Corcoran College of Art + Design

Senior Thesis 2012

written and designed by: Derek Long

2 Introduction

3 80’s Breakdancing

21 21st Century Breakdancing

45 Jason Powell Interview

48 Niger Miles Interview

52 Bibliography

CONTENTS

1 Break Racism

Break Racism 2

Breakdancing carries a specific graphic design

language expressed in vinyl and CD albums,

advertisements, posters, and fashion. Since

the 1980s it transformed from a symbol of

rebellion to one of mainstream acceptance

and is now part of twenty-first century pop-

culture. “The 1980s saw an explosion in many

different kinds of music, which spawned some

very interesting and popular dances. With

new forms of music becoming mainstream,

like hip-hop, dance, electronic and Latin, the

dances that accompanied those sounds also

entered the pop culture landscape. Many of the

most popular dance forms still endure into the

21st century” (Koehler, eHow). This paper will

show the developments, both past and present,

of graphic design in the breakdancing and

hip-hop cultures. Through extensive research,

personal experiences, and scholarly research

the theme of “Race and Graphic Design” will

be explored through breakdancing.

Breakdancing, which is more commonly known

as “street dance” or “b-boying” grew as a part

of hip-hop culture among African Americans

and Latino youth groups in New York City. Not

only has breakdancing allowed dance artists to

express their talents, it has also become a form

of graphic art. Rebels in the movement wanted

to be on their own and not with other crews.

In the 1980s tension between the Latino and

African American gangs were often settled

through breakdancing.

INTRODUCTION

3 Break Racism

To its adherents, b-boying is a spiritual dis-

cipline much like martial arts. (Fig.1+2)

It exemplifies a cultural tradition in the form

of dance that visually portrays difficulty in

such moves. In its prime in the 1980s and

again in the 21st century, b-boying emerged

into the worldwide culture more prominently.

Through gymnastics, street dance, house music,

Broadway performance, aboriginal, jazz music

and capoeira, which is a Brazilian art form that

combines elements of martial arts and sports,

b-boying encompassed experimentation and

tradition. From the African American and Latino

youth groups of New York in the mid 1970s to

Europe, Asia, Japan and France breakdancing

became a worldwide phenomena.

In the 1980s the youthful population began to

break free from the traditions of fashion, music

trends, language or slang, and body posture.

Race, in particular, was relevant as there is a

dispute whether Latino or African American cul-

ture planted the seed of what we now know as

breakdancing. Since then, new movements; b-

boying, mc-ing, and graffiti arts appealed to the

younger generations, addressing the hardships

that some faced in their lives. Graffiti was pos-

sibly the most significant and expressionistic

art form of this younger generation. Graffiti, also

known as tagging or bombing, was portrayed

on metro trains, trucks and abandoned build-

ings. Taggers expressed their names; the term

king, was for individuals who have achieved the

highest recognition as the most prolific writer in

a particular area.

(Fig.1) Breakdance Movie Poster.

1984. 15”x32”

Break Racism 4

(Fig.2) Red Bull BC One. Times Square street show. 2009

“A significant issue in the ‘80s has been

the relationship between b-boy culture and

ethnicity. Clearly, ethnicity and its expres-

sion through culture are major themes of

most scholarly writing about hip-hop ... The

assumption of unbiased competition is the

basis of almost all b-boy philosophy; the idea

that such a competitive practice should favor

individuals of one ethnicity over another runs

directly counter to the ideals of the dance.”

- Joseph Schloss

5 Break Racism

An introduction to the practice of graffiti writing, for example, actually presents a series of yoga-like training exercises that students are expected to complete before even picking up a spray can...

One must learn how to use the entire body for painting. The painting stance has often been compared with fenc-ing. The body must be able to bend low, reach high, and make adjustments, all within the frame of its physical ability to do so.

- Joseph Schloss

Reactions may vary to such a broad statement,

yet the physical manifestations that were

involved with this practice, breakdancing more

so, were clearly identifiable from the perspec-

tive of tagging. Tagging conformed to the per-

sonalities of the individual or crew and exposed

cultural slangs and identities that were used

on multiple surfaces in the city. Most of society

at this time thought graffiti artists were African

American and Latino, mainly due to the rise

of hip-hop music and cheap fashion. B-boys

were pioneers, creating for themselves and

not for others.

“The industry is one thing, but the culture is

another and real recognizes real. We use to

just ride the train all day to see all the pieces,

out of this struggle, this concrete jungle. That

to me was like inspiration.”

(Style Wars, Disc 2)

Accompanying the new music and graffiti

came language and slang. Hip-hop was the

hub for this language, set apart from normal

words or accents. The slang of the 1980s was

innovative because it represented the identity

of younger teenage ethnic groups. Words such

as stoked, fresh, def, and radical were among

the many slang terms that were used during

this time. They defined many cultural aspects

Break Racism 6

7 Break Racism

Break Racism 8

“What was once performed at parties or

on the street appeared in commercials,

TV shows, and movies. By the mid-1980s

breaking had become a worldwide craze. [ The style to many was becoming over-

exposed.] Members of the media which

had once celebrated the dance, called

b-boying a fad.” - Wendy Garafoli

(Fig.3) Wild Style DVD Cover. 1983

of society during the ‘80s and are still com-

monly used today. Breakdancing, as a term, was

perceived as a disturbance by members of the

media; Above all, breakdancing was designed

not only for teenagers, but by teenagers.

B-boying, was the derivative term associated

with breakdancing and is commonly mistaken

and misinterpreted by the mainstream and

early breakdancers.

“B-boying, like most other aspects of hip-hop, is

often portrayed as being devoid of abstract

aesthetic principles. In the case of b-boying

specifically, this is partially due to its being

seen as a pop-culture fad of the ‘80s, partially

the result of social prejudice toward the African

American and Latino communities from which

the dance emerged, and partially due to

the way hip-hop tends to keep its aesthetic

principles to itself” (Schloss, Foundation). A

prime example can be seen in Fig.4, of a vinyl

record cover called Breakdance: The Best Music

for Breaking, compares how b-boys performed

in secret places, exemplified by the shadowy

b-boy figures along with the language they

spray painted on the brick wall in the center,

(Fig. 3) an example of real graffiti associated

with tagging and the hip-hop culture.

In time, images associated with graffiti and

the hip-hop industry emerged. The hairstyles,

headbands, jumpsuits, du-rags, sneakers, gold

chain necklaces, sunglasses, and mannerisms

of rappers and breakers (all denounced by

society) became the new social trend. “The

general statement that fashion is cyclical has

been proven time and time again as hairstyles

from the past have made their way back into

the mainstream.” (Like Totally 80s) Rap groups

such as Run DMC became a cornerstone to

‘80s fashion for any age group, including the

famous Addidas jumpsuits and sneakers, to the

Gazelles sunglasses. A song called “My Ad-

9 Break Racism

didas” which was created during the downfall

of the company during the eighties. It was an

enormously successful marketable scheme

that empowered Run DMC to become the first

rap group to promote fashion as the backbone

of their successful careers. As Rawle Harris

put it; “Whatever the rappers during that time

were wearing, we also would wear. Most of the

rappers were wearing sheltie Addidas sneakers

with the jump suit to match … The eyewear

was strictly Gazelles, DMC was wearing them

so why not us? … Had the fat laces to go with

all my outfits … Hair style was always waves

in the hair. We wore du-rags back then not for

fashion, but to keep our waves clean and fresh.”

(Harris, Like Totally 80s) In Fig. 5 this break-

dance album cover portrays the Break Machine

crew strike a pose in their Nike shoes, which

later became more famous after Run DMC

began the fashion. While the bright fluorescent

colors dominate the composition both digitally

and perspectively, the album successfully

resurrects the 80s jumpsuit, sneaker-wearing

fashion that has been so recognizable. In Fig.

6 photograph of a breakdancer also displays

the style that was so prominent during the

mid-1980s.

As the junction of language, clothing, hairstyle,

graffiti and breakdancing, was hip-hop. “They

are not hip-hop songs. They are the rock and

funk songs that b-boying’s originators danced

to in the half-decade between hip-hop’s

emergence as a sociocultural movement

around 1974 and the development of an

associated musical genre in 1979. For those

who see hip-hop as a wild, anarchic expres-

sion of youthful abandon, brutal materialism,

criminality, or even political change, this may

seem odd” (Schloss, Foundation). Although

in both scholarly writing and popular press,

hip-hop culture and its descendants were

received as a disruption of a tradition, one that

became sort of cultural scab over the wounds

of African American and Latino youth in New

York. “Through the nonverbal expressivity of the

body, breakdance brings the global and local

closer than we usually imagine. The centrality

(Fig.4) Arc-Music Vinyl Record Cover. 1984 (Fig.5) Break Machine: Break Dance Party.

Cd Album Cover. 1984

Break Racism 10

(Fig.6) Photographer Unknown. 1983. Photo of B-boy

(Fig.7) Magazine Spread. 1984. Vintage. 9”x12”

11 Break Racism

Break Racism 12

Through the nonverbal expressivity of the body, breakdance brings the global and local closer than we usually imagine…B-boying as a part of hip-hop culture along with the myriad styles in the popping and locking dance genres and the many derivative styles of dance that accompany today’s rap music, become the visible component to this rhythmic base aesthetic.

of the body in Afracanist aesthetics privileges“

structure of feeling” to use Raymond Williams’

terms, where the rhythm of hip-hop is made

visible literally through the muscles, apparent

not only in the improvising b-boy or b-girl, but

also in the emcee and deejay in his/her skilled

delivery. B-boying as a part of hip-hop culture

along with the myriad styles in the popping

and locking dance genres and the many de-

rivative styles of dance that accompany today’s

rap music, become the visible component to

this rhythmic base aesthetic” (Osumare 15).

The backbone of this rhythmic component is

to provide participants the power to redefine

themselves and their individualism, not only

by selective emphasis, but through the self-

expression of the present moment. This rhythm

can be clearly viewed in Figs. 3, 5 +7 the

gathering of participants lead the way into a

more expressive and powerful performance.

The combination of Latin percussions, which

included bongos, guitar riffs and horns along

with the mellow and steady beats of old school

artists such as James Brown and Jimmy Castor

Bunch allowed for alternatives for expres-

sive dance. Within hip-hop music and Latin

percussion the deejays formulated rhythm that

included breaks in between beats. It was from

here that b-boying arose.

Hip-hop music translated the rags to riches

lifestyle of the youth during the mid 1980s

and earlier. It wasn’t until the mid 1980s that

hip-hop coined a new cultural phenomenon.

In Fig.7, Hip-Hop, as a term and music genre

of the time can be seen in b-boying. This

magazine graphic is a strong representation of

hip-hop’s perception through music, clothing,

mannerisms, and human proportions. The

overall design lends itself to clean legible

typography and photographic dominance,

working in unison. “Although the concept of

hip-hop as popular music is commonplace now,

it was far from self-evident that such a thing

would emerge. It is often forgotten that hip-hop

existed in a culture and performance context

for at least five years (1974-1979) before it

became a genre of popular music. For many in

that era, the idea of hip-hop as a product was

literally unthinkable.” (Schloss, Foundation) In

(Fig. 8), the Jabbawockeez, who were the first

Americas best Dance Crew winners, show how

their one-of-kind fashion and position

as a crew brought them to be

the most recognizable b-boy

crew today. As hip-hop music

proceeded, the heritage behind the music was

revealed. “Back in the day, people in Hawaii

felt they had to act a certain way to be hip-hop.

The best example is that the kids [then] felt

they had to wear the Africa red, green and yel-

low medallions not even knowin’ what it stood

for. But now they wear kukui nuts [made into

leis] and show pride in their [own] heritage”

(Osumare 116).

13 Break Racism

Break Racism 14

“ Since the hip-hop club The Source opened, a city councilman did everything in his power to shut it down, even though it was something for kids of all ages to do and didn’t promote any negative things. It was just a place for the kids to come dance in a non-alcoholic, secured environment. But, because of his ‘image’ of what kids and dancing equals, he had it shut down. I would like to see more people opening their minds to the culture. Not judging the culture [hip-hop] when they don’t know the facts.”

- Halifu Osumare

15 Break Racism

Many young kids began to revolve around

the fashion and music trends of the 1980s,

a reminder of their origins. Latino B-boys

found it most important to hold their ground

on the floor rather than through fashion

and fancy clothing.

“Part of the power of b-boying is that it compli-

cates these questions; it has drawn its founda-

tional movements and concepts from African

American culture, the cultures of the English

and Spanish Caribbean, and Africa itself. B-

boying is truly a dance of the African diaspora.

Even the music that gave birth to the dance

is notable for its fusion of cultural elements

drawn from both African American and Latino

musical traditions, including Latin percussion

and song structure, African American melodic

and vocal techniques, and an overall aesthetic

that speaks to the struggles and aspirations of

urban youth of the early 1970s. The musical

soundtrack to b-boying is still primarily drawn

from recordings produced between 1969 and

1974, suggesting that this fusion-and the tradi-

tion it gave birth to is still highly valued almost

four decades later” (Schloss, Foundation).

Hip-hop music, fashion, spoken language,

personal image and heritage is the visual

language seen in posters, sneakers, graffiti

and more. A visual language is a system of

communication using visual elements.

In the 1980s breakdancing was in its prime

and what was being done on the streets and

in alleyways was more important than what

was being posted on billboards and inside

and outside trains. Graphics and typography

promoted breakdance culture worldwide. Vans

sneakers saw this new form of dance as a

profitable way to gain the trust and respect of

b-boys of the 1980s. (Fig.9) Mail outs were

sent to those who wore Vans sneakers, as well

as to those who knew nothing about break-

dancing. Vans consumers became known as

the elite. The Breaking Out typography hints

at the style of graffiti seen on brick walls, yet

is digitally placed on the mailout card. Within

the photograph Hispanics dominate the page,

(Fig.9) Vans Sneaker Mailouts. 1984(Fig.8) Jabbawockeez on Stage at Americas

Best Dance Crew. International event. 2010 MTV

Break Racism 16

(Fig.10) Vans Sneaker

17 Break Racism

performing breakdance moves. The headbands,

boombox, and street environment all represent

iconic elements of b-boying. The iconography

of breakdancers appeared in many of the ‘80s

photographs and designs. The boombox was

one of the most important symbols in 1980s

hip-hop culture. As Frannie Kelley wrote in an

online article for NPR music released in April

of 2009, “Before there were iPods, or even

CDs, and around the time cassettes let break

dancers move the party to a cardboard dance

floor on the sidewalk, there were boomboxes.

It’s been 20 years since the devices disap-

peared from the streets. It’s high time to press

rewind on this aspect of America’s musical

history” (Kelley NPR Music). As I became more

aware of the hip-hop culture in the mid 1990s,

I began to absorb all that was being done, and

purchased a boombox, baggy clothes and the

hip-hop music. Icons such as the boombox

removed the barriers which were used by

younger generations. They symbolized the

art of the music and the art of design through

their scale and personalization. Alongside the

boombox was the cardboard floor mats seen

in Fig. 3+10 of the Wild Style DVD cover. The

cardboard floor mat was used in the 1980s to

allow b-boys and b-girls to perform spins and

hand maneuvers without scratching their

bodies. They were usually soaped down to

allow for an increase in spin moves and slid-

ing. The cardboard floor mat is a symbol that

resonates with all breakdancers of the 1980s

and can be seen in many photographs such

as in (Fig.11).

From a typographic perspective, breakdanc-

ing posters and cd album covers referencing

hip-hop or graffiti have been overlooked. “The

advent of personal computers and computer

graphics in the 1980s led to block-like ma-

chine and computerized fonts” (Hewitt). Many

(Fig.11) Photo by Alyssa Rosenzweig. April 19, 2009. Christian Battling Brian in

breakdance showdown. Cardboard does not look terribly soft or forgiving

Break Racism 18

(Fig.12) Tiny Love popping in Union Square, NY

with boomboxes from his collection. 1980s

19 Break Racism

(Fig.13) Panasonic Magazine Ad. 1981-1985

Break Racism 20

forms of typography such as hand drawn,

stencil, graffiti, and sans serif type made their

way onto the poster, cd and vinyl record album

covers, sneakers, bandanas, jumpsuits and

more. Graffiti, in particular, combines craft

with 3-dimensional aspects that help pop the

signatures. Seen in Figs.14-16 the typographic

approaches derive from similar cultural back-

grounds, environments and fashion. These

titles reflect typography in the 1980s, most

especially during the era of the hip-hop culture

movement, dominated by cd album artwork.

Photographs often spoke louder than words

such as in Fig.16 which portrays the crew sur-

rounded by a collage of graffiti and photomon-

tages. In Figs.14+15 we can see that Helvetica

became the most popular typographic choice

in creating the final products. Fluorescent

color palettes dominated ‘80s design. During

the hip-hop movement, these bright colors

were eye-popping and exemplified the idea of

black lights. The most common colors during

the 1980s were blues, red, sexy pink, yellow, tan,

purple, white and black. Tan represented the

texture of the cardboard mats that break-

dancers performed on in the streets and in

clubs. The remaining colors were used in

striking designs that drew in audiences from a

distance. These colors were found in the most

mundane and unlikely places which, in return,

created controversy from the media and from

audiences abroad. The clothes were so bright

they tended to sting the eyes, which transferred

into the posters, cd albums, and wide ranges

of apparel. “Neon shades of purple and blue

tried to make an impact, but they couldn’t

hold a candle to their brighter counterparts,

pink, yellow and green. Eventually all forms of

neon faded and a more subdued color palette

emerged again.” (Like Totally 80s) In (Fig.17)

we can see how the collage of imagery, color

and multiple typefaces are integrated into one

design, breakdancing posters. The composition

of breakdancing posters, cd albums, DVD cov-

ers, sneakers and clothing combined shapes,

colors, graphic icons, and similar fashions that

spoke of the 80s graphic language. (Fig.18)

In this poster, three dominant figures (Lucinda

“ The 1980’s backgrounds often featured neon grids to give the appearance of high technology.”

- Andrew Hewitt

be seen from a distance. Most 1980s poster

designs lack texture except for that of the

cardboard textures.

Since I was born during the height of the

breakdancing phenomenon in the late

1980s, I was unable to see the movement in

action. Once the 21st century began, I was

at the edge of everything hip-hop, learning

dance moves, lyrics, personal stories and

struggles. Breakdancing has stronger

legs now than ever before. Even rural

communities established their own foun-

dations, meanings, and above all, unique

styles. Breakdancing has once again emerged,

in posters, fashion, televised ads, and exhibi-

Dickey, Adolfo Quinones, and Michael Cham-

bers) are set in motion in a crowded space.

Both the top figures overlap while the bottom

figure is firmly grounded to focus the viewer’s

attention to the credits on the bottom of the

poster. What is successful about this photo is

essentially the title, which is hand-crafted and,

to my eye, dominates the hierarchy. The geo-

metric shapes reflect Art Deco compositions of

the 1930s-1940s. Alongside the radical color

palettes, shapes, typography, and photographs

was the element of scale. The size of specific

graphic elements made a greater impact

than would normally be expected to see in

posters or cd albums. Larger elements worked

successfully for audiences because they could

21 Break Racism

Breakdancing, a hip-hop-inspired series of

dance moves that arose in the 1980s, con-

tinued to progress in the 21st century with

new moves and techniques. Specifically, cer-

tain forms of breakdancing that utilize ballet,

jazz and martial arts have taken root in cer-

tain urban areas, such as Austin, Texas. These

forms of breakdancing work with three basic

moves: the bear, the crab and the monkey.

These three moves provide the foundation

for the new wave of breakdancing

- Byrd McDaniel

Break Racism 22

23 Break Racism

tions. The collision of both rural and urban

communities have now produced a wild style

that continues to gain popularity in the most

unlikely of places. The seed has been planted

and has thus blossomed into a well-known,

well-defined culture.

Slang has flourished in the new wave of break-

dancing. Closely related to the evolution of

language and slang in the 1980s, many words

have remained and many have propagated,

including ill, sweet, ace, sick, punked and

totally. One major difference today is that slang

has now become a more common form of

spoken and graphical language. One thing has

remained constant, and that is breakdancing.

Today, slang is used more in t-shirt designs,

titles for cd albums, and campaign posters

promoting competitions and other b-boy events.

While carrying over into the graphic language,

both in the ‘80s and today, it can most firmly

be referenced to the graffiti tag names we see

daily. It is truly a manifestation of ‘80s culture

and has remained a backbone for many of

today’s graphic design media created for both

youthful and mid-age generations.

Breakdancers in the 21st century have a

multitude of different styles and forms. The

b-boy image which was once flashy jump-suits,

gold chains and headbands has now dissolved

and resurfaced with some changes. In Fig.20

(Fig.16) Typographic Styles. CD album covers

(Fig.14) Breakdance: Step by Step. Instruc-

tional DVD. 1989

(Fig.15) Typographic Styles. CD album covers

Break Racism 24

(Fig.17)

Breakdance the Movie:

Sensation 4. Musical / Drama.

The Rock Steady Crew,

Mr. Robot. 1984. 23” x 33”

25 Break Racism

(Fig.18) Breakdance the Movie. Poster.

Break Racism 26

an African American and Korean breakdancer

who are display their affection for the new

style. T-shirts, hoodies, jeans and cargo pants

have become the new fashion. Sneakers were

the most essential of b-boy gear, and that con-

tinues today. “So when we started breakdanc-

ing and b-boying then sneakers came into play

crazy because the ones that were comfortable

to dance in became standing gear for the

people and b-boys” (McDaniels). Sneakers

like the Nike breakdancing sneakers seen in

(Fig.22) were designed for performance, style

and comfort. Nike, Addidas, Vans and Puma

are long-term supporters of b-boys all around

the world. Their sneakers helped new and vet-

eran breakdancers evolve with unique power

moves and styles.

[For those who do not know what a

Fabergé-egg is, it is a term used to for any

one thousands of jeweled eggs made by the

House of Fabergé.] Hats became the new

headbands, dark clothes became the new

bright clothes, but attitudes remained the same.

Twenty-first century b-boying is more graceful

and less violent. Although it may appear that

an opposing crew member may want to fight,

it is all part of the performance. Typically you

will see a b-boy make gestures, such as smiles

and hands over the mouth, when punking an

opposing crew member. (Figs.23+24) Man-

nerisms within breakdancing, in particular,are

reflexive communication, which assumes that

various individuals have differing views of the

same reality and therefore may derive different

meanings from the same experience. This

simply means that the mannerisms seen on

and off the dance floor vary accordingly to the

experience or move performed by opposing

b-boys. These mannerisms give a sense of

pride and attitude. This has become a b-boy or

b-boy crews official battle ground attitude that

is very similar to the feuds that occurred in the

‘80s. It has become an addition to the peaceful

“ You know I’m pretty amazed that sneakers on the whole

have become that kind of Fabergé-Eggish of our culture” - Darryl McDaniels

27 Break Racism

solution fostered by breakdancing.

Hip-hop music made its debut in the early ‘80s

and blossomed into 21st century pop culture,

along with R&B and electronic music . With

emerging artists such as Lil Wayne, Chris Brown,

Skrillax, and more music genres have taken

on a more experimental form. “And, you know,

once hip-hop pops and it becomes mainstream,

what does a rap artist want to do to separate

himself from commercialism? He’s looking

for legitimacy! He’s looking for authentic”

(McDaniels). Hip-hop, in particular, has trans-

formed into a more individual and raw format,

although in its defense, hip-hop has become

the most successful music genre today. The

hip-hop industry includes many individuals

who express their struggles and aspirations

through musical poetry. Some songs are vul-

gar and abusive towards women, politics and

society. That has an impact on the youth of

today, through obscene gestures and language.

Hip-hop now is combined with electronic

dance music, allowing breakdancers to spin

themselves into moves never before seen by

the general public. Electronic dance music is a

form of mc-ing, where deejays of all races mix

different versions of music into one continuous

song, while still creating the breaks and sounds

from the early 1980s.

“While knowledge about many elements of

hip-hop – rap music, especially – is primar-(Fig.19) Planet B-boy: Breakdancing

Has Evolved. Poster. 27” x 40”. 2007

Break Racism 28

(Fig.20) Two Breakdancers of different

cultures exposing their new fashion style.

29 Break Racism

“ Breakdancing is more popular today than it was in the

1980s ... battles happen on a global scale, with competitions

taking place from Canada to Germany. Hip-hop dance, from

breaking to newer styles like krumping [body-shaking-style]

remains an important part of hip-hop culture”

-Wendy Garafoli

ily developed through television, radio, the

Internet and recordings, b-boying is almost

always learned through personal interaction”

(Schloss, Foundation)

The culture of b-boying began with two heri-

tages, African American and Latino, it has since

grown at an unprecedented scale. Since the

‘80s exclusivity, breakdancing has evolved into

a worldwide phenomena that has captured the

minds of rising talents. The Braun Battle of the

Year is an international competition that invites

b-boy crews from around the world to compete

against one another for the honor of being the

best. In (Fig.21) the graffiti style letterforms

are used along with the illustrative quality of

the figures and icons. These illustrative figures

reflects Mr. Robot of the Rock Steady Crew in

the 1984 Breakdance Sensations poster insert

(Fig. 17) This comparison of design elements

connects similar design styles that were once

used in the 1980s with current design practic-

es in poster design. B-boying is just one aspect

of hip-hop, accompanied with dj-ing, mc-ing,

and graffiti art. One of the many divides of

b-boying within the South Korean, Japanese,

French, American, African American and Latino

cultures is the disconnect between b-boys and

their parents. While b-boying is only mastered

through years of practice, it is also an inherent

skill. There is a type of universal anxiety expe-

rienced by parents. They are pressured on the

Break Racism 30

(Fig.21) BRAUN Battle of the Year.

Poster/Flyer. 2011. Designer unknown.

31 Break Racism

generational divides explored in interviews and

the topics of racism and class structure, which

in return is more directly absorbed by the b-

boys themselves, not only the parents. This, in

turn, could be the reason why b-boys practiced

in secret and had the attitudes they did. It was

not only from the vulgarities of hip-hop music,

but from the pressures of the parents and non-

supporters of this art form.

The 21st century still presents many negative

perceptions for b-boys. Competitions such as

the Braun Battle of the Year and Planet B-boy

documentary have exposed b-boying and

made it more universally accepted. “It is not

surprising that there is a cultural disconnect,

(Fig.22+23) Duel B-boy battle. Mannerisms. July 16, 2006. & March 1, 2011

Break Racism 32

but it is surprising where the disconnect comes

into play. B-boys from France and the U.S. are

easily distinguished, as are those from South

Korea and Japan. South Koreans, relatively

new to the game, compensate with hard work

and intensity. The Japanese are noted for

innovation, the French for artistry, and the

Americans for their aggressiveness during

dance battles. Although each culture places

a new spin on their spins, the overall art is

universal across the world” (Kabir). Koreans

showing their experimental moves that defy

gravity itself in conjunction with their love of

‘80s b-boy traditional style.

In the 21st century, design in breakdancing

has been reborn. The imagery, compositional

layouts, photography, color and typography

have revived this creative art form, especially

in the 21st century. As breakdance was viewed

as its own creative art form. In Figs. 22+23 the

photographs make a distinct presentation on

the expressions of fellow b-boys. Photographs

became a viral and universal element in

furthering the b-boy lifestyle and more amaz-

ingly, the freezes and difficulty in moves they

performed. Photographs also acted as a kind

of secret floor plan for other b-boy enthusiasts

to study and dissect. (Fig.24) Photographs

provide visual anchors that inspire and justify

b-boys around the globe. On the parallel of

(Fig.24) London newspaper article.

Photograph. 2011

33 Break Racism

(Fig.25) MTV Ad. 2010. Jabbawockeez

photographs are the prominent attributes of

video and digital components. Video applies

itself more exclusively with breakdancing

because it provides documented footage of

competitions and individual performances

held globally. With technology advancing,

videos can now be taken from mobile phones

and high quality digital cameras. In this

documented stage, breakdancing can and has

been dissected thoroughly and motivated and

inspirated current and aspired b-boys.

With the help of photography and video, elec-

tronic devices used by b-boys promoted iconic

symbolism. Icons such as the cardboard mats,

the boombox, and fashion including sneakers,

has defined the imagery. The ‘80s provided

some of the brightest and most colorful times

in history with breakdancing, but the 21st cen-

tury spun away from jumpsuit uniformity and

into a personalized mode of fashion and color

. Some speculate that the ‘80s fluorescent

fashion has been making a gradual comeback.

In Fig. 25 the Jabbawockeez crew performs at

MTVs America’s Best Dance Crew season finale

after they won it in 2007. They are a crew who

continue to use the recognizable icons such

as the boombox. The boombox has been used

more commonly in 21st century breakdance

design for its reference to early b-boy culture.

Furthermore, the cardboard mats used since

the early ‘80s continue to be used in perfor-

mances. The cardboard mat is a symbol that

projects onto every b-boy and b-girl who began

on the streets. The cardboard mat would

protect the breakdancer from getting scratched

from the rough pavement underneath.

Sneakers continue to express personality in

the b-boy community and are used by b-boys

when performing, as they provided comfort and

stability. Fig. 26 show the Nike Triumph Break-

Break Racism 34

(Fig.26) Shoebacca website. Nike Air

Triumph Breakdancing sneaker.

35 Break Racism

dance sneaker still being sold today. The colors

remain fluorescent, as in the ‘80s yet still have

a interesting visual appeal. In contrast with the

Vans sneakers, (Fig. 9) the Nike sneaker has

bright colors and high-top comfortable design.

Sneakers are complemented by matching

headgear and clothes, still commonly used

in places such as Americas Best Dance Crew,

(Fig.27) The idea of uniformity began to die

off when competitions like Braun and Red Bull

BC One were introduced. B-boys live in the

moment, perform to entertain and do it for

respect, the best gift one can receive. “Being

professional. What does that mean for you?

Getting paid for what you do. Having your own

style. Doing your own moves. Don’t let nobody

else bite. Knowing what your doing. Be the best”

(Style Wars).

Typography in the 21st century reflects a transi-

tion made technologically, methodically, and

personally. Typography includes hand drawn,

graffiti, stencil, serif and sans serif, and grunge

styles that are applied to similar environments.

The computer effected on the quality and

speed in which designs are made. Three-

dimensional type has been making major leaps

in design, seen in magazine ads, posters, shoes,

televised ads, motion, digital and more. Cey

Adams’ recent design of Looking at Music 3.0

in combination with Team Evolution cd album

cover, three-dimensional type became an

effective style in promoting b-boys, hip-hip and

(Fig.27) Americas Best Dance Crew. Season

Finale. 2010. Jabbawockeez Crew.

(Fig.28) Team Evolution. CD Album Cover. 2008

Break Racism 36

dance communities. It brings hierarchy to the

designs without making them overly complex.

Sans serif and serif typefaces continue in b-boy

designs from the ‘80s. The grunge typography

style is one that involves the subtraction of

pieces or the addition of digital brushes to cre-

ate a rough effect. This style reflects graffiti on

brick or cement textures. It provides the rough

edge to designs and brings street life or rugged

terrain environments into the design. Graffiti

in 21st century b-boy designs like cd albums

or posters has transferred into a digital realm.

This new digital form cleans up and makes

graffiti more crisp and legible for viewers.

Typography in 21st century breakdance de-

signs continues to be dominated by ‘80s style.

(Fig.29) Cey Adams. Looking At Music 3.0,

2011. Poster. Wall Graphic

37 Break Racism

Break Racism 38

39 Break Racism

Color has become an infectious element

in designs of the ‘80s and the 21st century.

Fluorescence in the ‘80s hip-hop communities

was extravagant. In current designs, color

lures us in. Cey Adams in Looking at Music 3.0

(Fig. 29) portrays diverse colors that create a

soothing feel to the overall design. Color now,

vibrates more, is cleaner and less muddled

(Figs. 30 + 31). Color is exemplified on a vari-

ety of different levels. They are clearly different

in saturation and boldness which visually flips

our perceptions upside down.

The composition of a design relies on the

audience’s reactions to shapes, the size of

the elements, textures and the hierarchy of a

message or element. While the combination

can be overwhelming, they remain vital to

design aesthetics. Is the message or graphic

relevant in the present? Are the shapes used

more for playful or informational purposes? Is

the overall composition visually pleasing to the

eye and is that the only thing you’re interested

in? Does the message, if any, speak to you on

a personal level? Asking these questions will

help clarify and determine your perceptions of

graphic design media and language. Some

may reflect aspects of your own experiences

in both eras, resulting in and explains to the

positivity of breakdancing.

(Fig. 32), although created digitally, reflects

the history of breakdancing from the ‘80s into

the 21st century referencing spray paint and

texture. The blue is vibrant and fun which

reflects both the ‘80s and 21st century color

palettes. The message within the silhouette

of the figure takes more than one view. The

photograph reflects the secrecy of graffiti artists

today. In (Fig.33), the web ad is an effective

digital design full of color, shapes, textures,

photographs and communication. I Got Strings

(Fig.32) Photo manipulation. Digital Graphic.

2011. Photoshop

(Fig.30) Americas Best Dance Crew. Banners (Fig.31) Poster. Positively Cool. Uknown Artist

(Fig.33) Web Ad. 2007. I Got Strings

To Hold Me Down. Designer N/A

Break Racism 40

41 Break Racism

(Fig.34) AIGA. 50 Greatest Hip-Hop Artists Breakdance Box. 2003. VH1

Productions. New York, New York.

Break Racism 42

To Hold Me Down is an interesting graphic that

incorporates many different, yet successful, ele-

ments. The photographs relate to the message

of the design. The B-boy seems to be in a firm

freeze, yet is not exactly standing on anything.

Even so, a b-boy is known for his acrobatic

moves in the air and creates an interesting

viewpoint. The hierarchy in the shapes behind

the b-boy and the large hand are distracting

due to their size. In regards to their white color

they seem to act as a stage light projecting be-

hind the b-boy. In (Fig. 34) AIGA’s 50 Greatest

Hip-Hop Artists Breakdance Box is among the

most successful b-boy design packages I have

seen. It combines all essential b-boy elements

such as the boombox graphic printed onto the

cardboard material, reflective of the cardboard

mats used in the ‘80s and today. The variety

of old-school and new school hip-hop beats

accompanied with stickers and flyers help to

take the old school b-boys and b-girls, as well

as new enthusiasts, back to the success of the

breakdance culture. Education, history, and

creativity prove to be the dominant aspects of

this package and show the diversity of graphic

43 Break Racism

design in breakdancing in the 21st century.

In the 1980s breakdancing was performed by

African Americans and Latinos; today it has re-

emerged as a universally inclusive art. The ‘80s

displays of fluorescent colors, wild style graffiti,

and unique fashions, were reflected in many

design media. In the 21st century breakdance

design vocabulary includes digitally generated

three-dimensional lettering and graffiti, a

diverse color palette and a reliance on modern

technology for printing and video. This fusion

of breakdance and design has exploded glob-

ally into an aesthetic that combines tradition

with cultural diversity.

The ‘80s and the 21st century proved to be

unique time periods for experimenting, with

many diverse styles of breakdancing. Both time

periods reflect racial acceptance in different

ways, the traditions, originality in moves and

talent became the most notable attributes

of b-boys. Design in breakdancing started

small in the ‘80s, and has now grown on an

unprecedented scale. Breakdancing is a form

of creative art that invites people of all ethnici-

ties to challenge themselves. I see graphic

design working in the same context as the

dance itself. Graphic design in breakdancing

continues to evolve. Where it ends up is up to

the creativity of the designers and breakdanc-

Break Racism 44

45 Break Racism

DL:

The 1980s was a transformative time for breakdancing, when it went from small localized groups to recognition by the larger culture. Its

growth was accompanied by visual identifiers such as graffiti, mc-ing, dj-ing, and b-boying. Do you feel graphic design was influenced by

breakdancing during the 1980s? If so, how?

JP:

Thinking about the stylistic aspects of modern graphic design—rather than its utilitarian, organizational functions—I, of course, think it can be

influenced and informed by anything and everything in the culture which surrounds us all. I’m reminded of an old expression about how fish

don’t realize they’re in water, but I think many designers—well, the really good ones, anyway—are hyper-observant of the world around them, from

the kerning on a packet of sugar in a restaurant to the infinite colors of a sunset. And designers can certainly draw inspiration from anything they

may come across, from an Albrecht Dürer engraving to a photocopied punk rock concert flyer from the 1970s. Designers then create projects

which go out into the world to become a part of the larger visual atmosphere, potentially influencing other designers, and the cycle continues

unabated.

To answer your question, I don’t think capital-G, capital-D Graphic Design, as a whole, was influenced by breakdancing in the 1980s. Many of

the design elements that are commonly thought of as iconic signifiers of the B-boy culture were not created in response to breakdancing, but

happened organically at the same time, from the party flyers of Buddy “The Flyer King” Esquire and Phase 2, to Eric Haze’s classic logos for Public

Enemy and EPMD, and Dr. Revolt’s Yo! MTV Raps logo. As breakdancing gained popularity in the larger pop culture landscape in the 1980s, large

corporations began to notice, and attempted to incorporate or, more accurately, co-opt these designs to stay relevant to the times, capture the

booming youth market, and consequently increase their own bottom line.

DL:

Breakdancing had a resurgence in the last 15 years. What changes have you seen in the visual languages associated with the break-

dancing culture during this period compared to the early 1980s? Has the revival led to new influences on graphic design? If so, can you

describe some of these changes or influences? If not, why?

JP:

In my experience, breakdancing has almost always been having a “resurgence” in one form or another, to the point where it’s never really gone

away. But to answer your question, the period stretching from the 1990s to the 2000s saw breakdancing partially adopted by the rave/jungle/

drum ‘n’ bass electronic music subculture. These (and countless other closely related) dance music subgenres all share music that eschews the

repetitive, 4/4 staccato rhythm of house music for the fluid poly-rhythms of break beats, and what better form of locomotion than breakdancing

Jason Powell

INTERVIEW

Break Racism 46

to accompany this music, whether performing manic footwork to the 140+BPM high-end, or popping and locking to the ultra-deep basslines,

which are often at exactly one half of the main tempo?

As a result of this perhaps unlikely union, the imagery associated with breakdancing got a visual remix of sorts, dropping outdated signifiers like

cardboard mats and boom boxes and picking up things from the flyers and posters of its new scene like sans serif typography and sophisticated

Photoshop collages. Break-dancing once again looked like something from the future.

However, I feel like a lot of the more recent images I see that employ breakdancing or B-boy imagery are using it to invoke a retro vibe or to serve

as a visual badge of authenticity or “realness”. This seems lazy and insincere, like the graphic design equivalent of stonewashed jeans, or t-shirts

with pre-distressed images silkscreened onto them. The Braun “Battle of the Year” poster you used in your example looks fairly clean and modern

at first, but on second glance the sans serif typeface is one that’s been digitally distressed, the contemporary illustration style is undercut by the

inclusion of an antique boombox, and the wildstyle graffiti piece is unceremoniously stuck in the middle of the composition, where it sits isolated

and unrelated to any of the other design elements surrounding it.

DL:

Many artists during the 1980s, including Break Machine, used fluorescent colors in their album artwork. Why do you think using fluores-

cent colors became so popular in the 1980s among breakdancers and hip-hop artists? Why do you think it is no longer used in designs

for the breakdancing community?

JP:

The Break Machine album cover you cite doesn’t contain any fluorescent colors, but rather the primary red and yellow and secondary green

of the Pan-African movement. If this color palette is representing anything it’s more likely the group’s racial heritage and pride, rather than any

strong ties to the breakdancing community, as they are widely regard as a novelty act at best.

And fluorescent colors weren’t a signifier of only breakdancing culture in the 1980s, but were widely prevalent across much of the culture of the

time. To name just a few examples: Patrick Nagel’s album cover for British pop group Duran Duran’s 1982 album Rio, the matching outfits of R‘n’B

crossover group The Jets, The day-glo fashions of skateboarding’s first renaissance as best exemplified by the poster boys of the Bones Brigade,

and of course the television series Miami Vice, with its retro-deco logo and the hugely influential wardrobe worn by Don Johnson.

When I think of fluorescent colors and breakdancing, I actually look a bit further back, to the late 1970s and the proto-break dance troupe known

as The Lockers. Their striped, polka-dotted, wildly colorful outfits—think a cross between early 1920s golfing attire and the Munchkins—served to

draw viewers’ eyes to every part of their body, all of which were almost constantly in motion in their pioneering dance routines.

DL:

There continues to be debate over the relative influence of African Americans and Latinos in the early history of breakdancing. How do

you feel these two groups influenced breakdancing? Do you feel these communities had an affect on the development of the visual

languages associated with breakdancing? If so, how?

JP:

I’m not familiar with the debate you mention, and in my mind breakdancing was wholly a creation of the Black and Latino (and certainly other

ethnic) youth in New York’s ghettoes, drawing on the musical and cultural influences of Africa, Jamaica, Puerto Rico, and more (see: disco, Kraft-

werk, Giorgio Moroder, kung fu film choreography, etc) to create a wholly new cultural form out of diverse elements—a true symbol of America as

a melting pot.

47 Break Racism

DL:

In conjunction with design, clothing and iconography, such as headbands, boomboxes, and cardboard mats, have defined the ‘80s style

of b-boying. Is it possible that fashion of this time affected the language of graphic design?

JP:

I think the breakdancing fashion of the time affected fashion rather than graphic design. Headbands, wristbands, bandanas, “parachute” pants,

sleeveless shirts, mesh, grommets, painters’ caps, multiple watches, studded belts, etc all found their way into the mainstream look of 1980s ap-

parel in a very short period of time.

DL:

The 2009 Red Bull BC One Poster uses a combination of stencil lettering and photo collage. Does this poster successfully represent the

contemporary design language of breakdancing? If so, what particular elements of this poster are the most important and why? If not,

why?

JP:

When I look at this poster design it feels very similar to the Braun “Battle of the Year” poster mentioned above: very corporate and not in any way

innately connected to the vibrant youth culture it’s trying desperately to commodify. Again, the inclusion of the boombox and the cardboard

mat speak in no way to contemporary breakdancing iconography. It’s akin to including a ‘57 Chevy and a “greaser” jacket in a flyer promoting a

contemporary rock ‘n’ roll concert. The use of the stenciled font (not that it is just that—a font, and not stenciled by hand) the spray-paint spatters

and drips (no doubt obtained from a free downloadable vector pack with a single Google search), and the wildstyle arrow circling the dancer

suggest the designer is ripping off, or “biting” the 2005 iPod commercial featuring Eminem (the producers of which were sued for basing it largely

on a commercial for the Lugz Arrow shoe from two years prior).

Something like the promotional artwork for the 2012 Breakin’ Convention in London feels a bit more modern in execution, with its posterized line

art, halftone dots, and tightly tracked Helvetica, though the imagery on the festival website once again falls back on paint spatters.

DL:

Graffiti style lettering was commonly used in 1980s breakdancing related designs. Should these forms of typography continue to be used

in 21st century breakdancing design? If so, why? Is the relationship between graffiti and breakdancing still relevant or appropriate?

JP:

Graffiti style lettering, burners, tags, and murals are still vibrant, beautiful, and contemporary, as a visit to New York’s Five Pointz or Los Angeles’s

Venice Beach Graffiti Pit can easily attest. However, I think graffiti has grown a great deal as an art form, to the point that it is no longer thought

of in conjunction with breakdancing and the other elements of hip hop. Breaking may have further to go, as many still see it as a relic of the

past rather than a vital, living art form. But with new musical genres such as dubstep engaging new generations of dancers (Marquese Scott

springs to mind, who rose to fame via a viral video dancing to “Pumped Up Kicks” by MGMT), with beats that dovetail seamlessly with the physical

language of breaking, it seems like it’s not going anywhere. Perhaps a new generation of graphic designers can adapt the visual language of

breakdancing to keep pace with its ever-evolving identity.

Break Racism 48

NIGER MILESINTERVIEWDL:

The 1980s was a transformative time for breakdancing, when it went from small localized groups to recognition by the larger culture. Its

growth was accompanied by visual identifiers such as graffiti, mc-ing, dj-ing, and b-boying. Do you feel graphic design was influenced by

breakdancing during the 1980s? If so, how?

NM:

I wouldn’t necessarily say that the art of breakdancing itself had an influence on graphic design, but the culture surrounding breakdancing has

had an enormous influence on graphic design, as well as the other creative disciplines and the culture at large.

Hip Hop culture in general, as a platform for communication has permeated society and commerce on a global level. If we were to take a

critical look at the primary arts that we associate with hip hop, and break them down to their essence I think that we would start to see a com-

monality that can absolutely be seen in graphic design all over the place, today and for the past few decades. DJ’ing, graffiti, breakdancing, and

mc’ing all share the same element of freestyling. That is to say that they all aim to deviate from some sort of traditional structure in an attempt to

communicate something in a pure expressionistic way. Graffiti is essentially expressive typography, without the cumbersome traditional limitations

of x height, line weight, baselines, proper ascenders etc. Although all of those things are present, it is the artist’s objective to deviate from that in

some way. Mc’ing is the same thing but with words and poetry. These aren’t sonnets or haikus. Dj’ing also does this and so does breakdancing.

But more important than that is the direct correlation between hip hop culture and under served communities, who may not have had a voice

prior to its birth.

Hip hop started in the Bronx. It’s not like jazz where you can argue that it started in Tennessee or New Orleans, or with punk where some would

have you believe it began in London UK, others may tell you Germany, others say right here in the States. The environment in which hip hop

started has never been up for debate. The environment being an underdeveloped urban area of New York City. This is important, because the

scenery, the materials, the colors, the architecture have are all reflected in that “urban” aesthetic that is so present graphic design today. How

many corporations run ads with some “ethnic” kids bopping around in front of a brick wall listening to watered down, radio friendly rap music,

before they sell us fast food, car insurance, or a cell phone? Maybe there are graffiti like arrows streaming out of their phone or something. (Thank

you After Effects!) It’s everywhere. I can’t even count how many commercials I see, where people are just gratuitously breakdancing! And then

they sell me beer after that. It’s funny, but it speaks volumes. Creative firms like Gomedia and We Work for Them sell vector sets of silhouette break-

ers, spraycans, tape decks and graffiti arrows. This way we can tell our clients “Yes, I can totally give you that urban edge, because I know that

your marketing research indicates that your audience wants to feel like they live in New York City in 1985!” It’s a fucking win win!

Basically, the way it works is that the socio-economic and political climate of any given area affects the people of that area, and this is the mo-

49 Break Racism

ment when culture is born. This culture then produces something. That something being whatever platform the culture uses to exercise its voice.

That voice is then heard and interpreted in any number of ways. Once commerce is introduced in to the mix, something interesting happens. In

order for the individuals involved in commerce to sell anything back to the culture, they need to on some level, at least give the impression that

they have an understanding of the culture that they are selling to. Otherwise their business will ultimately fail. Incidentally on some larger level,

this just contributes to the same cycle I previously described. Businesses fail- jobs are lost–people get angry–the angry sentiment fuels creation of

platforms to exercise voice. Then it happens all over again, except each iteration may be slightly different. It happens every decade or so. –– But

this, perhaps, is a discussion for another venue. The point being, that this is where graphic design, and other forms of communication come in to

play. When a culture’s voice gets loud enough, it will inevitably be reflected in the communication arts because the economy depends on it.

DL:

Breakdancing had a resurgence in the last 15 years. What changes have you seen in the visual languages associated with the break-

dancing culture during this period compared to the early 1980s? Has the revival led to new influences on graphic design? If so, can you

describe some of these changes or influences? If not, why not?

NM:

I think that the visual language associated with breakdancing culture has become more harmonious with other sub / counter-cultures that have

existed around popular music and popular culture in general. I live in NY, so I see kids breakdancing all the time, at Union Sq or 59th and 5th or

wherever. And I also see a lot more kids on the train just popping and locking, by themselves, looking at their reflection in the window (which I

find absolutely hilarious). One of the things I have observed, is how this cross pollination can be seen in their fashions. Which is has been slowly

developing since breakdancing / hip-hop cultures inception. The video for Walk This Way by Aerosmith was a pivotal moment, as rap culture and

rock culture converged. Then later in the 90’s came The Judgement Night soundtrack. It started to be cool to like both hip-hop and rock or metal.

Two cultures that were previously segregated. Now that rock and hip-hop have reached mainstream status and are essentially both, pop music,

we can see those styles coming together. This is evident in graphic design. The DIY hand-made design aesthetic is back. (I want to get back to

you on this question with some examples, but I gotta run right now)

DL:

Many artists during the 1980s, including Break Machine, used fluorescent colors in their album artwork. Why do you think using fluores-

cent colors became so popular in the 1980s among breakdancers and hip-hop artists? Why do you think it is no longer used in designs

for the breakdancing community?

NM:

I think that the bright colors, again, stemmed from an under served communities’ need for their voice to be heard and to create a contrast with

their surroundings. And one way of doing that, as I mentioned earlier is to deviate from traditional structure, or conventional use. Colors in the

eighties were generally kind of drab. Particularly in NYC, (which was a mess back then) the colors of the environment itself were anything but

vibrant. We’re in the Bronx, and Harlem, areas of Brooklyn. These were areas that at that time were extremely under-developed and as a result, left

the culture, or the people feeling marginalized. So the landscape was drab. Grey concrete, busted silver fences, the brownish grey of uncollected

trash, dark red bricks and abandoned buildings. Every piece of electronic equipment was black, grey or beige. In the work place people were

wearing a lot of navy blue and maroon. So naturally any one seeking to be heard may gravitate towards brighter, more fluorescent colors.

If we look back through history, particularly at poster design from various revolutions around the world we see the same thing. Bright contrast-

ing colors with bold typography. You will see a lot of bright reds and yellows. Then you have the propaganda posters which countered that. –Of

a whole other discussion. But I’m fairly certain that if the printing technology existed you would have seen fluorescent colors as well. We didn’t

Break Racism 50

always have the ability to produce such bright colors. We didn’t have PMS 172 and 186 (two of my personal favorites) 8 and 16 bit per channel

colors that can sear ones eyeballs when juxtaposed against a complimentary color. We see the same thing with punk posters from that ‘80s.

They were always lots of black and white often times with extremely bright neon greens or blues yellows and pinks. Neon colors was also HUGE

in rock & roll from the ‘80s, which spilled into popular culture even earlier. And the results of that were everywhere, workout tapes, television shows,

advertising. But basically loud colors communicate “SHUT UP AND LISTEN TO US!”.

I think, and this is just my own personal theory, that we may no longer see the fluorescent colors as much these days, because the need for that

voice to be heard is not as strong. Since the culture of hip hop has become synonymous with mainstream popular culture and a sought after

aesthetic for commercial use, the urgency that was such a defining characteristic at its birth, is no longer relevant. The movement passed. The

communities’ voice was heard. It’s no longer necessary to shout so loudly because the message was received. What was done with message

and it’s nuanced interpretation across the masses, is an entirely different story. –But the evidence is all over the streets, on billboards, in depart-

ment store and specialty boutique shelves and on television. By the way, the second the message actually reaches television is a monumental

milestone for any cultural activity, if for nothing else, because of the sheer cost of televising anything. Have you ever seen GO-GO music on any

major network? I haven’t. The majority of the world has never even heard of go-go. And if I didn’t spend 4 years in DC, I probably wouldn’t have

either. Hip-hop, however is what most of the world thinks of now, when some one says; USA.

DL:

There continues to be debate over the relative influence of African Americans and Latinos in the early history of breakdancing. How do

you feel these two groups influenced breakdancing? Do you feel these communities had an affect on the development of the visual

languages associated with breakdancing? If so, how?

NM:

I don’t see why there is any debate. Everybody knows that hip hop culture came from Black and Latino communities in New York. When you go

to Europe and Latin America and other places around the world they openly refer to it as “Black Music.” I went to a club in Hamburg, and the

African dude outside was like “BLACK MUSIC, NO COVER, NO COVER!”. I looked at my German girlfriend at the time and was like “Did he just say

black music?!” She was like (without an ounce of reservation or prejudice,) “Yeah that’s what we call it!” Then we went inside and I found out

where all the Black people in Germany were hiding. In Brazil it’s the same thing. In the US, Latinos often get grouped in with Black people for

reasons that are beyond the scope of this interview, (and I’m intentionally staying away from the term “African American”, because emigrated

peoples from the West Indies and Africa are also lumped into this group) but for all intents and purposes let’s say that the term Black Music

includes Latinos as well. I think that debate is ironically more prevalent here in the States because perhaps we’re too close to it. And more impor-

tantly there is so much history that makes for a much more inflammatory discourse than what might occur overseas. Did I answer the question?

Wait–no I didn’t. Okay, so basically YES these two groups absolutely influenced breakdancing, and subsequently the visual language associated

with it, because they were the main constituents of the culture that produced breakdancing. Okay there were a couple White people in the hip

hop scene back then. But literally a couple. Blondie…. Give me a call if you can think of another.

DL:

In conjunction with design, clothing and iconography, such as headbands, boomboxes, and cardboard mats, have defined the ‘80s style

of b-boying. Is it possible that fashion of this time affected the language of graphic design?

NM:

I think that fashion is just another means of expression and goes hand in hand with all the others created by a culture. So sure it affected the

graphic language. We see those same bold colors, typography and general irreverence. But it’s also based on function as all design is. Breakers

51 Break Racism

wore and continue to wear headbands, trackpants and sneakers because breaking is an athletic activity. But the colors chosen and the way

they were worn speak to their particular time and culture. The same thing goes for the mc’s, writers, and dj’s. Gold belt buckles in the shape of

your name in a slab serif typeface! What else screams “LISTEN TO ME,” so loudly! Oh wait– Gold Teeth with your name engraved in them.

PUBLIC ENEMY’S FLAVA FLAV FLOSSING HIS GOLD FRONTS (notice bright primary colors on Flav’s hat and shirt ;)

DL:

The 2009 Red Bull BC One Poster uses a combination of stencil lettering and photo collage. Does this poster successfully represent the

contemporary design language of breakdancing? If so, what particular elements of this poster are the most important and why? If not,

why?

NM:

do think that this poster represents the contemporary language of breakdancing. At least when critiqued in its most commercial use. It’s a good

example of what can happen over time when counter-culture becomes popular culture. As I was saying earlier the voice of these communities

was heard throughout mainstream popular culture. Over time this can cause the message to be diluted. Once it’s diluted it’s no longer about

the message as much as it becomes more about homage. The emotion that was infused in this message is gone and what we are left with are

symbolic representations of what once was. What we see here are all of the symbols of the culture. New York City, a boom box, a subway train, a

breaker, with those graffiti like arrows streaming around everything. Then we have those stencil letters. Now those stencil letters weren’t really hap-

pening in the “b-boy” era. In street art in general yes, but they weren’t specific to that particular culture. But since they are used on the street, in

conjunction with spray paint, they get lumped in and the younger audience accepts it. Because honestly it’s really about the younger audience.

It’s the demographic with disposable income, that a lot of these companies try to reach. I grew up in the eighties and I haven’t paid for a record

since 1997. I became a designer because I realized that I could put my artwork all over the place and get paid for it, as opposed to getting

arrested. So you’re not gonna get me to drink Redbull by making a collage with a bunch of elements that represent what I saw in my youth. How-

ever if they concerned themselves more with capturing that feeling and emotion, they could probably ditch half of those elements and make a

clearer more powerful design. Then I might buy a can of Redbull, even though I think it’s good with vodka but otherwise kind of disgusting. This

can be a problem with collage in general. It’s real easy to put a bunch of things on top of each other but it takes more focused research and

consideration to re-create an emotional climate specific to a time and place.

I hope this isn’t your poster by the way, if it is, consider this constructive criticism. As I mentioned I’m no longer part of the audience this poster

aims to reach so my opinion isn’t necessarily relevant, where it’s effectiveness is concerned. I’m not saying the design sucks, but it could definitely

be stronger.

DL:

Graffiti style lettering was commonly used in 1980s breakdancing related designs. Should these forms of typography continue to be used

in 21st century breakdancing design? If so, why? Is the relationship between graffiti and breakdancing still relevant or appropriate?

NM:

I think the relationship between graffiti lettering and breakdancing is still pertinent. They are inextricably linked really. They have the very same

roots. That being said I think it would be refreshing to see them progress because that look has gotten a little stale. I wouldn’t be surprised if they

started offering a hip hop dance course at Julliard some time in the next 10 or 20 years. If that were to happen, it wouldn’t be too far out of the

realm of reality to expect to see elements of breakdancing on the stages of Lincoln Center. How would that advertisement look? Would they still

be using classical typefaces like Swiss Thin, and Futura on top of an image of a fresh new talent doing a windmill? Maybe. I think that would

pretty cool. Likewise graffiti lettering could be used 20 yrs from now to sell people of my generation wine! I’ll be 51 yrs old opening up a bottle

merlot aged since 1980 with the winery’s name in graffiti letters. Who knows?!

Break Racism 52

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