MASTER- WAS KNOWN FOR RECORDING ALL MAJOR RECORDING HIP HOP JAMS HIP HOP EVENTS (BEFORE RAP WAS ON RECORDS) AND DISTRIBUTING THEM THROUGH OUT THE CITY FIRST LATIN RAP RECORD MEAN MACHINE

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THE DIFFERENCE BETWEEN MC: IS THE ORIGINAL WORD USED TO DESCRIBE A HIP RAP AND MC HOPER HOSTING A JAM AND RHYMING ON THE MIC, IT MEANS" MASTER OF CEREMONY" RAP: WAS A WORD ORIGINALLY MEANING TO TALK TO A GIRL OR TO SPEAK OUT TO SOMEONE OR TO PEOPLE, IT WAS EVENTUALLY USED ON THE RECORD "RAPPERS DELIGHT" BY SUGAR HILL GANG AND BECAME THE TITLE FOR HIP HOP RECORDING ARTISTS. FIRST HIP HOP RADIO SHOW FAMOUSE HIP HOP JAM LOCATIONS (OUT DOOR) MR MAGIC, WHBI FM, 1979 ECHO PARK, SEDA PARK, MOORE HOUSE PROJECTS, BRONX RIVER, 118 PARK on east treamont,129 PARK on 180st in mapes, JHS 123, 100 PARK, BRONX RIVER CENER THE HEVALO CLUB, TWILIGHT ZONE, EXECUTIVE PLAY HOUSE, T CONNECTION, THE FEVER, SAVOY MANNOR, BOYS CLUB, OVER THE DOVER,BRONX RIVER CENTER, SKATE PALACE, HARLEM WORLD, ECTASY GARAGE, CELEBERY CLUB, THE ROXY, BLACK DOOR, SPARKLE, PENNY LOUNGE, SKATE KEY, ROLLER WORLD, P.A.L., AUDOBON, THE DIXIE CLUB ON FREEMAN STREET IN THE BRONX

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FAMOUS HIP HOP CLUBS, AND INDOOR JAMS '70's AND EARLY 80's

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WILD STYLE: THE CLUB WHERE THE HIP HOP PARTY SCENES WERE FILMED

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WILD STYLE: THE THEATER THE AMPHIT THEATER, LOWER EAST SIDE MANHATTAN WHERE THE FAMOUS FINALE JAM WAS FILMED

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MOST FAMOUS PIONERING HIP HOP DJ'S LIST

KOOL HERC, GRAND MASTER FLASH, AFRICA BAMMBATTA, GRAND WIZARD THEODORE, DISCO KING MARIO, GRAND MASTER FLOWERS (disco dj), HOLLYWOOD(disco dj), AFRIKA ISLAM, CHARLIE CHASE, JAZZY J, DST, WHIZ KID, AJ, LOVE BUG STARSKI, JOHNY THUNDERBIRD, BREAK OUT, EDDIE CHEEBA (disco dj), THE L BROTHAS ( MEAN JEAN, CORDIO), TONY TONE

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FAMOUS CREWS, WILKENS CREW, MOORE HOUSE, CASANOVAS, CHUCK ORGANIZATIONS AND CHUCK CITY, ZULU NATION, 5 % NATION, GESTAPO, MAY GANGS THAT WERE BERRY CREW, AFFILIATED WITH HIP HOP

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FAMOUS ZULU NATION MC GROUPS, DJ's, BBOYS

BBOYS: ZULU KINGS, MC CREWS: COSMIC FORCE, SOUL SONIC FORCE, JAZZY FIVE, SHANGO DJ's: SINBAD, ZAMBU, RED ALERT, AFRICA ISLAM, DST BRONX: FURIOUS 5, COLD CRUSH, COSMIC FORCE, FUNKY 4, JAZZY 5, MAY BERRY CREW, MERCEDES LADIES, FANTASTIC 5, L BROTHAS, SOUL SONIC FORCE, DYNAMIC THREE, INFINITY, MANHATTAN: CRASH CREW, TREACHEROUS THREE, FEARLESS 4, MASTER DON AND THE DEATH COMMITTEE, STATEN ISLAND: FORCE MC'S

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FAMOUS MC CREWS LIST

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FIRST MC SIGNED TO A MAJOR LABEL CREATORS OF FAST RHYMING (bone thug, twista twista style)

KURTIS BLOW, MERCURY

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MC GLOBE- he called it mc poppin (because it rerminded him of poppin KOOL MOE DEE- fast rhymin

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FIRST HIP HOP PERFORMANCE TO THE MAINSTREEM PUBLIC

COMMON GROUND, 1981, PRODUCED BY HENRY CHALFAUNT, GRAFFITTI ROCK, ROCK STEADY, RAMELSI, FAB F5 FREDDY, DJ SPY, FUTURA

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FIRST HIP HOP TOUR IN UNITED STATES FIRST HIP HOP TOUR AROUND THE WORLD

THE KITCHEN TOUR, THAT FEATURED RSC

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THE ROXY TOUR, FUTURA, DONDI, INFINITI RAPPERS, ROCK STEADY, FAB 5 FREDDY. PHASE 2, MCDONALDS DOUBLE DUTCH GIRLS, AFRICA BAMBATTA, BRITISH WALKERS, MARSHMELLOWS, PLAYBOYS, PRO KEDS 69ERS, SUEDE 69ERSCORTEFIEL, AJ'S, OVER LAPS, MOCK NECKS, EL PACOS SWEATERS, U TEX, LEE SUITS, FRENCH CUTS, CAZALS, KANGOL TROPICS, BELL BOTTOM LEES WITH PERMANENT CREASES AND ONE LEG CUFFED, LEATHER TRENCH COAT, LEATHER BLAZERS, GOD FATHER BRIMS, OLD ENGLISH LETTER SWEAT SHIRTS, DC HALF FARMERS, NIKE CORTEZ, SCRUB SUITS, SHARK SKINS, OLD MAN SUIT JACKETS, NAME BUCKLES, NAME PLATES, SPALDING SHADES WITH NO LENS, LEATHER SHOULFER HATS, ADIDAS SUITS, PUMA SUITS, NYLON BVD'S, SPIT FIRE KANGOLS, FELT HATS, FIBER GLASS CANES, SHELL TOE ADIDAS, SUEDE TIP ADIDAS, SUEDE PUMA CLYDES, CHUCK TAYLOR CONVERS, LE TIGRE, CHAMS, PAINTED LEE SUITS (JACKET AND PANTS LEG), LEATHER BOMBERS (3 QUARTERS, FULL LENGTH, AND SHORT CUTS), LEATHER MICHILAN MAN BOMBERS, LEATHER BLAZERS, SHEEP SKIN COATS, PHAT LACES,

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OLD SCHOOL GEARS FROM THE 70'S

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OLD SCHOOL GEARS FROM THE 80'S (note that alot of the 70's gears were also worn in the 80's as well)

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FIRST TV PERFORMANCE BY FUNKY FOUR ON SATURDAY NIGHT LIVE A MC GROUP

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FAMOUS MC / DJ BATTLES

COLD CRUSH FOUR -VS - FANTASTIC FIVE (Harlem World) BAMMBATTA -VS- DISCO KING MARIO(the Bronx jr. high school 123 KOOL MOE DEE -VS- BUZY B COLD CRUSH FOUR -VS- FORCE MC'S (Statin Island) Cowboy was the first MC for Flash, who pioneered phrases like "Throw your hands in the air, and wave 'em like ya just don't care!," Clap your hands to the beat!," and "Everybody say, ho!," BROUGHT TO THE FORFRONT BY DJ STEVIE D

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MC COWBOY'S MC CONTRIBUTIONS.

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THE ART OF BEAT JUGGLING (manipulating two turntables to creat a whole new beat)

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THE TRANSFORMER SCRATCH

JAZZY JEF AND CASH MONEY BOTH CONTRIBUTED TO THE CREATION OF THIS STYLE

All HIP HOP FACTS are constantly being updated. If you have an important historical fact that you would like to see up on these pages, please contact us through our E-mail and we will post it. sources: My own experiences and knowledge from growing up in the BRONX, PIONEERS that taught me from BAMBATTA to COLD CRUSH 4 et., Ego Trip's "Book Of Rap Lists",

TITTLE / MOVE 1 FIRST BBOYS

ORIGINATOR / CREATOR THERE WERE ALLOT OF EARLY DANCERS THAT WERE CONSIDERED THE FIRST FROM THE EARLY 70'S: "SASA, TRIXIE, THE NIGGA TWINS, EL DORADO MIKE, CLARK KENT, THE AMAZING BOBO, JAMES BOND, SISTA BOO" AND MANY MORE. THERE WERE ALLOT OF STYLES OF DANCE THAT EXISTED IN THE EARLY 70'S IN NORTHERN CALIF THAT ARE ASSOCIATED WITH POPPIN. BUT IN THE ELECTRIC BOOGALOOS OPINION, "BOOGALOO SAM" WAS THE FIRST TO DO WHAT WE SEE AS POPPIN TODAY... FLEXING OF THE MUSCLES TO THE BEAT WHILE DANCING... NOT TO BE CONFUSED WITH THE ROBOT OR AND OTHER FORMS OF PANTOMIME DANCE THAT EXISTED BEFORE POPPIN THERE IS NO DEBATING THIS ONE "DON CAMPBELL" BEING THAT ROCKING WAS A DANCE THAT EXISTED WITH GANGS IN THE LATE '60'S . THAT ERA IS STILL BEING RESEARCHED. BUT THERE IS NO DOUBT THAT ONE MAN TOOK THIS STYLE FORM THE GANG CULTURE AND BROUGHT IT TO THE DISCOS IN THE EARLY 70'S "RUBBER BAND" THE WORD BBOY WAS FIRST USED BY KOOL HERC . HE GAVE THE NAME TO ALL THE EARLY 70'S DANCERS AND THAT NAME STUCK WITH THEM AS AN ELITE GROUP OF DANCERS THAT GOT DOWN IN KOOL HERC'S PARTIES

FIRST POPPER

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FIRST LOCKER FIRST ROCKERS

WHERE DID THE NAME BBOY COME FROM

WHERE DID THE THE WORD LOCKING WAS CREATED BY DON. NAME LOCKING COME IT DESCRIBES THE ACTION THAT A LOCKER DOES WHEN THEY LOCK EVERY FROM POSITION. WHERE DID THE NAME POPPIN COME FROM THE WORD POPPIN ACCORDING TO SAM WAS A WORD THAT HE SAID WHILE HITIN HIS MUSCLES TO THE BEAT HE WOULD SAY POP, POP, POP

WHERE DID THE WELL THERE IS STILL SPECULATIONS ABOUT THE FIRST PERSON TO NAME THE NAME ROCKING COME DANCE. FROM WE BELIEVE IT WAS CREATED BY THE ORIGINAL GANGS THAT DID IT FIRST. BUT IT DESCRIBES THE MOTION OF THE DANCE ITSELF

FIRST BBOY BATTLE DOCUMENTARY

STYLE WARS LINCOL CENTER BATTLE

10 FIRST BBOY BATTLE DOCUMENTARY

ROCK STEADY -VS- DYNAMIC AT USA ROLLER RINK

BBOY MOVES 1 2 3 HEAD SPINS ( ONE SHOT ) CHAIR FREEZE CC LONG FOOTWORK ( 6 STEP) 4 STEP SWIPES BABY BRIDGES SIDE TO SIDE CHAIR FREEZES TRACK (FLOOR) FIRST VERSION OF BACK SPIN "SWANE (ZULU KINGS)"WAS SAID TO BE THE FIRST TO USE THIS MOVE IN BBOYIN "ROB (ZULU KINGS)" "SPY (CRAZY COMMANDERS)"

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"SPY" A "SPY" "SPY" "BOS" AND "SPY" "TRACK 2" "JOJO"

10 SECOND INNOVATION "MONGO" OF BACK SPIN 11 THIRD INNOVATION OF BACK SPIN 12 BEST BBOY TO MASTER COMBINATIONS 13 FIRST VERSION OF 1990'S 14 SECOND VERSION OF 1990'S 15 THE NAME 1990 "CRAZY LEGS" (ROCK STEADY CREW)

"MONGO"

"TRACK 2"USED THE HAND STAND PIROUETTE IN HIS BBOYING "CRAZY LEGS" DID A HIGH OVER ROTATED SWIPE THAT LED TO HIM SPINNING

"KEN SWIFT" (ROCK STEADY CREW) ORIGINAL USED THIS NAME TO DESCRIBE HIS FUTURISTIC FLOAT BACK SPIN THAT STARTED ON ONE HAND IN A SEMI HAND STAND POSITION AND CAME INTO THE BACK SPIN SLOW THEN SPED UP INTO A FREEZE "WEEBLE ROCK" "CRAZY LEGS" WHILE DOING A BACKSPIN HE CONTENTED THE PROCESS OF THAT MOVE AND DEVELOPED IT. "KID FREEZE" (DYNAMIC ROCKERS)

16 HAND GLIDE 17 CONTINUOS (WINDMILLS) 18 TAP HEAD SPINS (CONTINUOS) 20 AIR TRACKS (TRACKS WITHOUT FEET TOUCHING THE FLOOR) 21 HALOS (LOOKS LIKE CROSS BETWEEN AIR TRACKS AND HEAD GLIDE)

"KID FREEZE"

"KID FREEZE"

22 NINJA FREEZE (FREEZE OUT OF A CONTINUOS, AIR MOVE THAT LANDED IN NINJA STYLE POSE)

"ICEY ICE" (DYNAMIC, MAG FORCE, NYC BREAKERS)

23 HEAD GLIDES (LEGS "ICEY ICE" AND OR "WAVY LEGS" (DYNAMIC ROCKERS) UP HEAD GLIDES AROUND HAND LIKE A COMPASS)

24 AXLE (STAR TRACK, AIR FLARE) 25 PLANK FREEZE 26 SPIDERMAN FOOTWORK 27 AIR BABY 28 SWIRLS (DOUBLE ELBO SPINS) 29 CONTINOUS TO 90'S (WINDMILL/90'S) 30 WRIST 90'S 31 WRIST 90'S

"FREDDIE FRESH" THERE ARE GONNA BE ALLOT OF DEBATES ABOUT THIS ONE...BUT I CAN ONLY GO BY WHAT I KNOW AS TRUTH..AND IN MY OPINION FREDDIE FRESH WAS THE FIRST TO DO THIS MOVE IN THE EARLY TO MID 80'S KEN SWIFT MR WIGGLES KEN SWIFT SIR SWIFT

BBOY GERMAN (BRONX, NEW YORK)

ORIGINAL CONCEPT KEN SWIFT 9NOT THE ACTUAL SPINS) BBOY GERMAN (SPINS)

32 NO HAND NECK MOVE ACTION NYC BREAKERS (COIN DROP) 33 FIRST BBOY TO BBOY GERMAN INCORPERATE FLARES INTO BBOYING 34 ELBO SLIDE 35 DOUBLE LEG SWEEPS 36 WALK OVER SWIPE 37 ELBO SPINS 38 BOUNCIN CE CE'S KEN SWIFT POW WOW (SOUL SONIC FORCE) CRAZY LEGS KID FREEZE KEN SWIFT AND MR WIGGLES

FUNK STYLE DANCE AND MOVES

POPPIN, BOOGALOO, ROBOT, ECT.

1 BOOGALOO STYLE (ROLLING OF THE HIPS AND SPECIAL DANCE STYLE) "BOOGALOO SAM" (ELECTRIC BOOGALOOS)

TWISTO FLEX "TWISTO FLEX DON" (ELECTRIC BOOGALOOS) (TWISTING THE BODY LIKE A RUBIX CUBE) THE OLD MAN "BOOGALOO SAM" WHILE IMITATING THE WALK OF AN OLD MAN

BOTTIN (INNOVATED VERSION OF ROBOTIN) COBRA (STYLE OF WAVING ) CRAZY LEGS (TECHNICAL FEET PATTERNS) GROUND MOVES

"BOPPIN ANDRE" THE BOPPERS

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"KING COBRA"( MYSTERIOUS POPPERS) TOOK A MOVE FROM BOOGALOO SAM AND INNOVATED IT INTO THE COBRA STYLE OF WAVING "POPPIN PETE"

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"BOOGALOO SAM AND POPPIN PETE"

EARLY PIONEER OF IRON MAN WAS FEATURED IN A LOCAL TV SHOW IN OAKLAND AND PERFORMED ROBOTIC DANCE TYPE PANTOMIME STYLE MOVEMENTS WITH A JAMES BROWN SKATE IN THE LATE 60'S MOVEMENT THE ELECTRIC BOOGALOO LOCKERS

10 ORIGINAL NAME OF THE BOOGALOOS 11 TWISTO FLEX 12 FIRST GROUP TO PIONEER THESE STYLES Catch on style Dominoes Vertical line

PIONEERED AND INTRODUCED BY TWISTO FLEX DON 1976 DERRICK & C0.

LOCKIN
8 THE LOCKING MOVE "ALPHAS SKEETER RABBIT ALPHA OMEGA ANDERSON

SKEETER RABBIT CREATED BY FLUKY LUKE (originally called the iron horse) GREG CAMPBELLOCK JR. SCOOBY DOO GREG CAMPBELLOCK JR. SCOOBY GREG CAMPBELLOCK JR. GREG CAMPBELLOCK JR. GREG CAMPBELLOCK JR. DON CAMPBELLOCK JR. DON CAMPBELLOCK DON CAMPBELLOCK

10 WHICH A WAYS 11 STOP AND GO'S / QUICKIE 12 SCOOBY DOO'S 13 LOCKIN HAND SHAKE 14 SCOOBOT 15 SCOOBOT HOP HIGH KICK 16 SCOOBOT HOP 17 PIMP WALK 18 GUITAR 19 RUNNING SPLIT 20 LAY OUT

HIP HOP & FUNK DANCE STAGE AND SCREEN LISTINGS

1 MUSIC VIDEOS THAT FEATURED HIPHOP AND FUNK DANCERS (in no particular order) (reference for EUROPEAN VIDEOS: WWW.SPARTANIC.CH)

1- PLANET ROCK (Soul Sonic Force) ROCK STEADY CREW 2- BUFFALO GALS (Malcolm Mclaren and the Supreme team) ROCK STEADY CREW 3- I FEEL FOR YOU (Caka Chahn featuring mellie mel) SHRIMP, TACO AND SHABADOO

MOVIES THAT FEATURED HIPHOP AND FUNK DANCERS (in no particular order)

1- WILD STYLE (ROCK STEADY) 2- BEAT STREET (ROCK STEADY, MAG FORCE, NYC BREAKERS AND MORE) 3- BREAKIN (SHRIMP, SHABADOO, POP N TACO, POPIN PETE, AND MORE) 4- FLASH DANCE (ROCK STEADY)

sources: My own experiences in hip hop and funk dance, pioneers like TRAC 2, the BOOGALOOS, ROCK STEADY, the N. TWINS, HERC< BAMBATTA, DON CAMPBELL, KING UP ROCK, JOJO,DANCEMASTER.COM, GREG CAMPBELLOCK JR.." KOZMIK YOGA" et.

FIRST MOST FAMOUS WRITER (PHILLY) FIRST WRITER (CALIF) FIRST WRITER TO BRING PHILLY BROAD WAY STYLE TO NYC FIRST WRITER ACCORDING TO NYC LEGEND

CORNBREAD WAS KING

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CHOLOS TOP CAT BROUGHT THE ORIGINAL GANGSTER STYLE FROM PHILLY TO NYC WHERE THEY RENAMED IT TO BWAY ELEGANT

TAKI 183

ORIGINAL NAME WRITING FOR GRAFF FIRST TOP TO BOTTOMS FIRST MASTER PIECE SUPER KOOL 223 SUPER KOOL 223

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FIRST WI' DEEPHASE 2 WINDOW DOWN END TO END FIRST WRITER TO USE SPRAY PAINT R.A.

10 FIRST BOROUGH MANHATTAN OUT OF NYC TO START WRITING

11 FIRST FAT CAP 12 PHASE 2' S STYLE INNOVATIONS

SUPER KOOL 223 OUTLINE, CUT, SOFTY, FUSED, FOOT, STAR, EXTENSION BAR, WILD LETTERS, DRIPS

13 RIFF 170'S STYLE INNOVATIONS 14 PISTOL 1' INNOVATION 15 BLADE 1'S INNOVATION 16 MAD 1'S INNOVATION 17 FIRST MARRIED COUPLE 18 FIRST BACKGROUND CLOUD 19 UNREADABLE LETTERS (WILD STYLES) 20 THE WORD" WILD STYLE" CREATED BY 21 THROW UP

COMIC,, SCRIPT ELITE, CRACKED, PITCH FORK LETTERS, PUZZLE STYLE

3D EFFECT WESTERN LETTERS BALL LETTERS A.J. 161 PHASE

INNOVATED BY PHASE II

TRACY 168

MADE POPULAR BY IN/ KILL

sources:my own experience as a writer,"Writing from the Underground" by stampa alternativa in association with IGTimes/ "The Art O Getting Over" by Stephen Powers, "SUBWAY ART" by Henry Chalfant

HIP HOP
1 THE FOUR ELEMENTS IT WAS A NICE SLOGAN FOR A WHILE. BUT IT IS JUST NOT THE TRUTH. THAT WAS A PHRASE THAT ROCK STEADY CREW USED TO HELP BRING MORE ATTENTION TO LESSER KNOWN ELEMENTS. BUT IN REALITY THERE ARE OVER A DOZEN OR SO ELEMENTS THAT SHOULD BE RECOGNIZED. BEAT BOXIN, FINDING BREAKS, FASHION, PRODUCTION IS NOW AN ELEMENT, PROMOTING A JAM, MAKING THE FLYERS FOR JAMS BECAME AN ART FORM, ECT. THESE ARE ALL SMALL BUT VITAL CONTRIBUTIONS TO OUR GREAT CULTURE. THESE ARE JUST SOME OF THE MANY STEREO TYPES THAT MOVIES AND THE MEDIA CREATED.

2 MC'S, AND DJ'S: ARE BLACK BREAKERS: ARE PUERTO RICAN AND GRAFFITI : WRITERS ARE WHITE 3 RAPPERS ARE BBOYS

NO! NO! NO! NO! NOOOOOOOO!!!!! UNLESS YOU CAN DO TOP ROCK FOOTWORK AND FREEZES YOU ARE NOT A BBOY!!!. YOU HAVE A TITTLE, SH#T YOU HAVE TWO TITTLES (RAPPER, MC). LEAVE OURS ALONE, BBOY MEANS BREAK BOY, BEAT BOY, OR BRONX BOY. WHY DO RAPPERS INSIST ON USING OUR NAME JUST TO LEGITIMIZE THERE CAREERS I DON'T KNOW. NOPE. NOT TRUE. WE MAY HAVE PARTICIPATED IN ALL THOSE ACTIVITIES WHEN WE WERE CREATING HIP HOP. BUT WE NEVER RHYMED ABOUT IT, AND YOU NEVER HEARD IT IN A SONG. HIP HOP IN ITS ORIGIN WAS ABOUT CELEBRATION, PARTYING, HAVING FUN, ECT. THEN AFTER THE JAMS WERE OVER WE USED TO ROB, SNORT, SMOKE, PIMP, KILL, ECT.

4 HIP HOP IS ABOUT, DRUGS, MONEY, CARS, BITCHES, GANGSTAS, PIMPS, PLAYAS. KILLERS, THUGS, ECT.

5 RAP IS HIP HOP

WELL THIS ONE IS TOUCHY. WHILE RAP IN MY OPINION REPRESENTS THE RECORDING ASPECT OF HIP HOP (MC'S ON WAX). IT DOES NOT FULLY REPRESENT THE CULTURE IN IT'S TRUE ESSENCE. THIS IS MY OPINION AND THE OPINION OF MANY ORIGINAL HIP HOPERS. UNLESS THESE AND OTHER SIMILAR MAGAZINES START TO COVER HIP HOP EQUALLY AND IN IT'S ENTIRETY. THEY ARE TECHNICALLY NOT HIP HOP MAGAZINES. THEY ARE WHAT THERE MADE OF." RAP MAGAZINES" THE TRUTH IS THIS. "IF YOU CAN'T WRITE, PERFORM, CREATE A SHOW, DO ROUTINES, AND ROCK THE CROWD YOUR NOT A MC". ORIGINAL MC'S DID FREESTYLE BACK IN THE DAYS, BUT FREESTYLIN AS THE MAIN CRITERIA FOR A MC STARTED IN THE LATE 80'S EARLY 90'S. IT'S A NEW CONCEPT THAT SHOULD BE ADAPTED TO THE ART OF MC'in. BUT SHOULD NOT BE THE TOTAL CRITERIA FOR WHAT A TRUE MC IS. WHILE I DO BELIEVE THAT THEY PIONEERED BRINGING RAP (HIP HOP RECORDING ARTISTS) TO THE MAINSTREAM. THEY ARE REALLY CONCIDERED NEW JACKS TO THE REAL PIONEERS. TIME AND TIME AGAIN, AFTER WE HAVE EXPLAINED THROUGH EVENTS, PANEL DISCUSSIONS, NEWS ARTICLES, AND MANY OTHER WAYS, THAT THE ZULU NATION IS NOT A GANG, SOMEWHERE SOME IGNORANT WRITER WILL DO AN ARTICLE ABOUT GANGS IT WILL LABEL THE ZULU NATION AS A MAJOR GANG IN NYC. THE ZULUS HAVE LONG LEFT THE GANG ERA AND HAS BECOME A MAJOR POSITIVE MOVEMENT IN HIP HOP, WHEN WILL THE PRESS FINALLY DO THERE RESEARCH AND STOP ACTING LIKE THEY KNOW WHAT'S GOING ON IN THE INNER CITIES.

6 SOURCE, RAP PAGES, AND OTHER SIMILAR MAGAZINES ARE HIP HOP MAGAZINES 7 IF YOU CAN'T FREESTYLE YOUR NOT A MC

8 RUN DMC ARE THE PIONEERS OF HIP HOP MC'S 9 ZULU NATION IS A GANG

10 THE GRAFFITI IN THE MOVIE BEAT STREET WAS DONE BY A REAL GRAFF WRITER

ANY ONE WHO SAW THE MOVIE BEAT STREET AND THOUGHT THAT THE GRAFFITI WAS REAL, AND LIKED IT. I HATE TO BUST YOUR BUBBLE. BUT THAT SHIT WAS WACK!!!!THAT WICK, WACK ASS GRAFF WAS DONE BY UNION ARTISTS WHO CLAIMED THAT UNLESS THERE A WRITER WAS A PART OF THE UNION HE COULDN'T DO REAL GRAFF IN THE MOVIE. WRONG....BAGGY CLOTHES IN WAS INTRODUCED TO HIP HOP BY OUR WEST COAST FAMILY. THE WHOLE CONCEPT OF BUYING CLOTHES THREE SIZES BIGGER TO GET THAT FULL BAGGY LOOK HAS BEEN PART OF THE CALI SUBCULTURE SINCE THE EARLY ZOOT SUIT DAYS AND HAS NEVER DIED. IN THE EARLY 80'S WHILE NYC HEADS WERE WEARING NUT HUGGERS CALI WAS SPORTIN LOCKER PANTS, DOUBLE PLEATED COTTLERS, PARACHUTE PANTS ECT..THE FIRST EAST COAST HEADS TO START WEARING MORE BAGGY FITS WERE THE FREESTYLE AND WEBO DANCERS, AND BY THEN IT BECAME MORE POPULAR AT HIP HOP EVENTS DURING THE LATE 80'S..

11 BAGGY CLOTHES CAME FROM HIP HOP

HIP HOP AND FUNK DANCE

1 THE WORD "BREAK DANCE" NEVER EXISTED, IT'S A MEDIA TERM THAT THEY CAME UP WITH . THE ORIGINAL NAME WAS BBOY (meaning break boy, beat boy, or bronx boy) HELL NAAAAA!!! SH#T WE GOT INTO MORE FIGHTS FROM BREAKING THAN ANYTHING. THAT WAS A MEDIA HYPE STORY THAT WE AS YOUNG BBOYS( WHO NEW THE TRUTH ) EVEN FELL FOR. DEFINITELY FAR FROM THE TRUTH. SHOW ME PROOF AND ILL TAKE THIS ONE OFF!!!! IT'S AN OBVIOUS DETERRENT FOR PARENTS WHO DIDN'T APPROVE OF THERE KIDS DOING THIS DANGEROUS GHETTO DANCE FORM.

2 "BREAK DANCE" WAS USED BY "GANGS" INSTEAD OF FIGHTING 3 A YOUNG KID BROKE HIS NECK AND DIED DOING A HEAD SPIN

4 BBOYING WAS TAUGHT TO A GROUP OF YOUNG LATINOS BY A CAPOERA MAESTRO IN THE 70'S (CAPOEIRA IS A FORM OF MARTIAL ARTS, CREATED BY AFRICAN SLAVES AND DISGUISED AS A DANCE IN BRAZIL)

WHILE I DO AGREE THAT BBOYIN WAS INDIRECTLY INSPIRED BY THIS AFRICAN ART FORM. AND BBOYING DEFINITELY HAS ITS ROOTS IN AFRICAN DANCE. BUT I HAVEN'T MET A LATIN BBOY FROM BACK IN THE DAYS THAT CAN EVEN PRONOUNCE THE WORD CAPOEIRA. (MAN I CAN'T EVEN SPELL IT) THE STORY THAT BEST SIZES THIS ARGUMENT UP WAS A QUESTION POSED TO TWO OF OUR FOUR FATHERS OF BBOYIN "THE NIGGA TWINS", WHEN ASKED WHY DON'T YOU GUYS ( THE NIGGA TWINS ) GIVE CREDIT TO CAPOEIRA??? AND THERE REPLY WAS. I NEVER MET THIS GUY CAPOEIRA THAT YOUR TALKIN ABOUT BUT IF YOU BRING HIM TO ME ILL SEE IF I RECOGNIZE HIM. NOPE, THE 6 STEP IS ALSO NOT THE ONLY ORIGINAL FOUNDATIONAL FOOTWORK, THERE ARE TONS, SEE THE "BBOY MOVE FILES". HELL NAAAAA!!!!. UNTIL THESE WATERED DOWN JAZZ DANCERS DO ALL OF THE THINGS I LISTED BELOW. THEY WILL NEVER BE HIP HOP DANCERS. A) CREATE THE MOVES THAT THERE DOIN INSTEAD OF BITING THEM FROM REAL HIP HOP DANCERS. B) GO TO REAL UNDERGROUND HIP HOP CLUBS AND BATTLE LIKE THE REST OF US, AND PAY DUES. C) STOP TRYING TO LEARN OUR DANCES IN THESE FAKE STUDIOS. D) UNTIL THEY AT LEAST LISTEN TO HIP HOP MUSIC AND AND LIVE IT. AS FAR AS IM CONCERNED THESE DANCERS ARE MOSTLY JAZZ DANCERS THAT LEARNED FAKE HIP HOP DANCES IN THESE STUDIOS. AND COULD GIVE 2 SHITS ABOUT OUR CULTURE "HIP HOP"!!!.

5 THE 6 STEP AND THE 4 STEP ARE THE ONLY FOOTWORK STYLE FROM BACK IN THE DAYS 6 VIDEO DANCERS ARE HIP HOP DANCERS (IE, DANCERS IN INSYNC, BACKSTREETBOYS,AND OTHER VIDEOS LIKE THAT ECT.)

7 BREAKING AND HIP HOP DANCE ARE TWO DIFFERENT THINGS

WRONG!! BREAKING IS AN ORIGINAL HIP HOP DANCE. ALONG WITH ROCKIN, PARTY DANCE, FREESTYLE (CLUB) DANCE;

8 POPPIN AND LOCKIN ARE TECHNICALLY POPPIN AND LOCKIN HAVE THERE OWN HISTORY A PART OF HIP HOP DANCE THAT EXISTED BEFORE THEY EVER NEW WHAT HIP HOP WAS. THERE MOVEMENT WAS BASED MORE ON WEST COAST FUNK. BUT THE COLLABORATION OF THE TWO CULTURES CREATED A GREAT RELATIONSHIP BETWEEN BOTH COASTS. ESPECIALLY IN DANCE. 9 ROCKIN AND BREAKING ARE THE SAME DANCE ROCKIN AND BREAKING EACH HAVE THERE OWN HISTORY. AND ARE FROM DIFFERENT SCHOOLS OF DANCE BREAKING: COMES FROM MORE OF THE JAMES BROWN ERA AND FEEL. ROCKIN: COMES FROM THE ORIGINAL NYC GANGS AND THEN THE DISCO ERA HAD A MAJOR INFLUENCE ON ROCKIN AS WELL AS JAMES BROWN. BACK IN THE DAYS THE ORIGINAL BBOYS WOUDL DRESS AS FLY AS POSSIBLE, AND PART OF THE FLAVA OF A BBOY WOULD BE HOW HE WOULD DO ALL OF HIS MOVES AND NEVER GET DIRTY. ALSO WE NEVER SET OUT TO A JAM WITH A BACK PACK PREPARING TO DANCE ALL NIGHT. BBOYS WOULD GO TO A JAM, DANCE WITH SOME FEMALES, SOCIALIZE, AND THEN WHEN THE RIGHT BREAK BEATS CAME ON, THEN WE WOULD GET DOWN, THEN AFTER WE GOT DOWN WE WOULD GET BACK TO PARTYING. THAT'S THE WAY IT WAS. NOPE. IT'S A DANCE, AND IF EVER IT SHOULD APEAR ON A SPORTS NETWORK OR OLYMPIC CATAGORY, IT SHOULD BE LISTED AS A DANCE, OR DANCE SPORT. UHUH. ALTHOUGH CALI CAN TAKE SOME CREDIT FOR HELPING TO ELEVATE POWER MOVES, BUT MOVES LIKE, FLARES, CONTINOUS FLARE, FLARE 90'S, HOLLOW BACKS, TAP HEAD SPINS, HEAD SPIN 90'S, AIR MOVES, AIR TRACK, AXELS (AIR FLARE), SWIRLS (DOUBLE ELBO SPINS), UFO'S, AND ALL THAT OTHER GOOD STUFF STARTED IN NYC.

10 THAT BBOY S BACK IN THE DAYS DRESSED BUMMY, WENT TO A JAM WITH A BACK PACK, AND WOULD BREAK ALL NIGHT IN A JAM

11 BREAKIN IS OR CAN BE A SPORT 12 POWER MOVES STARTED IN CALI

13 THE WORD BREAK WAS THE WORD BREAK IN BBOY CAME FROM THE BREAK OF A RECORD TAKEN FROM A SLANG FOR (THE PERCUSION, OR DRUM SOLO IS CALLED A BREAK). THIS HAS THE LOCK IN LOCKING BEEN A FACT SINCE THE EARLY 70'S. 14 OZONE AND TURBO WERE THE ACTUAL NAMES FOR THESE DANCERS IN THE MOVIES "BREAKIN" AND "ELECTRIC BOOGALOO" 15 CARD BOARD BOXES NAAA..THERE REAL DANCE NAMES ARE TURBO- IS REALLY SHRIMP OZONE- IS REALLY SHABADOO

NO NON NO...WE NEVER USED TO BREAK ON CARD BOARD. ORIGINBAL BBOYS WERE ON STRAIGHT UP CONCRETE REPRESENTING, OR WOOD AND MARBLE FLOORS. THE WHOLE CARD BOARD THING CAME ABOUT IN THE EARLY 80'S AND WAS USED RARELY. MOSTLY FOR SPINNING. BY THIS TIME THE MEDIA BLEW THE WHOLE THING OUT OF PROPORTION AND TURNED IT INTO A CORNY GIMMICK.

16 BBOYS SHOULD BROOKLYN UH, EXCUSE ME, BUT WHY DID YOU JUST TOP ROCK INTO A ROCK IN A BBOY BATTLE BROOKLYN ROCK AND THEN JUMP INTO AN AIRFLARE. BBOYS MUST FINALLY LEARN. "THEY ARE TWO SEPARATE DANCES", AND TO AN OG, IT MAKES NO SENSE TO THROW A BROOKLYN MOVE WHEN A) THERE IS NO ONE BROOKLYN ROCKIN AGAINST YOU. B) THERE ISN'T A BROOKLYN ROCK BEAT ON. C) YOU DON'T EVEN KNOW HOW TO BROOKLYN ROCK. THERE ARE WAYS OF FREESTYLE TOP ROCKIN WHERE YOU DON'T HAVE TO GO UP AND DOWN IN A BROOKLYN STYLE MOVEMENT.

17 BOYS WHO CAN'T UP ROCK NO! IM SORRY. JUST BECAUSE YOU SCORED A COUPLE OF POINTS CAN BEAT REAL AND MADE THE CROWD LAUGH. DOESN'T MEAN THAT YOU BEAT A UPROCKERS KING UPROCK OR A KEN SWIFT. THERE IS A SAYING THAT ME AND MY BOYS MADE UP FOR THIS TYPE OF THOUGHT. IT'S CALLED "BURN WITH FINESSE" IN UPROCKIN YOU MUST LEARN THE DANCE FIRST, AND THEN LEARN HOW TO STRIKE AND BURN WITH STYLE, NOT JUST SWING WILD AND LOOK SLOPPY. ANY ONE CAN DO THAT.

STYLE
INDIAN STEP / OR BASIC TOP ROCK UP ROCK / BROOKLYN ROCK

DESCRIPTION -VERTICAL STYLESIT'S THAT COMMON STEP THAT JUST ABOUT EVERY BBOY DOES.

REFERENCE
EVERY ONE FROM ROCK STEADY CREW

A STYLE THAT WAS MASTERED BY BROOKLYN ROCKERS KING UP ROCK, AND THE MOST COMMON SEEN WHEN TWO ROCKERS DYNASTY ROCKERS (or bboys), HEAD UP WITH EACH OTHER USING GESTURES THAT LOOK LIKE THERE STRIKING EACH OTHER TO SCORE ("BURN") ON THERE OPPONENTS

CHARLIE ROCK

A STYLE THAT WAS INSPIRED BY THE CHARLESTON BUT MADE TO BE FUNKY BY BOYS AND ROCKERS A STYLE DONE BY LATINOS WITH A LATIN (SALSA) FEEL TO IT A STYLE CREATED BY KEN SWIFT THAT IMITATED MOVEMENTS FROM A KUNG FU MOVIE

FROSTY FREEZE, MR. WIGGLES MR. WIGGLES, KING UP ROCK KEN SWIFT

LATIN ROCK PYTHON STYLE

TRUCK

A STYLE THAT WAS DONE IN THE 70's AND TAUGHT TO CRAZY LEGS, KEN ROCK STEADY BY A FAMOUS MC (RAPPER) FROM THE SWIFT COLD CRUSH 4 "ALMIGHTY K GEE" IT INVOLVES MOVEMENTS THAT LOOK LIKE YOUR DRIVING A TRUCK WHILE TOP ROCKIN WITH A SIDE TO SIDE MOVEMENT AND A DELAY HOP TYPE OF FEEL

BOYOING (TOP ROCK) PEACE AND POWER FREEZE

A BOUNCY STYLE OF TOP ROCK

DJ GRAND MIXER DXT

THATS RIGHT, TOP ROCKERS HAD FREEZES TOO. THIS WIGGLES FREEZE WAS WITH ONE HAND ON THE FLOOR, LEGS SPREAD APART AN KNEES EITHER SLIGHTLY BENT OR STRAIGHT OUT AND ONE HAND STRAGHT OUT WITH EITHER A PEACE SIGN OR A FIST.AND SOMETIMES YOU WOULD SHUFFLE YOUR FEET MIXING IT UP.

JERKS (BROOKLYN STYLE)

HAND ROTATIONS, FOOT WORK AND BODY JERKS , DONE DURING THE BREAK OF A RECORD.

BREAK EASY/MOST BROOKLYN ROCKERS BURN ONE

SLEEPERS (BROOKLYN STYLE)

DONE SIMILAR TO A BABY FREEZE

-FOOTWORKCC LONG NOW REFEREED TO AS THE 6 STEP (A NAME THAT ROCK STEADY ATTRIBUTED TO THIS STYLE) TAKES 6 STEPS TO COMPLETE PATTERN TAKES 4 STEPS TO COMPLETE PATTERN A BOUNCY STYLE DONE BY MID 70's BBOYS FOOT WORK USING THE ELBOS INSTEAD OF HANDS DONE IMITATING RUSIAN DANCERS A LATE 70's STYLE THAT USES THE KNEES IN FOOTWORK PATTERNS (ESPECIALLY 6 STEP, AND 4 STEP ) FROSTY FREEZE MR. WIGGLES, BABY LOVE, DOZE, FLOOR ROCK FLO MASTER, KEN SWIFT, EASY ROCK ECT. CRAZY LEGS FROSTY FREEZE

4 STEP BOYOING ELBO ROCK THE RUSSIAN KNEE ROCK

RUSSIAN TAPS

A STYLE BASED ON RUSSIAN KICK DANCE , BUT USES A KEN SWIFT, SIDE TO SIDE MOVEMENT WITH HANDS TOUCHING WICKET, FLO, THE FLOOR IN BETWEEN. CRAZY LEGS A STYLE THAT WAS DONE IN THE LATE 70's EARLY 80's KEN SWIFT DONE BY IMITATING A MOVE BY SAMMY DAVI JR. FLIP ROCK WHERE IN THE MIDDLE OF A FOOT WORK PATTERN YOU KICK OUT BOTH LEGS WHILE SHIFTING FORM ONE HAND TO THE OTHER (not to be confused with the move that wraps your legs around your shoulders) DONE IN THE LATE 70's, IT IS A STYLE THAT IS ON ALL FOURS WITH BODY FACING UP AND A CERTAIN MOVEMENT THAT GIVES A SPIDER EFFECT ( usually done as a transitional style in-between other footwork patterns) MR. WIGGLES, BBOY STEVE (LV), FLOOR ROCK

3 STEP BABY SWIPE DOUBLE LEG KICKS

SPIDER STYLE

CORK SPIN SWEEP SWIPES CRISS CROSS SHUFFLE

A CORK SCREW MOVE DONE IN A FOOT WORK PATTERN CREATED BY ICEY ICE DONE LIKE A FAMOUS VERTICAL DISCO MOVE, WHERE YOUR DOIN A CC LONG PATTERN AND THEN CONTINUING THE FOOT WORK ROTATION YOU CRISS CROSS YOUR FEET .

MR FREEZE ALIEN NESS BABY LOVE (IN THE MOVIE BEAT STREET)

SIDE SHUFFLES

DONE IN THE MIDDLE OF A FOOT WORK PATTERN YOU HIT THE SIDE AND SHUFFLE YOUR FEET AND GO BACK INTO FOOT WORK

ACTION (in the movie beat street), CRAZY LEGS

FRONT SWEEP BACK SWEEP

INOVATED BY POW WOW OF SOULS SONIC FORCE, ROCK A FELLA COMBINATING A FRONT SWEEP WITH ONE FOOT THEN A BACK SEEP OF THE OTHER FOOT IN THE MIDDLE OF A FOOT WORK PATTERN. A STYLE OF FOOTWORK DONE ON THE BACK A STYLE CREATED BY ICY ICE IN THE EARLY 80's THAT TAKES BASIC FOOTWORK PATTERNS (CC STYLE) AND GAVE IT A POWERFUL MOTION TO SET UP A POWER MOVE CRAZY LEGS ICY ICE, THE NEXT ONE, ALIEN NESS

BACK ROCK POWER FOOTWORK

TRAVELING FOOTWORK

A STYLE THAT TRAVELS ACROSS THE FLOOR WHILE ON KEN SWIFT, MR. ALL FOURS (body facing up) WITH A CRAB LIKE FREEZE, FLOOR MOTION (side ways crawl with legs first then hands) ROCK

SPIDER MAN FOOTWORK (a style that was inspired by a combination by CRAZY MR. WIGGLES, LEGS , created by MR. WIGGLES IN THE EARLY 90's), IT STORM, INVOLVES THE SPIDER MOVE (not style) OF PLACING VENGEANCE YOUR HANDS UNDER YOUR LEGS AND IN-BETWEEN YOUR LEGS WHILE DOING FOOTWORK PATTERNS CREATING A LOOPING STYLE EFFECT.

-FREEZESBABY FREEZE (original) BABY FREEZE lying on the floor on your side sucking you thumb or throwing a tantrum. FROSTY FREEZE

A PRESS THAT BALANCES ON HANDS WITH ONE LEG KEN SWIFT, CRAZY ON THE KNEE, (and some times both legs switching like LEGS scissors) A SIMILAR POSITION THE BABY BUT WITH BACK LEGS TOUCHING THE FLOOR AND THE OTHER LEG CROSSED ON TOP OF THE BACK LEG INTRODUCED INTO BBOYING BY KID FREEZE, AND MASTERED BY KID FLOAT IN THE EARLY 80'S, IT INVOLVES A HANDSTAND WITH YOUR FEET HANGING OVER BACKWARDS BARELY TOUCHING THE FLOOR KEN SWIFT, CRAZY LEGS, MR. FREEZE FLOAT, KMEL, REVEAL

CHAIR FREEZE

HOLLOW BACK

AIR BABY

A MOVE THAT CAME FROM EITHER THE LATE 80's OR KEN SWIFT, FLO EARLY 90's THAT INVOLVE A BABY FREEZE TYPE MASTER, CRUMBS POSITION BU BALANCING ON HANDS LIKE A HAND STAND BUT WITH ONE ELBOW ON THE KNEE (and some times on one hand) THE UPSIDE DOWN JORDAN POSE FROM HIS SNEAKER LOGO (created by FLO MASTER) A FREEZE THAT COMES OUT OF A POWER TWIST TYPE MOVE, THAT LANDS IN A NINJA STYLE POSITION A BABY FREEZE WITH LEGS STRAIGHT OUT (created by KEN SWIFT) FLO ICY ICE, NEXT ONE

MICHAEL JORDAN FREEZE NINJA FREEZE

PLANK FREEZE

KEN SWIFT, WICKET, MR. FREEZE

HI PLANK

IT'S THE ONE HANDED HAND STAND FREEZE WITH THE FLO, QUICK, OTHER ON YOUR 4 HEAD OR ELSE WHERE (inspired by REMIND the plank freeze..created by FLO MASTER / AND QUICK STEP) INSPIRED BY THE FAMOUS CAPOEIRA FREEZE, EXCEPT FLO, MIGHTY YOU CRUNCH IN AND TOUCH YOUR KNEE TO YOUR MOUSE, WICKET ELBOW AND POSE FOR 2 SEC.

ONE HAND CRUTCH / FLO FREEZE

-STYLES-

FOUNDATION ( EARLY 70'S)

THIS STYLE OF ORIGINAL BBOYING IS THE BLUE THE TWINS, DST PRINT OF WHAT WE DO TODAY, THIS STYLE HAS STILL YET TO BE SEEN IN OUR GENERATION (CREATED BY ALL THE BBOYS IN THE EARLY 70'S GENERATION WHAT WE SEE AS BBOYING TODAY WAS CREATED IN ROCK STEADY THIS GENERATION, ROCK STEADY IS ONE OF THE LAST GROUPS TO KEEP THIS STYLE IN IT'S PUREST FORM A STYLE OF BBOYIN THAT INVOLVES PIECING TOGETHER A BUNCH OF LITTLE MOVES AND FOOTWORK TO CREATE ON BIG COMBINATION (co created by KEN SWIFT, but inspired by bboys he grew up watching like SPY, and GREGO) UNORTHODOX VERSION OF TEXT WITH COMMON POWER MOVES (created by REMIND) KEN SWIFT, WICKET,

FOUNDATION ( MID 70'S)

TEXT

ABSTRACT

REMIND, CRUMBS, VIETNAM

POWER / GYMNASTIC

THIS STYLE WS ORIGINALLY DONE AS A DANCE, WICKET, IVAN, UTILIZING GYMNASTIC TYPE MOVES WITH BREAKING, IRON MONKEY BUT DONE AS A DANCE AND NOT AS A TRICK FILLED SPORT. ANY THING THAT TAKES STRENGTH IS POWER (originated by bboys like TRAC 2, ICY ICE, GERMAN, FLOAT, KID FREEZE) A STYLE THAT IMITATES THREADING A NEEDLE WITH GIZMO, THERE BODY PARTS, (innovated by wiggles in the early VENGEANCE, 80's) CRUMBS,

THREADS

resources: BREAK EASY, KING UP ROCK,BURN ONE,FLOOR MONK, ROCK STEADY, TRACK 2, KIETH AND KEVIN (THE TWINS), DST, AND MY OWN EXPIERIANCES.

STYLE
FAST RHYMING

USED BY
Busta Rhymes

PIONEERED BY
Treacherous 3, Soul Sonic Force

NOTES

REFERENCES
Treacherous 3 Soul Sonic Force

MC POPPIN / Bone Thugs MC Globe, Soul Sonic TRIPLE Force RHYMES STYLE/ SWING STYLE

Globe used "Planet rock" old swing and " Lookin for the Perfect Beat" scat style jazz by:Soul Sonic Force riffs, he would scat on a tape and then write rhymes to his scattin

GRUNGY Dmx, J D L from the cold DIRTY VOCAL Method crush 4 mc's STYLE Man, Ja Rue

This is'nt a "Old Mc tapes from the 70's" lyrical style, "Fresh, Fly, Wild, Bold" but a style of by: Cold Crush 4 mc's vocal delivery and cadence that certain mc's have naturally.

CALM / Rakiem, MONO Nas TONED VOCALS AND STYLE

Rahiem from Grand Master Flash and the Furious 5 mc's

he did it first.

"The Message" by: Furiuos 5 Mc's

STYLE

USED BY

PIONEERED BY

NOTES

REFERENCES

KNOWLEDGE KRS ONE, RHYMES / Publec POLITICAL Enemy RHYMES STORY TELLING Slick Rick

Mellie Mel, Furious 5

Mel was "Worls War 3" always dropin "Beat Street" bombs. by: Furious 5 Mc's They did'nt create it, but they had two classic story rhymes that were famous back in the days, that eventually lead to a Slick Rick style "Fat Lady Rhyme" by: LA Sunshine "Eyvette rhyme" Wild Style Soundtrack by: Grand Master Caz

Grand master Caz, La Sunshine

RUTENES

Jurasic 5, Arsonist

Furious 5, Cold Crush 4, Fantastic 5, and all old school crews from the 70's

This was part of the main formatt of every MC show, rutenes, rhymes, and dance as well

"Wild Style Soundtrack" by: Various crews "Flash to the Beat" Grand Master Flash and the Furious 5 Mc's

GANGSTA RAP

NWA

Kool G Rap, NWA, Just These east Ice and west coast MC's expressed there thugish ways on wax

"Straight Outta Compton" by: N.W.A. "Road to the Riches" by: Kool G R Just Ice Bio

STYLE
PARTY STYLE/ CROWD PLEASER

USED BY

PIONEERED BY
Luv Bug Starski, Buzy Bee

NOTES
back in the days these two mc's were the best at crowd pleasing this boy Kool Kieth said some of the illest and funniest sh&t

REFERENCES

COMIC BOOK Pharoe STYLE/ monch CRAZY WORD PLAY

Kool kieth, Sed Gee (Ultra Magnetic mc's)

"Ultramagnetic MC's"

INTELECTUAL STYLE

Kool Moe Dee, T la Rock, Special K

Kool moe Dee was the apitome of intelect. Caz was the coolest on the mic. masters of two man rutenes and trading back and forth

"Kool Moe Dee"

SMOOTH STYLE

Big Daddy Grand master Caz Kane, Jay Z (Cold Crush 4 MC's), Whiper Whip (Fantastic 5 MC's) RunDmc Salt & Pepper (the original Whip, and Data rock, NOT THE GIRLS) Double Trouble (Lil Rodney c, KK Rockwell)

TWO MAN RUTENE STYLE/ DUO'S

"Double Trouble " Wild Style Soundtrack

This page is based on my opinion. But becuse i have been down with HIP HOP since the 70's, i am able to pin point certain facts that most HIP HOP heads would not know. But i remain a student of this culture and will always continue learning,

MY BASIC TIPS ON HOW TO SHOP FOR BREAK BEATS DEFINITION OF A BREAK BEAT: A BREAK BEAT (BASED ON A STYLE OF DRUMMING CALLED FUNK) IS THE DRUM SOLO ON A FUNK, SOUL, R N B, ROCK, JAZZ FUSION OR ANY OTHER TYPE OF SONG THAT FEATURES FUNK DRUMMERS. SOMETIMES THE BREAK IS ACCOMPANIED BY OTHER PERCUSSIONS LIKE CONGAS, TIMBALES, BONGOS, AS WELL AS A BASE GUITAR, SAX, AND SO FORTH. USUALLY YOU WILL FIND IT EITHER IN THE BEGINNING , OR IN THE MIDDLE OF A SONG. WHEN IT'S IN THE MIDDLE IT WILL USUALLY HAVE A GRADUAL BUILD UP OF SOME SORT, AND ALLOT OF SONGS WILL EVEN START THE BREAK OFF WITH A HORN HIT. A GOOD BREAK IS ONE THAT IS FUNKY AND WILL MAKE THE CROWD MOVE. AND CAN BE USED AS A BACK BEAT FOR MC'S (RAPPERS) TO RHYME TOO, OR BBOYS (HIP HOP DANCERS) TO GET DOWN TOO, OR JUST FOR PEOPLE TO PARTY TOO. WHAT YOUR GENERALLY LOOKING FOR IN LENGTH IS A BREAK ANY WHERE FROM AT LEAST 4 BARS TO 8, 16, 20, AND SO ON. WHERE DO I FIND BREAK BEATS? THE BEST PLACES TO FIND RECORDS THAT MIGHT HAVE BREAK BEATS IS USUALLY ANY STORE THAT SPECIALIZES IN RECORDS FROM THE EARLY 60'S TO THE LATE 70'S, AS WELL AS THRIFT SHOPS, SWAP MEETS, PEOPLE SELLING JUNK AND STUFF ON THE STREETS, CRACK HEADS THAT USED TO DJ AND ARE TRYING TO SELL THERE STUFF, HIPPIE TYPE AREAS LIKE THE VILLAGE IN NYC, ECT.

HOW DO I KNOW WHICH RECORDS TO CHECK?

A) LOOK FOR RECORDS THAT DATE BETWEEN EARLY 60'S AND LATE 70'S. B) LOOK FOR ALBUM COVERS THAT HAVE ANY KIND OF FUNK APPEAL, LIKE ALLOT OF PERCUSSIONISTS, OR IF THE COVER SHOWS A WHOLE LOT OF BLACK AND LATINOS IN THE BAND, THREE WHITE GUYS AND A BLACK GUY (USUALLY THAT WOULD INDICATE THAT THE BLACK GUY IS THERE FOR THE FUNK), AN ALL WHITE BAND THAT'S TRYING TO LOOK BLACK OR DRESSED HIPPY, LOOK FOR SONG TITTLES THAT MIGHT INDICATE ANY REFERENCES TO THE FUNK, LIKE FUNKY CHICKEN, FUNKY PRESIDENT, FUNKY NASSAU, OR WORDS LIKE, SOUL POWER, DANCE TO THE DRUMMERS BEAT AND SO FORTH.

WHAT DO I LOOK FOR ON THE RECORD IT SELF?

A) WHEN YOU PULL THE RECORD OUT THE SLEEVE, THE ACTUAL RECORD SHOULD BE THICK, AND NOT THIN LIKE TODAY'S WAX. B) THEN CHECK THE GROOVES ON THE RECORD, LOOK FOR THE THIN PARTS OF THE GROOVES IN THE MIDDLE OF THE SONG, THAT WOULD USUALLY INDICATE SOME SORT OF BREAKDOWN, IT COULD BE A DRUM SOLO. C) ALWAYS REQUEST TO LISTEN TO THE RECORD, USUALLY THEY MIGHT HAVE A TURNTABLE THERE IN THE STORE, IF NOT YOU SHOULD INVEST SOME MONEY IN A PORTABLE RECORD PLAYER, YOU CAN FIND SOME CHEAP ONES ON EBAY.COM. WHEN YOUR LISTENING, FIRST LISTEN TO THE BEGINNING OF A SONG, THEN LOOK FOR THE THIN GROOVES AND DROP THE NEEDLE ON IT TO SEE IF IT'S A BREAK, THEN WITHOUT SCRATCHING THE RECORD, CAREFULLY DROP THE NEEDLE THROUGH OUT THE SONG. DO THIS FOR EACH SONG ON THE ALBUM.

WHAT SHOULD I PAY FOR THESE RECORDS?

THE BEST FEELING IN THE WORLD FOR ME IS FINDING GEMS AND ONLY PAYING 50 CENTS FOR IT, OR A DOLLAR OR SO, BUT RECORDS CAN REACH FROM $5 TO $100, OR MORE, DEPENDING ON THE POPULARITY OF THE BREAK. IF YOU LUCK OUT AND FIND A BREAK, THEN YOU SHOULD ASK YOUR SELF HOW MUCH IS IT WORTH HAVING. BUT FOR ME IF IT COSTS THAT MUCH, THEN THAT WOULD MEAN THAT PEOPLE KNOW THE VALUE OF THE RECORD AND THAT THE RECORD IS ALREADY POPULAR, OR PEOPLE KNOW OF IT, SO I WILL NOT BUY IT. I'D RATHER FIND SOME OBSCURE RECORDS AND THEN PAY NO MORE THAN $5 FOR IT, UNLESS IT'S SOMETHING THAT I REALLY LIKE. A) KNOW YOUR DRUMMERS. IF YOU BUY A RECORD WITH A DOPE BREAK ON IT, CHECK THE CREDITS AND SEE WHO THE DRUMMER IS, AND THEN WHEN EVER YOU COME ACROSS A RECORD WITH THAT DRUMMER BUY IT. MEMORIZE WHICH LABELS THESE DRUMMERS PLAY ON, ALLOT OF TIMES THEY ARE STUDIO DRUMMERS THAT PLAY ON A NUMBER OF SONGS FOR A PARTICULAR LABEL, LEARN AS MUCH INFO ABOUT THE DRUMMERS AS POSSIBLE. B) FOLLOW THE LABELS THAT SPECIALIZE IN FUNK BEATS, LABELS LIKE KUDU, BUHDA, KING, STAX AND SO FORTH WILL ALWAYS FEATURE ARTISTS THAT HAVE SIMILAR SOUNDS OR USE THAT SAME FUNKY STUDIO MUSICIANS. C) DON'T SLEEP ON 45's, THEY USUALLY HAVE A DIFFERENT MIX AT TIMES THAT WILL FEATURE THE BREAK MORE. D) DON'T SLEEP ON DISCO AND OTHER TYPES OF DANCE MUSIC THAT STARTED COMING OUT AT THE END OF THE FUNK ERA (LATE 70'S/ EARLY 80'S) PUNK, REGGAE, GO GO, DISCO, SKA, ECT. E) ALWAYS TRY TO GET TWO COPIES OF EACH RECORD. IF YOUR PLANNING ON MIXING, BACKSPINING, AND CUTTIN THEM UP ON YOUR TURNTABLES. F) WHEN EVER YOU GO TO A RELATIVES HOUSE THAT MIGHT HAVE AN OLD RECORD COLLECTION, ASK FOR IT, OFFER QUICK CASH FOR IT, USUALLY THEY WILL BE READY TO PAY YOU TO TAKE IT AWAY. G) TAKE RISKS, IF YOU FOUND A RECORD THAT DOESN'T GIVE YOU ANY INDICATIONS OR HINTS AS TO WHETHER IT MIGHT HAVE A BREAK BEAT IN IT, BUT YOU STILL HAVE A GOOD FEELING ABOUT IT, AS LONG AS IT'S UNDER $5 DOLLARS GET IT. I CAN'T SAY HOW MANY TIMES I FOUND BREAKS ON SOME OBSCURE WIERD RECORDS. H) IF YOUR NOT INTO DIGGIN IN CRATES AND GETTIN YOUR FINGERS DIRTY THEN YOU CAN ALWAYS GO ONLINE AND FIND STORES THAT SELL BREAKS, OR GET INFO ONLINE AS TO WHAT YOU SHOULD GET, BUT THE BIGGEST PAY OFF TO ME IS FINDING A BREAK THAT NOBODY ELSE HAS, OR THAT IS NOT POPULAR YET. I) ALWAYS STAY COOL WITH THE RECORD SHOP EMPLOYEES, THEY WILL CALL YOU WHEN THEY GET NEW SHIPPMENTS, AND IF YOU SLIDE THEM A COUPLE OF DOLLARS THEY WILL EVEN PIN POINT THE TYPES OF RECORDS YOU WANT AND STASH THEM FOR YOU ..MY BOY WORKED AT DOWN STIRS RECORDS IN MANHATTAN ..AND HE MADE ALOT OF MONEY STASHIN RECORDS FOR MANY TOP PRODUCERS. AIGHT YALL...THEMS IS MY TIPS..SEEYA!

WHAT ARE SOME OTHER TIPS THAT MIGHT BE HELPFUL?

..HAPPY DIGGIN..

ALL HIP HOP TERMS FUNKY/ FUNK ANY THING THAT MOVES YOU IS FUNKY/ A HIGHLY RHYTHMIC PERFORMER/ THE MUSIC THAT POPPERS DANCE TO/ JAMES BROWN, PARLIMENT,ECT.

GET DOWN/ GET LOOSE/ DO YOUR THING, HOW A PERSON WILL ASK SOME ONE TO DANCE GET BUZY/ GO OFF OR RHYME ( YO LET ME SEE YOU GET DOWN.) REPRESENT BUTTER DOPE/ PHAT/ CRUNK/ TRUCK JAM WAX BBOY/ BGIRL GO ALL OUT FOR YOUR SELF OR CREW, OR ANYTHING YOUR DOWN WITH OR STAND FOR. WHEN SOMETHING IS SMOOTH WHEN SOMETHING IS REALLY GREAT, IN A THICK UNDERGROUND WAY. WHEN DJ's PLAY MUSIC IN A HALL, CLUB, COMMUNITY CENTER ECT...ITS A JAM/ ALSO MEANS TO GET DOWN RECORD BBOYING COINED BY KOOL HERC TO DESCRIBE THE ELITE DANCERS AT HIS PARTYS....HERC ORIGINALLY MEANT "BREAK BOY" BUT DEPENDING ON WHAT AREA YOU WERE FROM IN THE BRONX . THE DEFINITION COULD HAVE BEEN "BEAT BOY", OR BRONX BOY". A TERM THAT THE MEDIA CREATED BACK IN THE EARLY 80'S THAT IS HATED BY BBOYS EVERY WHERE. ALSO A WORD USED BY BBOYS TO DESCRIBE A COMMERCIAL WANNA BE BBOY, OR A BREAKER WITH NO FOUNDATION THAT ONLY DOES GYMNASTIC MOVES . IS ALSO A TERM ADOPTED AS THE NAME OF THE DANCE (EX: A BBOY BREAKS OR IS BREAKING) A WORD USED IN THE BRONX RIVER AREA OF THE BRONX TO DESCRIBE THE BOUNCY STYLE OF BREAKING THAT THE BBOYS DID, IT WAS ALSO USED TO DESCRIBE THE BALL ON THERE SKI HATS THAT WENT BOYOING WHEN THEY DANCED. WAS A PHRASE THAT DESCRIBED THE ACTION OF A BBOY ...NOT A NAME OF A DANCE. YOU ALSO COULD HAVE BEEN GOING OFF ON THE MIC OR THE TURNTABLES, OR IN A FIGHT. THE ACTION A BBOY DOES WHEN HE HITS THE FLOOR, WHEN YOUR WORKING YOUR LEGS AROUND THE CENTER OF YOUR GRAVITY ON ALL FOURS. ALSO A MAIN COMPONENT OF BBOY FOUNDATION THAT WAS SET IN THE MID 70'S.( the 6 step, 4 step, are just a couple of basic footwork patterns, there are dozens more) THE ORIGIN OF BREAKING WAS IN ITS VERTICAL DANCE..BEFORE BBOYS HIT THE FLOORS THEY WERE ESSENTIALLY TOP ROCKERS (MEANING THEY ROCKED TO THE BEAT ON TOP)...IT IS ALSO A BASIC FOUNDATION ..BEFORE YOU HIT THE FLOOR YOU MUST TOP ROCK. THE ENDING POSE...THE PERIOD TO EVERY BBOYS COMBO IS THE FREEZE. IT IS ALSO USED AS THE CLIMAX AND DISS MOVE THAT GETS THE CROWD REACTIONS. ALSO A BASIC FOUNDATION EVERY BBOY MUST END THERE DANCE IN A POSE AND SHOULD HAVE A VAST CATALOG OF FREEZES. HOW A BBOY/ BGIRL FINESSES THERE MOVES.PAUSES, DELAYS AND HESITATIONS ADD TO A STYLE...LIKE A JAZZ MUSICIAN... IS SIMILAR TO STYLE BUT IS MORE OF AN ACCENT TO EACH MOVES THAT GIVES IT A PERSONALIZED TASTE...

BREAK DANCE

BREAKIN BOYOING

GO OFF

FOOTWORK

TOP ROCK

FREEZE

STYLE FLAVA

CHARACTER

MANY DANCERS EITHER BORROW A PERSONALITY FROM A CARTOON OR MOVIE, OR THEY HAVE A NATURAL CHARACTER THAT COMES OUT IN THERE DANCE, FROM KEN SWIFT'S MUGSEY, TO IVAN'S ULTIMATE TASMANIAN DEVIL LIKE IMAGE...IT ADDS ANOTHER LEVEL TO THERE PERFORMANCE THAT MAKES THERE DANCE EVEN MORE MEMORABLE. IT USED TO BE THAT A POWER MOVE WAS ALL TYPES OF SPINS THAT LOOKED POWERFUL..BUT AS IT HAS BEEN ESTABLISHED..ANYTHING THAT TAKES STRENGTH IS POWER...(LOOK AT CRUMBS) THE ACT OF COMPETING WITH OTHER BBOYS TO BEAT A BBOY IN A BATTLE, OR SCORE A POINT IN THE MIDDLE OF A BATTLE WITH A MOVE. (EX:I BURNED HIM WITH MY FOOTWORK) NOT GOOD, WEEK, SOME ONE, OR A MOVE THAT IS CONSIDERED BAD. A GROUP OF DANCERS FORMED AS A CLICK OR ORGANIZATION TO COMPETE AS A WHOLE. THE ORIGINAL FORM OF HIP HOP MUSIC THAT SET OFF THE BBOY SUB CULTURE. THE ULTIMATE SINFUL NONO....IT MEANS TO COPY OR STEAL ANOTHER BBOYS MOVES, STYLE, CHARACTER AND ALL THE ABOVE CRITERIA'S THAT MAKE A BBOY ORIGINAL...NEVER BITE!!!!!!!!!!!!!!!!!!! POPPING

POWER MOVES

BATTLE BURN

WACK CREW BREAK BEATS BITING

BOOGALOO STYLE TWISTO FLEX TICKIN STROBIN

ROLLIN OF THE HIPS AND DIFFERENT BODY PARTS/ A PARTICULAR STYLE THAT GOES WITH THE ROLLS. A RUBIX CUBE STYLE OF POPPIN/ SEPERATING AND DISECTING YOUR BODY IN TWIST LIKE MOTIONS. STOP MOTION STYLE OF POPPIN GIVING THE EFFECT OF A STROBE LIGHT WHILE DOING NORMAL THING YOU WOULD DO IN A CLUB TYPE ATMOSPHERE (DRINKING, COMBING HAIR, LOOKING AT YOUR WATCH) NOT NECESSARILY A DANCE IMITATING CARTOON OR CLAY ANIMATION A SHUFFLING OF THE FEET WHILE MOVING YOUR ARMS TO THE BEAT IN DIFFERENT DIRECTIONS. ORIGINATED IN SACRAMENTO A STYLE BASED ON THE 70'S TERM "TO STRUT YOUR STUFF"/ MOVEMENTS TAKEN FROM ACTUAL STRUTS OR PIMP WALKS STYLE THAT ORIGINATED IN FILMORE CAL. LOOKS LIKE A SIDE TO SIDE MOVEMENT THAT INVOLVES STRAIGHTENING OUT THE ARMS IN DIFFERENT DIRECTIONS WHILE STEPPING WITH THERE FEET IN DIFFERENT DIRECTIONS CREATING THE ILLUSION THAT YOUR BODY HAS ELECTRICAL CURRENTS FLOWING SMOOTHLY THROUGH IT. ALSO MAKING ONES BODY LOOSE AND FLUID LIKE WATER A KING TUT OR HIEROGLYPHIC STYLE OF POPPIN A STYLE THAT INVOLVES STICKING OUT THE ARMS IN SYNCOPATED RHYTHMS AND STRAIGHT ARM SHAPES, AND SNAPPING THE ELBOWS WHILE DOING IT. WRITING (GRAFFITI)

ANIMATION SACIN STRUTTIN FILMORE

WAVING

TUTTIN STICKIN

WRITER MASTER PIECE/ PIECE THROW UP TAG

THE ORIGINAL NAME OF WHAT PEOPLE REFER TO AS "GRAFFITI ARTIST" A NAME , WORD OR PHRASE DONE IN A STYLE THAT IS FILLED IN WITH COLORS AND HAS AN OUTLINE AND OTHER DECORATIVE FILLINGS A QUICK AND EASY VERSION OF A PIECE, DONE IN A WAY TO GET AS MANY UP AS POSSIBLE IN A SHORT TIME WRITING YOUR NAME IN A GHETTO STYLIZED WAY

WILD STYLE

A PIECE THAT IS DONE WITH ALOT OF DETAILED CONNECTIONS AND ARROWS AND OTHER INTRICATE DECORATIONS THAT MAKE IT HARD TO READ. A MISSION THAT WRITERS GO ON, WRITING YOUR NAME ANY WHERE AND EVERY WITH AN ABUNDANT AMOUNT OF TAGS OR THROW UPS/ SMOTHERING AN AREA WITH ONES TAG OR THROW UP. A PIECE ACROSS TWO TRAIN CARS WHEN A WRITER BOMBS THE ENTIRE CITY IN AN ATTEMPT TO BE THE KING GETTING FAME THROUGH TAGGING EVERY WHERE OR ON A PARTICULAR TRAIN LINE, OR AREA A WRITER THAT IS NOT GOOD AT TAGGING OR PIECING, SOMETIMES ANYTHING THAT ISN'T GOOD. ARTISTS THAT USE SPRAY PAINT AS A MEDIUM, NOT NECESSARILY A WRITER A GROUP OF WRITERS UNITED TO COPY, OR STEAL SOMEONE'S STYLE OR EXACT LETTERS TO PAINT OVER, ERASE OR CLEAN OFF TAGS AND PIECES FROM A TRAIN OR WALL SPECIAL WIDE AND SQUARE TIP MARKERS THAT ARE REFILLABLE AND USED FOR TAGGING WIDE AND NARROW TIP REFILLABLE MARKERS SPECIAL INKS PREFERRED BY WRITERS FOR THERE RESISTANCE AGAINST BUFFING, OR CLEANING. ESPECIALLY THE OLD SUPERMARKET STAMP INK THAT IS HARD TO CLEAN OFF. SPECIAL PEN WITH REPLACEABLE CHISEL POINT AND OTHER STYLE TIPS, ALSO REFILLABLE TO PIN OUT A REGULAR PILOT (OR OTHER BRAND) WIDE TIP MARKER TILL IT RESEMBLES A MOP, PREFERRED FOR IT SLOPPY LOOK A MARKER MADE BY WRITERS OUT OF AN EMPTIED OUT ROLL ON DEODORANT BOTTLE, AND STUFFED WITH FELT FROM A CHALK BOARD ERASER AND FILLED WITH INK, A SPECIAL SPRAY NOZZLE THAT MAKES THE CAPS DIFFERENT SIZES AND EFFECTS

BOMB/ BOMBING

MARRIED COUPLE ALL CITY GETTING UP TOY/ HOT 1 TEN AEROSOL ART CREW BITING BUFF PILOT, MAGNUM, UNI WIDE, MINI WIDE MARSH, FLO MASTER, SUPERMARKET INKS

FLO PEN MOP TIP

HOME MADE MOP TIP

FAT CAPS/ THIN CAPS

BUBBLE LETTERS/ SOFTY SOFT AND ROUNDED LETTER STYLE OF PIECING WHOLE CAR WINDOWS DOWN TOP TO BOTTOM HOOK UPS FILL IN OUTLINE LAY UP YARDS BURNER RACKING UP VICKED/ VAMPED A PIECE THAT TAKES UP THE LENGTH OF A TRAIN A PIECE THAT COVERS FROM THE WINDOWS OF A TRAIN DOWN DOING A PIECE ON A TRAIN THAT COVERS FROM THE TOP TO THE BOTTOM OF THE TRAIN SPECIAL COLOR DECORATIONS DONE INSIDE OF A PIECE. THE COLORING OF A PIECE OR THROW UP AN UNCOLORED PIECE / THE BLUE PRINT OF A FULL COLOR PIECE AN AREA WHERE TRAINS ARE USUALLY PARKED, EITHER UNDERGROUND OR ELEVATED WHERE WRITERS BOMB TRAIN YARDS WHERE TRAINS ARE STORED AND PARKED AND WHERE WRITERS BOMB AN EXTREMELY INTRICATE PIECE WITH INTRICATE COLORS TO STEAL SPRAY PAINT AND OTHER SUPPLIES USED BY WRITERS TO ROB OR GET ROBBED FROM ANOTHER WRITER FOR SPRAY PAINT, OTHER SUPPLIES AND MONEY AND JEWELRY AS WELL. STREET TERMS STAY UP TAKE CARE

PEACE CHILL CRIB DIS BEEF VIC / JACK/ STICK UP GEESE/ RACK/ BEAT DOWN RECOGNIZE 5 O BURNER/ POUND/ IS/ STEEL/ GAT

HI OR GOODBYE RELAX A HOME, APARTMENT, PLACE WHERE SOMEONE LIVES TO DISRESPECT SOME ONE OR SOMETHING ALTERCATION TO ROB SOMEONE/ SHORT FOR VICTIM TO STEAL BEAT SOMEONE UP TO REALIZE SOMEONE OR SOMETHING ABOUT SOMEONE/ TO RECOGNIZE SOMEONE'S SKILLS IN HIP HOP POLICE GUN

CREW/ SQUAD/ POSSIE/ CAN BE EITHER A GANG/ OR A GROUP OF HIP HOPPER (MC'S, CLICK DANCERS, WRITERS ECT.) LAY THE SMACK DOWN D.L./ DOWN LOW OLD SCHOOL/ OG PLAYER HIT OR SMACK SOMEONE KEEP IT ON THE DL, OR DOWN LOW MEANS TO KEEP A SECRET SOMEONE WHO HAS BEEN AROUND FOR A LONG TIME AND HAS VAST STREET KNOWLEDGE OF SOME SORT. A PERSON THAT CONTROLS WOMEN FOR THE SAKE OF CHEATING ON THEM AND OR TRICKING THEM INTO SPENDING THERE MONEY ON THEM SOME ONE WHO ADMINISTERS TO FEMALE PROSTITUTION/ OR SOME ONE WHO HAS SO MANY GIRLS THAT THEY TERM THEM SELVES PIMPS. THE SHINE OFF OF SOMEONE'S PLATINUM JEWELRY SOME ONE WHO HATES ON PLAYAS OR RATS ON THEM AND SO FORTH NOT GOOD, WEEK, TERRIBLE

PIMPIN

BLING PLAYA HATER WACK

HIP HOP INFLUENCES TITLE JAMES BROWN HOW THIS INFLUENCED HIP HOP James Brown's music has influenced HIP HOP overall, from his dancing, call and response, his musical feel, his influence on BREAK BEATS or FUNK DRUMMING. James Brown hired so many influential drummers and musicians in his band that he pretty much single handedly shaped the world of BREAK BEAT MUSIC.

FUNK DRUMMING

THE BREAK BEATS. From EARL PALMER to CLAYTON FILLYAU to CLYDE STUBBLEFIELD. these FUNK DRUMMERS created the beats that made HIP HOP music what it is today. From what the TWINS say. James Browns movements inspired young BBOYS dance styles. The roots to HIP HOP culture is in it's bloodlines. And in CAPOEIRA you can see the movements and it's similarities to BBOYING.

JAMES BROWN GOOD FOOT AFRICAN DANCE / CAPOEIRA (Angola)

HOOFIN/ TAP / FLASH STYLE If you look at certain footwork patterns and steps where SAMMY (SAMMY DAVIS JR. NICHOLAS DAVIS kicked his feet out, and certain ground moves done by groups BROTHERS) like the NICHOLAS BROTHERS. you can definitely see the influence on BREAKING>

SALSA/ BOMBI PLENA

In the Latino communities throughout NYC, allot of style and they way the did there moves had that feel of a SALSERO. So the flava and moves like the RUMBA, and many other played a major roll in the shape and style of LATINO BBOYS. Especially when dealing with the UPROCKERS and TOP ROCKERS. The same as in Salsa, NATIVE dance especially the FANCY DANCE influenced TOP ROCKING and UPROCKING. Especially in the footwork and the head movements. MARTIAL ARTS movies was so popular among young African Americans and Latinos. That we would go to 42nd street back in the late 70's and early 80's where you can watch like 5 Kung Fu movies for $3-$5. And young BBOYS would borrow moves and styles and mix it with there dance. Like KEN SWIFT'S PYTHON TOPROCK.

NATIVE AMERICAN DANCE / FANCY DANCE KUNG FU MOVIES

GYMNASTICS

BBOYS like TRACK 2 would combine movements from there gymnastics background into there breaking. Like Track's hand stand pirouette which help lead to CRAZY LEG'S one hand spin which became known as the 1990. Also young new comers like BBOY GERMAN who incorporated the THOMAS FLARE into his dance routine, and was one of the early pioneers in mixing gymnastics with power moves.

AN EARLY PERSPECTIVE OF THE BRONX BEFORE AND DURING THE CREATION OF HIP HOP

in the late 60's early 70's there was a revolution goin on in the streets of NYC. we had some of the sickest gangs rumbling in the parks at midnight, and running the ghetto hoods block by block. Back then being in a gangs like being in a family. and your family was also your entire neighborhood. Some gangs stretched out throughout the entire NYC area, and had chapters in every borough. BLACK SPADES SAVAGE NOMADS SAVAGE SKULLS CHINGALINGS GHETTO BROTHERS THE IMMORTALS YOUNG SINNERS ROYAL CHARMERS THE SEVEN CROWNS JAVELINS GLORY STOMPERS BLUE DIAMONDS Being raised in the Bronx myself, i grew up on east Treomont in Grand Concourse near Echo park (an area known for gangs and original hip hop jams). where i lived we were surrounded by Javelins and Black Spades. I was constantly learning my street knowledge by hangin out with baby javelins in Echo park when i was only around 6-7 years old. i drank my first liquor in echo park with SHORT STOP from the javelins, i smoked my first cigarette picking up buts off the streets while playing hookie at age 7, i started my first fire by echo park during school hours and watched the smoke rise till pedestrians yelled at me and i ran, i also learned my first tag and was givin the name "lil KOOL KAT" by my older sister. i was hung out my apartment window 4 flights by members of a gang called the IMPERIAL SPADES that my older sister CINDY hung out with. Every time my sis left the room they would grab me and hang me out the window. lol. i was always finding 007 knives, stilettos, and broken clackers (a toy that had two heavy balls attached to a string and made a click clack noise when you swung it. It was used as a gang weapon and became banned due to violence). during these times the music was based on allot of heavy rock (Jimi Hendrix), and heavy revolutionary soul (James Brown). i learned tons of ghetto rhymes growing up in the streets from the older cats. Growing up amongst, gang violence, drugs, poverty, police harassment, broken down abandon buildings, and bad schools added to this rebellious attitude that the youth had towards society. it was like living in a war zone at times. hearing gun shots in the allies at night and seeing the blood stained streets the next morning on your way to school. that was mine and every other young kids life in the south Bronx during these times. back the rumbles could start over any thing from stepping on some ones shoes, messing with the wrong girls, or being in the wrong turf and not removing your colors (gang jacket). The south Bronx gangs emulated the biker gangs except most Bronx gangs couldn't afford bikes. So war seemed like the only vehicle that these gangs rode. and there was allot of wars. weapons of choice were zip guns (home made weapon), bats (sometimes with nails in them), Molotov cocktails, sawed off shot guns, hand grenades, chains, 007's, stilettos, clackers, nun chucks, pipes, ect. And to become a member of one of these gangs you would have to go through some sort of test. One such test was called the APACHE LINE, where a new recruit would have to walk in between two line of gang members and get beat down from one side to the other. Another test was RUSSIAN ROULETTE, and as brotha LUCKY STRIKES put it in the book YES YES YALL. Allot of potential gang members were left dead in abandon building, with the police thinking it was suicide and not a gang recruiting ceremony.

GANG INFLUENCE ON HIP HOP

MUSIC In every aspect of HIP HOP culture there is a connection of some sort of gang influence. in many cases HIP HOP heads were gang members them selves. lets take the DJ for example. while KOOL HERC gained respect from gangs by doin his thing, he was also shoutin them out on the mic, and keepin the peace in his jams. he developed a respect from these gang members by giving them respect during his jams. Gangs were also used as protection for DJ's and guarding equipment, and collecting money at the doors of jams. Then of course we have one the South BRONX's biggest gang leaders who turned his gang into the biggest hip hop movement in the streets of new york and eventually the world. I am talkin about AFRIKA BAMBAATAA and the mighty ZULU NATION. BAM gained his street movement with the BLACK SPADES, and soon turned the SPADES into the ORGANIZATION, and eventually the ZULU NATION. they were the the biggest and most feared as well. Aside from BAM there was DJ DICE from CHUCK CHUCK CITY CREW, DJ FLASH and the CASANOVA CREW, and many other DJ affiliations. gangs would show up to jams often to gain there respects, and if that didn't happen, to break sh%t up. but one of the most famous chants to come off during a ZULU jam was when a gang called THE GESTAPO would show up. and back the the ZULU mc's would get the crowd to chant ZULU!, but the Gestapo crew would respond GESTAPO!, in the end the mc would chant ZULU! and the whole crowd would chant back GESTAPO! and it became a popular chant during ZULU jams. GANG INFLUENCE IN DANCE/UPROCKING (not to be confused with BBOYING) now in dance, there is a significant amount of information that points to the fact that gangs had a major influence in a dance called UPROCKIN. one such fact is that all the gangs in NYC had a certain dance that they did before going to war. it was sort of like a gang member imitating what he will do to his enemy when they rumble. the dance involved strikes and movements of violence between two dancers. imitating (miming) weapons such as zip guns, knives, bats, and fists. This dance would later be emulated by a brother in BROOKLYN named "RUBBER BAND" (also a brother named "APACHE") who was eventually murdered over a dance battle gone bad. It is said that he was one of the greatest dancers on the streets. RUBBER BAND was also said to have laid the foundation of the dance with JERKS and BURNS and was responsible for takin the gang style dance to the clubs and made it popular with the DISCO CROWD and it eventually became a dance done all over the city by gangsters and non gangsters alike. But it was common knowledge that BROOKLYN mastered this dance with such crews as DYNASTY ROCKERS. (for more info on uprockin "UNITEDUPROCKERS"). GANG INFLUENCE IN WRITING/GRAFFITI This is probably the easiest connection to make in reference to gangs inspiring elements in HIP HOP. the truth is evident in other cities where gangs marked there turf with there tags and signs and claimed there hoods with graffiti. allot of writers came from gangs, and while writing can be argued as being an element of HIP HOP, there were tons of writers that had nothing to do with HIP HOP and weren't even black or Latino. One of the first writers on record to hit up in NYC was a writer with GREEK origin named "TAKI", but also what needs to be noted is that the earliest writers that started the movement in NYC were in Philly, a writer named CORNBREAD wanted to please a girl he was after, so by taggin her name on her bus route he figured he can get her attention, and before you know it , writing flourished it's way to NYC. but aside from this history, writing was a one of the best ways to let any outside gangsters know what hood they were in so they can watch there step, and remove there colors (jacket with there names on it) before they would enter any other rivals area. This would be the same in almost every ghetto in America, from cholo gangs in LA , to the gangs in Chicago, as well as NYC.

THE DJ (KOOL HERC)

in 1955 in KINGSTON JAMAICA, a child was born who would eventually end up in one of the darkest ghettos in America, and father a culture that would soon change the sound of music . the child's name: Clive Campbell (aka KOOL HERC) the place: The BRONX the culture: HIP HOP Clive Campbell migrated to New York's west BRONX when he was only 12 years old. When the young Clive Campbell was attending Alfred E. Smith high school, he was constantly lifting weights in the school weight room. And when you add his huge body with his tallness that him as well as his brother KENNETH had. You would understand why the other kids nick named him HERCULES. Initially HERC was down with a writing crew (graffiti group) young Herc was always inspired by the sounds and culture of his JAMAICAN roots, toasting, and the dubbing (mc'in and dj'in) that the DJ's had in his original birth place was instilled in his soul. He eventually got a system of his own and began dj'in locally to help make money to buy his lil sis some school clothes. His first DJ gig was a party in 1520 Sedgwick. in a small recreation center that his sister rented for about $25, and they would charge about 25 cents for girls and 50 cents for guys at that time. He began to throw many parties there before a predominantly African American crowd (at this time the Latinos were more heavily into LATIN DANCE and DISCO). that's where herc would also fine tune his personal love for the break sections of all of his records. Although herc could still get the crowd jumping by playing "Listen To Me" by Baby Huey full out. Through his knowledge that every Jamaican record had a dub side to it, he focused on the break downs of instrumentals, and drum solos. He new that by extending the break he could lock the crowd into a state of frenzy. You see herc studied the crowd response when ever the drum solo would kick in, and he figured that by extending that drum solo, he could keep the whole atmosphere in that one state. So he began buying two copies of each record, (which he would soak the labels off so that other DJ's couldn't find out what records he was playing) and began to manipulate the turntables when the break ended on one turntable he would start it all over again on the next turn table, and would do this over and over until he saw it fit to throw on the next crazy beat. he called this the merry go round. Not only was he known for having the funkiest breaks but hercs biggest claim to fame was his sound system. It was said that herc named his crew the herculoids, but he son clarified that the name herculoids was a name he gave to his sound system. It was so loud that no other DJ could compete with him in a park jam battle which a young up and coming DJ by the name of Africa Bambaataa found out when he was blown away by herc's system in a battle. Herc owned what was known as a macintosh amp, which at the time was the most respected power amp, and also had sure speaker columns, he dubbed his system the "HERCULORDS" and his distinct sound was based on his heavy bass. he was also quoted saying that the only person that was close to him ion his time was a kid named "SMOKEY". herc began playing in clubs like twilight zone, and eventually the hevalo club. as his fame grew other DJ's began to make there contributions to hercs sound. Herc was also known for toastin on the mic and shouting people out from the crowd to get more crowd response. this came from things he remembered from his native Jamaica. and he also had what was known as the first mc to rock a hip hop party. "COKE LA ROCK" and HERC also had an MC named "TIMMY TIM". FAMOUS DJ'S THAT CAME AFTER HERC AFRIKA BAMBAATAA: known as the man with a thousand records. BAM'S collection was no doubt the largest, and the most versatile. Bam was also the leader of the largest ghetto organization in NYC. The ZULU NATION. And eventually landed a major deal on TOMMY BOY RECORDS along with mc's POW WOW, GLOBE, and MR. BIG'S. they went on to record one of the most famous hip hop songs of all time. "PLANET ROCK". GRAND MASTER FLASH: Known as the creator of the quick mix (speed) , cutting, and also makes claim along with DJ THEODORE for inventing the scratch., FLASH was also the DJ for one of the most influential hip hop groups "GRAND MASTER FLASH AND THE FURIOUS FIVE" Mc's: COWBOY, MELLE MEL, KID CREOLE, MR. NES (SCORPIO)), RAHIEM. they went on to record many hit records including one of the first rap records ever: UNDER THE TITLE "THE YOUNGER GENERATION" SONG TITLE "WE ROCK SO MELLOW" (this was actually the 2nd rap record release after king Tim the third). GRAND WIZARD THEODORE: The inventor of the needle drop, and also the scratch. He was the younger brother of a well known DJ "MEAN GENE" and part of a crew called "THE L BROTHERS" and he eventually became part one the most famous crews "FANTASTIC 5" along with RUBY D, PRINCE WHIPPER WHIP, DATA ROCK, KEVIE KEV,. FANTASTIC 5 were well known for all there accomplishments. But they are best remembered for there battle against THE COLD CRUSH 4. LOVE BUG STARSKI: Starski was probably the best party rocker of his time, he was one of the first DJ MC'S, and was also known for coining the mc rhyme phrase "HIP HOP SHOOWOP DA BOP. Starski is rarely given props for his accomplishments in HIP HOP. But his crowd rocking style gave way to many DJ's and mc's. OTHER DJ's WHO PAVED THE WAY WERE: CHARLIE CHASE: DJ for the cold crush four, and also known for bridging the gap between African American and Latino youth. AFRICA ISLAM: Known as the son of BAMBAATAA, he was a bboy/ DJ, and had the perfect feel for

playing breaks for the hardcore bboys. he had a crew called the MAY BERRY CREW with mc's DONALD D and KID VICIOUS. GRAND MIXER DST: Besides being a dope BBOY / DJ / PRODUCER. DST had incredible DJ skills, and recorded some great under ground records with his crew "THE INFINITY RAPPERS" (MC'S SHAHIEM, and ), But DST will always be remembered by his work with HERBIE HANCOCK on the hit record "ROCKIT" back in the mid 80's. WHIZ KID: This man was at one time know as the simply the best. All you ever heard in the streets was that nobody can mess with WHIZ KID. He showcases his versatility on the hit record "PLAY THAT BEAT" along with MC GLOBE of the soul sonic force. In this song WHIZ KID DEMONSTRATED different scratch for every name that GLOBE CALLED out. He is no longer with us and will be missed by all OG HIP HOPERS.

OTHER INFLUENTIAL DJ's there were many DJ's that were around during the creation of HIP HOP culture, but most were known as main stream, and disco DJ's. it is the opinion of many that herc was known as the DJ of the ghettos, and for focusing his sound on break beats rather than disco. These are some of the big DJ's of that time who still had a major influence on hip hop culture. KOOL DJ DEE DJ TEX DISCO KING MARIO JOHNNY THUNDER BIRD HOLLYWOOD GRAND MASTER FLOWERS DJ PETE DJ JONES EDDIE CHEEBA THE BREAK BEAT (the percussive part of many SOUL, FUNK, and R&B records)

To get to the origin of HIP HOP, we need to examine one of it's main components. "THE BREAK BEAT "what this word signifies is a style of drumming that influenced BBOYS/ BGIRLS, to "GO OFF". All HIP HOP rhythms have it's origin in AFRICAN MUSIC. But to be specific we have to go back to the most influential DRUMMERS, of the time period when FUNK music with break beats were being recorded. EARL PALMER ROGER HAWKINS CLAYTON FILLYAU CLYDE STUBBLEFIELD MELVIN PARKER JAMES "DIAMOND" WILLIAMS JAMES GADSON AL JACKSON, JR. ANDY NEWMARK DAVID GARIBALDI JOHN "JABO" STARKS MAURICE WHITE RAY TORRES MIKE CLARK And many more drummers contributed to the sound that molded what HIP HOP is today. This particular drum sound was said to have been created in NEW ORLEANS. According to the book "GIVE THE DRUMMER SOME" (I highly recommend this book). Drummers like EARL PALMER (who is said to be the earliest funk style drummer ever) would imitate all the sounds coming from hundreds of marching band drummers who fused Latin percussion influences from the AFRICANS in NEW ORLEANS native land BRAZIL. Add the sounds of new Orleans jazz to this gumbo and you have a unique sound that jazz drummers would imitate but only on one drum kit (as opposed to hundreds of drummers) this added a whole new syncopation to the drum patterns of that day which was like a revolution in music. You see according to CLAYTON FILLYAU, when he started playing for JAMES BROWN, he refused to have the band lean on him as just a live click track, he pretty much made it clear that he was doing his thing and other musicians better keep up. When CLAYTON played on live at the APOLLO. That became a major break through for funk drumming. And before you knew it, every band had a drummer with a similar sound. BREAK BEATS eventually became the heart and soul of what we call hip hop today. BREAK BEATS is what AFRIKA BAMMBATTA used to describe to the young ROCK STEADY bboys as "THE CALL OF THE DRUM". Once the drums start playing, people that fell the spirit of these drums will gather. And this is what was referred to as a "JAM" no matter how far you were, once a DJ started playing these beats. People would gather from all parts of the Bronx to one spot. Some people will here about a jam from word of mouth. But allot of people will actually hear the music from afar and rush over to the jam. The BREAK BEAT was so powerful that it attracted people from all communities (mostly AFRICAN AMERICAN, PUERTO RICANS, ). And these people would gather in the jams to hear there favorite beats, chill with some ladies, show off there latest gears (clothes), and also to BATTLE. These beats that were manually looped to extend them (thanks to the innovation by KOOL HERC), created an atmosphere that was some what a blood line connection to the tribal pasts of these young African American, and Puerto Rican teenagers. A DJ would tease the crowd with the opening of a funk song with the vocals singing over the beat, guitars, and horns. But once that break would kick in, the crowd would get down harder and the DJ would then manually extend the break with two turntables and back spinning the records in such a way as to get the crowd in a frenzy. By show casing the DJ's speed, and precise on time cuts. The crowd would respond by getting down harder with there latest moves and dance. But to get the crowd into the grooves even harder the DJ's started introducing vocalists that would chant, and crowd please and keep the people partying. These vocalists were called "MC'S".

DIGGIN FOR BEATS/ DIGGIN IN THE CRATES/ FINDING BREAK BEATS

One of the most forgotten arts of HIP HOP is undoubtedly the art of finding break beats. it seems that most of today's DJs are more focused in showcasing there skills than finding funky new ill breaks from obsolete rare records and impressing the crowds with a new beat. this art form was probably the main element that actually kept people comin back to jams. just to hear what new beats there favorite DJ would surprise the crowds with. Besides keepin the party rockin and making the people move. DJs were also known for certain break beats that they introduced to the HIP HOP ears. KOOL HERC was known for washing off record lables and replacing them with different ones so that other rival DJs would not know what record he was playing. they would sneak a peak at his records and go to the record shops only to find out that they were tricked into buying the wrong albums. places where HERC and many other DJs would buy there breaks at were places like "the RHYTHM DEN", or "DOWNSTAIRS RECORDS". back in the early 70's it was all about the rare breaks. scratchin, and cuttin was a the criteria of the future, but in 73 it was all about your sound system, and who had what record that nobody else had. that was the marks of respect. Also look at the article BEAT QUEST.

THE MC In the early days of HIP HOP an Mc sounded more like a smooth radio disc jockey. BAMBAATAA will always refer to original concepts of what an MC is and where is came from like SHIRLEY ELLI'S "The Name Game" and "the Clapping Song". And people like PIGMEAT MARKHAM's "Here Comes The Judge". Also credited were groups like THE BLACK POETS, and THE WATTS PROPHETS. Street snappin (mama joke) called THE DOZENS. They were the masters of ceremonies, the mic controllers, the party pleasers, teasers, with the. By saying rhymes on the mic, and doing crowd call and responses, MC'S became the main focus of a jam, at times the most vital attractions as well. They were the stars of the show mainly because they were the most heard and most exposed out of all of the other elements of a jam. While the DJ was spinning the phattest break beats that made other DJ's wanna find out what that record was, the mc was manipulating the crowd with there clever word play. This eventually lead too mc's forming a crew with the DJ and throwing bigger jams that would include battles to see who had the tightest crew. The first mc on record to rhyme over break beats was a mc by the name of "COKE LA ROCK". KOOL HERC featured "COKE LA ROCK" in his earlier jams to fill in and crowd please while Herc was spinning records. The next mc (on record) to grab the mic in a Hip Hop jam was mc "COWBOY" known as an eventual member of the famed "FURIOUS 5 MC'S". At this point there were many mc's to grab the mic. Some of the most notable ones and there contributions were: BUZY B: Known as the king of crowd pleasers, he was one of the most popular party rockers of his era. MELLE MEL: Mel was known for his incredible lyrical skills. Before there was a RAKIEM, BIGGY SMALLS, AND BIG DADDY KANE, MEL WAS HOLDING IT DOWN. GRAND MASTER CAZ: CAZ was also known for his lyrical skills in the same vein as MELLE MEL. CAZ precise delivery and ill metaphors, and was a key member in the COLD CRUSH 4 MC'S. KOOL MOE DEE: MOE DEE was one of the best. He combined intricate lyrics with a fast rhyme style and along with his crew mates THE TREACHEROUS 3 (LA SUNSHINE, SPECIAL K) they had consecutive ghetto hit records that put them on the map. And one of the most unforgettable and famous battle of all times. KOOL MOE DEE-VS-BUZY B. OTHER NOTABLE MC'S WERE WHIPPER WHIP: He had the smoothest voice and precision delivery. DATA ROCK: Also a great mc COWBOY: a true legend, and smooth rhyme sayer

THE BBOYS (TOP ROCK, FOOTWORK, FREEZES, POWER) This is a topic that must be broken down into three separate generations in order to fully understand the history of this dance. In researching bboy history, i found that there were many names being tossed around as the fathers of this dance, but the names that i would here the most were "THE NIGGA TWINS". but when referring to actual moves that has become the foundation of this dance, the names that would constantly come up were groups like "CRAZY COMMANDERS", and "SAL SOUL". I found myself just like every other bboy seeking history very confused. but only up until a an event that took place in Ohio on Sept. 10-11 1999. in this panel discussion we were finally abel to bring THE NIGGA TWINS as well as BBOYS TRAC 2, and JOJO. two sets of bboys representing two different generations. and i must say that fireworks were bursting in the room that day. but in the end when the smoke cleared i was able to scrape up this breakdown, which is still based on my thoughts of what took place between these two generations of bboying. So i will attempted to do this by dissecting BBOY history into the "EARLY 70'S". "MID 70'S", and the "80's". THE EARLY 70'S "THE CREATION AND THE BLUE PRINTS"

Now before i get into this section, there is an important issue that needs to be cleared up. during the early 70's the original bboys were mostly if all African American. in the Bronx we had a mixture of both black and Latinos living in the same hood, but there were two subcultures going on at the same time. while the young African American kids were more into the James Brown sound, most Latinos were into salsa and a dance called UPROCKING which became famous in BROOKLYN NYC. So i will break down both dance styles. (these two styles and there histories are still being researched, and i am still looking for more information) THE BBOYS When i finally got to meet the NIGGA TWINS (Keith and Kevin), the first thing that i asked them was who was the first bboy ever? and the first name they mentioned was "JAMES BROWN". they felt that James set the pace in the dance that they did, and in examining what they did during there era, there is some truth to that. you see the original BBOYS from the early 70's didn't break the same way we were breaking in the mid 70's. and if you ask them what they think of the bboys from the mid 70's ear they will straight up say "it's dope but it ain't bboyin". what bboys like the twins consider bboyin is a totally different style and foundation than the "TOP ROCK , FOOTWORK, AND FREEZE" foundation that we teach today. there are many truths to unveil about early bboys. so lets start with the name. the name "BBOY" was actually not the name of every kid that breaks, but an actual phrase coined by the father of HIP HOP "DJ KOOL HERC". the word BBOY was a short term for "BREAK BOY"< or "BEAT BOY",and even "BRONX BOY". a dancer who dances to BREAK BEATS. HERC gave this name to a group of elite dancers of that era that were getting down in his jams. dancers like KLARK KENT THE AMAZING BOBO JAMES BOND SAU SAU TRICKSY THE NIGGA TWINS EL DORADO MIKE and more these dancers were among the most respected bboys in the bronx in the early 70's, and they were called the bboys. to them the word BBOY was like the name of there specific crew. how did the this word become an actual title for the dance? my guess would be that the legend of these dancers would eventually carry the word BBOY to represent the name of the dance to all the young up and coming dancers who followed there footsteps. in my experience as a young HIP HOP dancer in 1976. the word BBOY was any body who was BREAKIN at the time. but in any event, we excepted this name and till this day it is still the best descriptive term for the dance. although there were many expressions during the 70's that people used to describe the actions of breaking. terms like "GO OFF" were popular was that we would tell someone to dance. but it is clear that such phrases were just an expression no different than phrases like "GET DOWN" or "CUT UP". those were terms used by the crowd to get dancers to do there thing. but not actual names of a dance. now lets get down to the moves. back in the twins times. they never did moves like the "HEAD SPIN", BACK SPIN", or the " CHAIR FREEZE". these moves came from the next generation. moves that the original BBOYS were more like "THE SLING SHOT", "THE FRANKENSTEIN", and "THE DRACULA" lots of stand up dancing that involved allot of shuffling, and was very funky, and there was also sweeps and ground moves similar to what SAMMY DAVIS, or the NICHOLAS BROTHERS would do. And in examining there top rock style (vertical dance), it was totally different than bboys of today. they seemed to have a whole different style and foundation to there dance. but the most important asset to a bboy was how they ,manipulated the music, and how they would catch phrases in a record. MELLE MEL (from the Furious 5 mc's) told me and CRAZY LEGS a story about probably the best bboy back then named "SAUSAU". when this brotha would dance he would improvise off of anything. the music, the crowd, and even objects around him. and one time he started gettin down on the ground in an out door jam and somehow ended up on a tree still gettin down. although this generation of bboys did not do the basic foundation that we know of today, the "6 step", "baby freezes" and so forth. they created the original form the would eventually evolve into today's BREAKIN, and they laid the blueprints for the next generation of BBOYS to come. THE MID TO LATE 70'S "THE NEXT LEVEL" Now before i get into this section, there is an important issue that needs to be cleared up. during the early 70's the original bboys were mostly if all African American. in the Bronx we had a mixture of both black and Latinos living in the same hood, but there were two subcultures going on at the same time. while the young African American kids were more into the James Brown sound, most Latinos were into salsa and hustle, and of course a tsyle of dance known as UPROCKIN, which was made popular in rooklyn new York. Latinos were also in allot of park jams that were going on during the early 7o's mainly because we shared the same hood as our cousins in the African American comunity. But during the mid 70's the young Latino youth started picking up on the culture more. Dj CHARLIE CHASE was becoming a well known Puerto Rican DJ within the HIP HOP scene. and his eventual forming of the MC crew (rap group) THE COLD CRUSH 4, made him a house hold name in the NYC ghettos. And along with him pickin up on the culture were young Latin BBOYs. And with that came a new breed in BBOYS in the mid 70's there crews of either all african americans, and all Latinos, And there were also crews that were mixed with both. Soon this next generation of BBOYS started to take over. BBOYS like: POW WOW BEAVER ROB SPY SUNDANCE BOS JOJO (SPIDERMAN) TRAC 2

MONGO OFF VINNIE SPIVEY CADILAC MEL WEEBLE ROCK BLUE EYES JOEY and a young CRAZY LEGS and many more. and the there were crews like: ZULU KINGS CRAZY COMANDERS TDK SAL SOUL CREW 7DS TBB (The Bronx Boys) MASTA PLANS FANTASTIC FOUR ROCK STEADY and more. These crews were also mixed with both Latino and African American youth. And with these young Latinos came a new flava in the BBOY world. A more SALSA type of feel which was added on the already established BBOY style. Also More of the UPROCKING style was mixed with the BBOY style TOP ROCKING and while both styles of vertical dance have there own history and flava, there are similar steps used by BBOYS during this time period. And with both cousins comunities battling each other as well as dancing along side each other, some of the most inovated moves started to apear. moves like: THE BABY FREEZE THE CHAIR FREEZE SWIPES ONE SHOT HEAD SPINS/DRILLS TRACKS CC LONG FOOTWORK / THE 6 STEP THE 4 STEP BABY BRIDGES THE NECK MOVE and the BUT SPIN (which eventually led to the back spin) see who imvented these moves HIP HOP/FUNK STYLES DANCE BBOY MOVES HISTORY The dance thrived during the mid 70's but as the 70's started to come to an end, so did BBOYING withing the African American youth. More African american kids were picking up microphones and MCing, and buying DJ equiptment to do parties and start crews. BBOYS who turned to other elements of HIP HOP include: DJ KLARK KENT/SUPERMAN (Herculoids) GRAND MIXER DST (Zulu Nation/ Infinity Rappers) PHASE 2 (legendary Writer/ graffiti) DJ AFRIKA ISLAM (Zulu Nation/ Mayberry Crew) MC MELLE MEL (Grand Master fFash and the Furious Five MC's ALMIGHTY KG (Cold Crush 4 MC's) POW WOW (Zulu Nation/Soul Sonic Force MC'S) and many others. By 1979 the dance was concidered played out by most people in the BRONX. THE 80's "THE POWER MOVE ERA"

During the early 80's BREAKING was still concidered old, But there was still signs of it throughout NYC in other boroughs. A young BBOY named CRAZY LEGS from the Bronx moved closer to Manhattan and started taking trips there more often till he eventually met up with a BBOY named FROSTY FREEZE. FROSTY FREEZE introduced LEGS to allot of young BBOYS in the area of 98th street in Amsterdam in Manhattan. Legs immidiattly started to battle and dance with these young cats and eventaully recieved the blessings from the one of the leaders of ROCK STEADY CREW in the Bronx to start a chapter in Manhattan. So CRAZY LEGS began recruiting members from both Bronx and Manhattan like: KEN SWIFT FROSTY FREEZE RIP 7 TAKE ONE TY FLY LIL CRAZY LEGS MR FREEZE BUCK 4 (R.I.P.) KURIAKI (R.I.P.) DOZE KIPPY DEE /RASHAWN (R.I.P.) and boogie boys (New York's incorrect term for poppers) KING KIETH RAVI KIPPY DEE MR WIGGLES FABEL ELECTRIC COMANY CREW (from the bronx) Rock steady crew began traveling and battling crews all over the 5 Boroughs. Other young BBOY crews emerged and started competeing. Crews like: FLOORMASTERS (Bronx) DYNAMIC ROCKERS (Queens) INCREDIBLE BREAKERS (lower east side Manhattan) and many others RcokSteady crew went on to battle Dynamic Rockers at Lincoln Center in the early 80's which was filmed and made part of the famous HIP HOP documentary STYLE WARS. In tne 80's old moves were taken to new levels and made more complicated and added to the dance.: one shot drill HEAD SPINS became CONTINOUS TAP HEAD SPINS by KID FREEZE the BACK SPINS became CONTINOUS (windmills) by CRAZY LEGS TRAC 2's HAND STAND PIROETTE became 1990's by CRAZY LEGS SWIPES became NINJA FREEZE or AIR SWIPE by ICEY ICE The next generation of BBOYS took from different influences and started creating new styles. ROCK STEADY CREW, DYNAMIC ROCKERS, NEW YORK CITY BREAKERS, MAGNIFICENT FORCE, INCREDIBLE BREAKERS, were all on top of the game. some crews were featured in major movies and tours that helped proppel the dance all over the world WILD STYLE: featured ROCK STEADY FLASHDANCE: featured ROCK STEADY CREW BEAT STREET: featured ROCK STEADY CREW, NYC BREAKERS and MAGNIFICENT FORCE DELIVERY BOYS: featured INCREDIBLE BREAKERS, AND DYNAMIC ROCKERS Newcomers started comin up and bringing amazing moves to the table. Moves like AIR TRACKS, HEAD GLIDES, 2000's, FLARES, ICEY ICE KID FREEZE FLIP ROCK CHINO BRIAN KID FLOAT FLIP ROCK GERMAN TINY POWERFUL FREDDIE FRESH SIR SWIFT KNOWLEDGE ENDS HERE, HEHE, RAN OUT OF TIME. BE RIGHT BACK WITH MORE INFO SOON. PEACE

THIS IS STILL A WORK IN PROGRESS PLEASE FEEL FREE TO GIVE INPUT OR INFORMATION ON HIP HOP HISTORY