Hiphop Magazin2

7/31/2019 Hiphop Magazin2

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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 iwill 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

1 FIRST HIP HOP DJ CLIVE"KOOL HERC"CAMPELLBORN IN JAMAICA THEN MIGRATED TO THE BRONX, IT WASIN JAMAICA WHERE HERC LEARNED ABOUT THE DJCULTURE "TOAST"(where they would compete to see who'ssystem was the loudest)AND APLIED IT IN NYC.HERC PIONEERED THE BREAK BEAT MOVEMENT BY MIXINGSHORT PERCUSION BREAKS WITH 2 TURNTABLES TOEXTEND THE BREAKS FOR THE PEOPLE AND THE BBOYS TOGET DOWN.

2 THE NAME HIP HOP WAS FIRST USED AS THE NAME OF OUR CULTURE BYAFRICA BAMBATTA BACK IN THE EARLY 80'S....BEFORE THAT THE WORD HIP HOP WAS A PHRASE THATMC'S SAID ON THE MIC.

3 FIRST DJ TO SCRATCH DJ GRAND WIZARD THEODORE I 1975 AT AGE THIRTEEN4 FIRST DJ TO BACK SPIN

AND NEEDLE DROP DJ GRAND WIZARD THEODORE5 THE BEST SOUND SYSTEM KOOL HERC WAS ALSO KNOWN AS THE MAN WITH THE

STRONGEST AND LOUDEST SYSTEM IN HIP HOP...HIS AMPWAS A MACINTOSH THE MOST POWERFUL AMP OF THATTIME...HIS SPEAKERS WERE SO LOUD HE CALLED THEM THEHERCULOIDS

6 THE MOST RECORDS AFRICA BAMBATTA7 FIRST MC (RAPPER) COKE LA ROCK (was one of herc's mc's along with the

original KLARK KENT)8 FIRST RECORDING BY A

FUNK BAND FATBACK BAND "KING TIM THE THIRD"9 FIRST RECORDING BY A

PUT TOGETHER RAP GROUP SUGAR HILL GANG "RAPPERS DELIGHT"

10 FIRST REAL LEGITRECORDING BY

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


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11 FIRST ALL FEMALE MCCREW MERCEDES LADIES

12 HERC'S FIRST PARK JAM 1520 SEDGWICK AVE. ,BRONX, NYC..'1973 (it was said thatHERC"s 1st gig was for a sweet 16, and he also played thecomunity center on sedgwick often)

13 FIRST TV SHOWDEDICATED TO HIP HOP "GRAFFITI ROCK" FEATURING NYC BREAKERS AND ABATTLE BETWEEN TREACHEROUS 3 AND RUN DMC

14 ZULU NATIONHIP HOP ORGANIZATION STARTED BY AFRIKA BAMBATTA-ORIGINALLY CAME FROMTHE GANG THE BLACK SPADES, THEN BECAME THE

ORGANIZATION AND EVENTUALLY THE ZULU NATION15 MOST FAMOUS FLYER

CREATOR FOR HIP HOPJAMS

PHASE TWO, AND BUDDY ESQUIRE

16 MOST FAMOUS FORRECORDING HIP HOP JAMS TAPE MASTER- WAS KNOWN FOR RECORDING ALL MAJORHIP HOP EVENTS (BEFORE RAP WAS ON RECORDS) AND

DISTRIBUTING THEM THROUGH OUT THE CITY17 FIRST LATIN RAP RECORD MEAN MACHINE18 THE DIFFERENCE BETWEEN

RAP AND MC MC: IS THE ORIGINAL WORD USED TO DESCRIBE A HIPHOPER HOSTING A JAM AND RHYMING ON THE MIC, ITMEANS" MASTER OF CEREMONY"RAP: WAS A WORD ORIGINALLY MEANING TO TALK TO AGIRL OR TO SPEAK OUT TO SOMEONE OR TO PEOPLE, ITWAS EVENTUALLY USED ON THE RECORD "RAPPERSDELIGHT" BY SUGAR HILL GANG AND BECAME THE TITLEFOR HIP HOP RECORDING ARTISTS.

19 FIRST HIP HOP RADIOSHOW MR MAGIC, WHBI FM, 1979

20 FAMOUSE HIP HOP JAMLOCATIONS (OUT DOOR)

ECHO PARK, SEDA PARK, MOORE HOUSE PROJECTS, BRONX

RIVER, 118 PARK on east treamont,129 PARK on 180st inmapes, JHS 123, 100 PARK, BRONX RIVER CENER

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

THE HEVALO CLUB, TWILIGHT ZONE, EXECUTIVE PLAYHOUSE, T CONNECTION, THE FEVER, SAVOY MANNOR, BOYSCLUB, OVER THE DOVER,BRONX RIVER CENTER, SKATEPALACE, HARLEM WORLD, ECTASY GARAGE, CELEBERY

CLUB, THE ROXY, BLACK DOOR, SPARKLE, PENNY LOUNGE,SKATE KEY, ROLLER WORLD, P.A.L., AUDOBON,

22 WILD STYLE: THE CLUBWHERE THE HIP HOPPARTY SCENES WEREFILMED

THE DIXIE CLUB ON FREEMAN STREET IN THE BRONX

23 WILD STYLE: THE THEATERWHERE THE FAMOUSFINALE JAM WAS FILMED

THE AMPHIT THEATER, LOWER EAST SIDE MANHATTAN

24 MOST FAMOUS PIONERINGHIP 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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25 FAMOUS CREWS,ORGANIZATIONS ANDGANGS THAT WEREAFFILIATED WITH HIP HOP

WILKENS CREW, MOORE HOUSE, CASANOVAS, CHUCKCHUCK CITY, ZULU NATION, 5 % NATION, GESTAPO, MAYBERRY CREW,

26 FAMOUS ZULU NATION MCGROUPS, DJ's, BBOYS BBOYS: ZULU KINGS,MC CREWS: COSMIC FORCE, SOUL SONIC FORCE, JAZZY

FIVE, SHANGODJ's: SINBAD, ZAMBU, RED ALERT, AFRICA ISLAM, DST

27 FAMOUS MC CREWS LIST BRONX: FURIOUS 5, COLD CRUSH, COSMIC FORCE, FUNKY4, JAZZY 5, MAY BERRY CREW, MERCEDES LADIES,FANTASTIC 5, L BROTHAS, SOUL SONIC FORCE, DYNAMICTHREE, INFINITY,

MANHATTAN: CRASH CREW, TREACHEROUS THREE,FEARLESS 4, MASTER DON AND THE DEATH COMMITTEE,STATEN ISLAND: FORCE MC'S

28 FIRST MC SIGNED TO AMAJOR LABEL KURTIS BLOW, MERCURY

29 CREATORS OF FASTRHYMING (bone thug,twista twista style)

MC GLOBE- he called it mc poppin (because it rerminded himof poppinKOOL MOE DEE- fast rhymin

30 FIRST HIP HOPPERFORMANCE TO THEMAINSTREEM PUBLIC

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

31 FIRST HIP HOP TOUR INUNITED STATES

THE KITCHEN TOUR, THAT FEATURED RSC32 FIRST HIP HOP TOUR

AROUND THE WORLD THE ROXY TOUR, FUTURA, DONDI, INFINITI RAPPERS, ROCKSTEADY, FAB 5 FREDDY. PHASE 2, MCDONALDS DOUBLEDUTCH GIRLS, AFRICA BAMBATTA,

33 OLD SCHOOL GEARS FROMTHE 70'S BRITISH WALKERS, MARSHMELLOWS, PLAYBOYS, PROKEDS 69ERS, SUEDE 69ERSCORTEFIEL, AJ'S, OVER LAPS,

MOCK NECKS, EL PACOS SWEATERS, U TEX, LEE SUITS,FRENCH CUTS, CAZALS, KANGOL TROPICS, BELL BOTTOMLEES WITH PERMANENT CREASES AND ONE LEG CUFFED,LEATHER TRENCH COAT, LEATHER BLAZERS, GOD FATHERBRIMS, OLD ENGLISH LETTER SWEAT SHIRTS,

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OLD SCHOOL GEARS FROMTHE 80'S(note that alot of the 70'sgears were also worn in the80's as well)

DC HALF FARMERS, NIKE CORTEZ, SCRUB SUITS, SHARKSKINS, OLD MAN SUIT JACKETS, NAME BUCKLES, NAMEPLATES, SPALDING SHADES WITH NO LENS, LEATHERSHOULFER HATS, ADIDAS SUITS, PUMA SUITS, NYLONBVD'S, SPIT FIRE KANGOLS, FELT HATS, FIBER GLASSCANES, SHELL TOE ADIDAS, SUEDE TIP ADIDAS, SUEDEPUMA CLYDES, CHUCK TAYLOR CONVERS, LE TIGRE,CHAMS, PAINTED LEE SUITS (JACKET AND PANTS LEG),LEATHER BOMBERS (3 QUARTERS, FULL LENGTH, ANDSHORT CUTS), LEATHER MICHILAN MAN BOMBERS,

LEATHER BLAZERS, SHEEP SKIN COATS, PHAT LACES,

35 FIRST TV PERFORMANCE BYA MC GROUP FUNKY FOUR ON SATURDAY NIGHT LIVE


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36 FAMOUS MC / DJ BATTLES COLD CRUSH FOUR -VS - FANTASTIC FIVE (Harlem World)BAMMBATTA -VS- DISCO KING MARIO(the Bronx jr. highschool 123KOOL MOE DEE -VS- BUZY BCOLD CRUSH FOUR -VS- FORCE MC'S (Statin Island)

37 MC COWBOY'S MCCONTRIBUTIONS. Cowboy was the first MC for Flash, who pioneered phraseslike "Throw your hands in the air, and wave 'em like ya just

don't care!," Clap your hands to the beat!," and "Everybodysay, ho!,"

38 THE ART OF BEATJUGGLING (manipulatingtwo turntables to creat awhole new beat)

BROUGHT TO THE FORFRONT BY DJ STEVIE D

39 THE TRANSFORMERSCRATCH JAZZY JEF AND CASH MONEY BOTH CONTRIBUTED TO THECREATION OF THIS STYLE

All HIP HOP FACTS are constantly being updated. If you have an important historical fact that youwould 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 ORIGINATOR / CREATOR1 FIRST BBOYS 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.

2 FIRST POPPER THERE WERE ALLOT OF STYLES OF DANCE THAT EXISTED IN THE EARLY 70'S INNORTHERN CALIF THAT ARE ASSOCIATED WITH POPPIN.BUT IN THE ELECTRIC BOOGALOOS OPINION, "BOOGALOO SAM" WAS THE FIRSTTO 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 PANTOMIMEDANCE THAT EXISTED BEFORE POPPIN

3 FIRST LOCKER THERE IS NO DEBATING THIS ONE"DON CAMPBELL"

4 FIRST ROCKERS 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"5 WHERE DID THE

NAME BBOY COMEFROM

THE WORD BBOY WAS FIRST USED BY KOOL HERC .HE GAVE THE NAME TO ALL THE EARLY 70'S DANCERS AND THAT NAME STUCKWITH THEM AS AN ELITE GROUP OF DANCERS THAT GOT DOWN IN KOOL HERC'SPARTIES

6 WHERE DID THENAME LOCKING COMEFROM

THE WORD LOCKING WAS CREATED BY DON.IT DESCRIBES THE ACTION THAT A LOCKER DOES WHEN THEY LOCK EVERYPOSITION.

7 WHERE DID THENAME POPPIN COMEFROM

THE WORD POPPIN ACCORDING TO SAM WAS A WORD THAT HE SAID WHILE

HITIN HIS MUSCLES TO THE BEATHE WOULD SAY POP, POP, POP

8 WHERE DID THENAME ROCKING COMEFROM

WELL THERE IS STILL SPECULATIONS ABOUT THE FIRST PERSON TO NAME THE

DANCE.WE BELIEVE IT WAS CREATED BY THE ORIGINAL GANGS THAT DID IT FIRST.BUT IT DESCRIBES THE MOTION OF THE DANCE ITSELF


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9 FIRST BBOY BATTLEDOCUMENTARY STYLE WARS LINCOL CENTER BATTLE

10 FIRST BBOY BATTLEDOCUMENTARY ROCK STEADY -VS- DYNAMIC AT USA ROLLER RINK

BBOY MOVES1 HEAD SPINS ( ONESHOT ) "SWANE (ZULU KINGS)"WAS SAID TO BE THE FIRST TO USE THIS MOVE INBBOYIN

2 CHAIR FREEZE "ROB (ZULU KINGS)"3 CC LONG FOOTWORK

( 6 STEP) "SPY (CRAZY COMMANDERS)"4 4 STEP "SPY" A5 SWIPES "SPY"6 BABY BRIDGES "SPY"7 SIDE TO SIDE CHAIR

FREEZES "BOS" AND "SPY"8 TRACK (FLOOR) "TRACK 2"9 FIRST VERSION OF

BACK SPIN "JOJO"10 SECOND INNOVATION

OF BACK SPIN "MONGO"11 THIRD INNOVATION

OF BACK SPIN "CRAZY LEGS" (ROCK STEADY CREW)12 BEST BBOY TO

MASTERCOMBINATIONS

"MONGO"13 FIRST VERSION OF

1990'S"TRACK 2"USED THE HAND STAND PIROUETTE IN HIS BBOYING

14 SECOND VERSION OF1990'S "CRAZY LEGS" DID A HIGH OVER ROTATED SWIPE THAT LED TO HIM SPINNING

15 THE NAME 1990 "KEN SWIFT" (ROCK STEADY CREW) ORIGINAL USED THIS NAME TO DESCRIBEHIS FUTURISTIC FLOAT BACK SPIN THAT STARTED ON ONE HAND IN A SEMI

HAND STAND POSITION AND CAME INTO THE BACK SPIN SLOW THEN SPED UPINTO A FREEZE

16 HAND GLIDE "WEEBLE ROCK"17 CONTINUOS

(WINDMILLS) "CRAZY LEGS" WHILE DOING A BACKSPIN HE CONTENTED THE PROCESS OF THATMOVE AND DEVELOPED IT.18 TAP HEAD SPINS

(CONTINUOS) "KID FREEZE" (DYNAMIC ROCKERS)20 AIR TRACKS (TRACKS

WITHOUT FEETTOUCHING THEFLOOR)

"KID FREEZE"

21 HALOS (LOOKS LIKECROSS BETWEEN AIRTRACKS AND HEADGLIDE)

"KID FREEZE"


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22 NINJA FREEZE(FREEZE OUT OF ACONTINUOS, AIRMOVE THAT LANDEDIN NINJA STYLE

POSE)

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

23 HEAD GLIDES (LEGSUP HEAD GLIDESAROUND HAND LIKE ACOMPASS)

"ICEY ICE" AND OR "WAVY LEGS" (DYNAMIC ROCKERS)

24 AXLE (STAR TRACK,AIR FLARE) "FREDDIE FRESH" THERE ARE GONNA BE ALLOT OF DEBATES ABOUT THISONE...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'S25 PLANK FREEZE KEN SWIFT26 SPIDERMAN

FOOTWORK MR WIGGLES27 AIR BABY KEN SWIFT28 SWIRLS (DOUBLE

ELBO SPINS) SIR SWIFT29 CONTINOUS TO 90'S

(WINDMILL/90'S) BBOY GERMAN (BRONX, NEW YORK)30 WRIST 90'S ORIGINAL CONCEPT KEN SWIFT 9NOT THE ACTUAL SPINS)31 WRIST 90'S BBOY GERMAN (SPINS)32 NO HAND NECK MOVE

(COIN DROP) ACTION NYC BREAKERS33 FIRST BBOY TOINCORPERATE FLARES

INTO BBOYING BBOY GERMAN34 ELBO SLIDE KEN SWIFT35 DOUBLE LEG SWEEPS POW WOW (SOUL SONIC FORCE)36 WALK OVER SWIPE CRAZY LEGS37 ELBO SPINS KID FREEZE38 BOUNCIN CE CE'S KEN SWIFT AND MR WIGGLES

FUNK STYLE DANCE AND MOVES

POPPIN, BOOGALOO, ROBOT, ECT.1 BOOGALOO STYLE

(ROLLING OF THEHIPS AND SPECIALDANCE STYLE)

"BOOGALOO SAM" (ELECTRIC BOOGALOOS)

2 TWISTO FLEX(TWISTING THE BODYLIKE A RUBIX CUBE)

"TWISTO FLEX DON" (ELECTRIC BOOGALOOS)

3 THE OLD MAN "BOOGALOO SAM" WHILE IMITATING THE WALK OF AN OLD MAN


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4 BOTTIN (INNOVATEDVERSION OFROBOTIN)

"BOPPIN ANDRE" THE BOPPERS

5 COBRA (STYLE OFWAVING ) "KING COBRA"( MYSTERIOUS POPPERS) TOOK A MOVE FROM BOOGALOO SAMAND INNOVATED IT INTO THE COBRA STYLE OF WAVING

6

CRAZY LEGS(TECHNICAL FEETPATTERNS) "POPPIN PETE"

7 GROUND MOVES "BOOGALOO SAM AND POPPIN PETE"8 EARLY PIONEER OF

ROBOTIC DANCE TYPEMOVEMENT

IRON MAN WAS FEATURED IN A LOCAL TV SHOW IN OAKLAND AND PERFORMEDPANTOMIME STYLE MOVEMENTS WITH A JAMES BROWN SKATE IN THE LATE 60'S

10 ORIGINAL NAME OFTHE BOOGALOOS THE ELECTRIC BOOGALOO LOCKERS

11 TWISTO FLEX PIONEERED AND INTRODUCED BY TWISTO FLEX DON12 FIRST GROUP TOPIONEER THESE

STYLES Catch on style Dominoes Vertical line

1976 DERRICK & C0.

LOCKIN8 THE LOCKING MOVE

"ALPHAS ALPHA OMEGA ANDERSON9 SKEETER RABBIT SKEETER RABBIT10 WHICH A WAYS CREATED BY FLUKY LUKE (originally called the iron horse)11 STOP AND GO'S /QUICKIE GREG CAMPBELLOCK JR.12 SCOOBY DOO'S SCOOBY DOO13 LOCKIN HAND SHAKE GREG CAMPBELLOCK JR.14 SCOOBOT SCOOBY15 SCOOBOT HOP HIGH

KICK GREG CAMPBELLOCK JR.16 SCOOBOT HOP GREG CAMPBELLOCK JR.17 PIMP WALK GREG CAMPBELLOCK JR.18 GUITAR DON CAMPBELLOCK JR.19 RUNNING SPLIT DON CAMPBELLOCK20 LAY OUT DON CAMPBELLOCK

HIP HOP & FUNK DANCE STAGE AND SCREEN LISTINGS1 MUSIC VIDEOS THAT

FEATURED HIPHOPAND FUNK DANCERS(in no particularorder)(reference forEUROPEAN 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


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2 MOVIES THATFEATURED HIPHOPAND FUNK DANCERS(in no particularorder)

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, GREGCAMPBELLOCK JR.." KOZMIK YOGA" et.

1 FIRST MOSTFAMOUS WRITER(PHILLY)

CORNBREAD WAS KING

2 FIRST WRITER(CALIF) CHOLOS

3 FIRST WRITERTO BRINGPHILLY BROAD

WAY STYLE TO

NYC

TOP CAT BROUGHT THE ORIGINAL GANGSTER STYLE FROM PHILLY TO NYCWHERE THEY RENAMED IT TO BWAY ELEGANT

4 FIRST WRITERACCORDING TONYC LEGEND

TAKI 1835 ORIGINAL NAME

FOR GRAFF WRITING6 FIRST TOP TO

BOTTOMS SUPER KOOL 2237 FIRST MASTER

PIECE SUPER KOOL 2238 FIRST WI' DEE-

WINDOW DOWN

END TO ENDPHASE 2

9 FIRST WRITERTO USE SPRAYPAINT

R.A.10FIRST BOROUGH

OUT OF NYC TOSTART WRITING

MANHATTAN

11FIRST FAT CAP SUPER KOOL 22312PHASE 2' S

STYLEINNOVATIONS

OUTLINE, CUT, SOFTY, FUSED, FOOT, STAR, EXTENSION BAR, WILDLETTERS, DRIPS
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13RIFF 170'SSTYLEINNOVATIONS

COMIC,, SCRIPT ELITE, CRACKED, PITCH FORK LETTERS, PUZZLE STYLE14PISTOL 1'

INNOVATION 3D EFFECT15BLADE 1'S

INNOVATION WESTERN LETTERS

16MAD 1'SINNOVATION BALL LETTERS

17FIRST MARRIEDCOUPLE A.J. 161

18FIRSTBACKGROUNDCLOUD

PHASE

19UNREADABLELETTERS (WILD

STYLES)INNOVATED BY PHASE II

20THE WORD"WILD STYLE"

CREATED BYTRACY 168

21THROW UP MADE POPULAR BY IN/ KILLsources:my own experience as a writer,"Writing from the Underground" by stampa alternativa inassociation with IGTimes/ "The Art O Getting Over" by Stephen Powers, "SUBWAY ART" by Henry

Chalfant

HIP HOP1 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 TOHELP BRING MORE ATTENTION TO LESSER KNOWN ELEMENTS. BUTIN REALITY THERE ARE OVER A DOZEN OR SO ELEMENTS THATSHOULD BE RECOGNIZED.BEAT BOXIN, FINDING BREAKS, FASHION, PRODUCTION IS NOW AN

ELEMENT, PROMOTING A JAM, MAKING THE FLYERS FOR JAMSBECAME AN ART FORM, ECT. THESE ARE ALL SMALL BUT VITALCONTRIBUTIONS TO OUR GREAT CULTURE.

2 MC'S, AND DJ'S: AREBLACKBREAKERS: ARE PUERTO

RICANAND GRAFFITI : WRITERSARE WHITE

THESE ARE JUST SOME OF THE MANY STEREO TYPES THAT MOVIES

AND THE MEDIA CREATED.

3 RAPPERS ARE BBOYS NO! NO! NO! NO! NOOOOOOOO!!!!! UNLESS YOU CAN DO TOP ROCKFOOTWORK AND FREEZES YOU ARE NOT A BBOY!!!. YOU HAVE ATITTLE, SH#T YOU HAVE TWO TITTLES (RAPPER, MC). LEAVE OURSALONE, BBOY MEANS BREAK BOY, BEAT BOY, OR BRONX BOY. WHYDO RAPPERS INSIST ON USING OUR NAME JUST TO LEGITIMIZETHERE CAREERS I DON'T KNOW.

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

NOPE. NOT TRUE. WE MAY HAVE PARTICIPATED IN ALL THOSEACTIVITIES WHEN WE WERE CREATING HIP HOP. BUT WE NEVERRHYMED 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 TOROB, SNORT, SMOKE, PIMP, KILL, ECT.
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5 RAP IS HIP HOP WELL THIS ONE IS TOUCHY. WHILE RAP IN MY OPINIONREPRESENTS THE RECORDING ASPECT OF HIP HOP (MC'S ON WAX).IT DOES NOT FULLY REPRESENT THE CULTURE IN IT'S TRUEESSENCE. THIS IS MY OPINION AND THE OPINION OF MANYORIGINAL HIP HOPERS.

6 SOURCE, RAP PAGES, ANDOTHER SIMILAR

MAGAZINES ARE HIP HOPMAGAZINES

UNLESS THESE AND OTHER SIMILAR MAGAZINES START TO COVERHIP HOP EQUALLY AND IN IT'S ENTIRETY. THEY ARE TECHNICALLY

NOT HIP HOP MAGAZINES. THEY ARE WHAT THERE MADE OF." RAPMAGAZINES"

7 IF YOU CAN'T FREESTYLEYOUR NOT A MC THE TRUTH IS THIS. "IF YOU CAN'T WRITE, PERFORM, CREATE ASHOW, DO ROUTINES, AND ROCK THE CROWD YOUR NOT A MC".

ORIGINAL MC'S DID FREESTYLE BACK IN THE DAYS, BUTFREESTYLIN AS THE MAIN CRITERIA FOR A MC STARTED IN THELATE 80'S EARLY 90'S. IT'S A NEW CONCEPT THAT SHOULD BEADAPTED TO THE ART OF MC'in. BUT SHOULD NOT BE THE TOTAL

CRITERIA FOR WHAT A TRUE MC IS.8 RUN DMC ARE THE

PIONEERS OF HIP HOPMC'S

WHILE I DO BELIEVE THAT THEY PIONEERED BRINGING RAP (HIPHOP RECORDING ARTISTS) TO THE MAINSTREAM. THEY AREREALLY CONCIDERED NEW JACKS TO THE REAL PIONEERS.

9 ZULU NATION IS A GANG TIME AND TIME AGAIN, AFTER WE HAVE EXPLAINED THROUGHEVENTS, PANEL DISCUSSIONS, NEWS ARTICLES, AND MANY OTHER

WAYS, THAT THE ZULU NATION IS NOT A GANG, SOMEWHERE SOMEIGNORANT WRITER WILL DO AN ARTICLE ABOUT GANGS IT WILLLABEL THE ZULU NATION AS A MAJOR GANG IN NYC.THE ZULUS HAVE LONG LEFT THE GANG ERA AND HAS BECOME AMAJOR POSITIVE MOVEMENT IN HIP HOP, WHEN WILL THE PRESSFINALLY DO THERE RESEARCH AND STOP ACTING LIKE THEY KNOWWHAT'S GOING ON IN THE INNER CITIES.

10THE GRAFFITI IN THEMOVIE BEAT STREET WASDONE BY A REAL GRAFFWRITER

ANY ONE WHO SAW THE MOVIE BEAT STREET AND THOUGHT THATTHE GRAFFITI WAS REAL, AND LIKED IT. I HATE TO BUST YOURBUBBLE. BUT THAT SHIT WAS WACK!!!!THAT WICK, WACK ASSGRAFF WAS DONE BY UNION ARTISTS WHO CLAIMED THAT UNLESSTHERE A WRITER WAS A PART OF THE UNION HE COULDN'T DOREAL GRAFF IN THE MOVIE.

11BAGGY CLOTHES CAMEFROM HIP HOP WRONG....BAGGY CLOTHES IN WAS INTRODUCED TO HIP HOP BYOUR WEST COAST FAMILY. THE WHOLE CONCEPT OF BUYINGCLOTHES THREE SIZES BIGGER TO GET THAT FULL BAGGY LOOKHAS BEEN PART OF THE CALI SUBCULTURE SINCE THE EARLY ZOOTSUIT DAYS AND HAS NEVER DIED. IN THE EARLY 80'S WHILE NYCHEADS WERE WEARING NUT HUGGERS CALI WAS SPORTIN LOCKERPANTS, DOUBLE PLEATED COTTLERS, PARACHUTE PANTS ECT..THEFIRST EAST COAST HEADS TO START WEARING MORE BAGGY FITSWERE THE FREESTYLE AND WEBO DANCERS, AND BY THEN ITBECAME MORE POPULAR AT HIP HOP EVENTS DURING THE LATE80'S..

HIP HOP AND FUNK DANCE1 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, orbronx boy)

2 "BREAK DANCE" WASUSED BY "GANGS"INSTEAD OF FIGHTING

HELL NAAAAA!!! SH#T WE GOT INTO MORE FIGHTS FROMBREAKING THAN ANYTHING. THAT WAS A MEDIA HYPE STORY THATWE AS YOUNG BBOYS( WHO NEW THE TRUTH ) EVEN FELL FOR.DEFINITELY FAR FROM THE TRUTH.

3 A YOUNG KID BROKE HISNECK AND DIED DOING AHEAD SPIN

SHOW ME PROOF AND ILL TAKE THIS ONE OFF!!!!IT'S AN OBVIOUS DETERRENT FOR PARENTS WHO DIDN'T APPROVEOF THERE KIDS DOING THIS DANGEROUS GHETTO DANCE FORM.


11/34

4 BBOYING WAS TAUGHT TOA GROUP OF YOUNGLATINOS BY A CAPOERAMAESTRO IN THE 70'S(CAPOEIRA IS A FORM OFMARTIAL ARTS, CREATEDBY AFRICAN SLAVES ANDDISGUISED AS A DANCE IN

BRAZIL)

WHILE I DO AGREE THAT BBOYIN WAS INDIRECTLY INSPIRED BY

THIS AFRICAN ART FORM. AND BBOYING DEFINITELY HAS ITSROOTS IN AFRICAN DANCE. BUT I HAVEN'T MET A LATIN BBOYFROM BACK IN THE DAYS THAT CAN EVEN PRONOUNCE THE WORDCAPOEIRA. (MAN I CAN'T EVEN SPELL IT)THE STORY THAT BEST SIZES THIS ARGUMENT UP WAS A QUESTIONPOSED TO TWO OF OUR FOUR FATHERS OF BBOYIN "THE NIGGATWINS",WHEN ASKED WHY DON'T YOU GUYS ( THE NIGGA TWINS ) GIVECREDIT TO CAPOEIRA??? AND THERE REPLY WAS. I NEVER METTHIS GUY CAPOEIRA THAT YOUR TALKIN ABOUT BUT IF YOU BRINGHIM TO ME ILL SEE IF I RECOGNIZE HIM.

5 THE 6 STEP AND THE 4STEP ARE THE ONLYFOOTWORK STYLE FROMBACK IN THE DAYS

NOPE, THE 6 STEP IS ALSO NOT THE ONLY ORIGINALFOUNDATIONAL FOOTWORK, THERE ARE TONS, SEE THE "BBOYMOVE FILES".

6 VIDEO DANCERS ARE HIPHOP DANCERS(IE, DANCERS IN INSYNC,BACKSTREETBOYS,ANDOTHER VIDEOS LIKE THATECT.)

HELL NAAAAA!!!!. UNTIL THESE WATERED DOWN JAZZ DANCERS DO

ALL OF THE THINGS I LISTED BELOW. THEY WILL NEVER BE HIPHOP DANCERS.A) CREATE THE MOVES THAT THERE DOIN INSTEAD OF BITINGTHEM 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 JAZZDANCERS THAT LEARNED FAKE HIP HOP DANCES IN THESESTUDIOS. AND COULD GIVE 2 SHITS ABOUT OUR CULTURE "HIPHOP"!!!.

7 BREAKING AND HIP HOPDANCE ARE TWODIFFERENT THINGS

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

8 POPPIN AND LOCKIN AREA PART OF HIP HOP DANCE

TECHNICALLY POPPIN AND LOCKIN HAVE THERE OWN HISTORYTHAT 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 GREATRELATIONSHIP BETWEEN BOTH COASTS. ESPECIALLY IN DANCE.

9 ROCKIN AND BREAKINGARE THE SAME DANCE ROCKIN AND BREAKING EACH HAVE THERE OWN HISTORY. ANDARE FROM DIFFERENT SCHOOLS OF DANCE

BREAKING: COMES FROM MORE OF THE JAMES BROWN ERA ANDFEEL.ROCKIN: COMES FROM THE ORIGINAL NYC GANGS AND THEN THE

DISCO ERA HAD A MAJOR INFLUENCE ON ROCKIN AS WELL ASJAMES BROWN.

10THAT BBOY S BACK IN THEDAYS DRESSED BUMMY,

WENT TO A JAM WITH A

BACK PACK, AND WOULDBREAK ALL NIGHT IN AJAM

BACK IN THE DAYS THE ORIGINAL BBOYS WOUDL DRESS AS FLY ASPOSSIBLE, 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 PREPARINGTO 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 WEWOULD GET BACK TO PARTYING. THAT'S THE WAY IT WAS.

11BREAKIN IS OR CAN BE ASPORT NOPE. IT'S A DANCE, AND IF EVER IT SHOULD APEAR ON A SPORTSNETWORK OR OLYMPIC CATAGORY, IT SHOULD BE LISTED AS A

DANCE, OR DANCE SPORT.12POWER MOVES STARTED

IN CALI UHUH. ALTHOUGH CALI CAN TAKE SOME CREDIT FOR HELPING TOELEVATE POWER MOVES, BUT MOVES LIKE, FLARES, CONTINOUSFLARE, FLARE 90'S, HOLLOW BACKS, TAP HEAD SPINS, HEAD SPIN90'S, AIR MOVES, AIR TRACK, AXELS (AIR FLARE), SWIRLS(DOUBLE ELBO SPINS), UFO'S, AND ALL THAT OTHER GOOD STUFF

STARTED IN NYC.


12/34

13THE WORD BREAK WASTAKEN FROM A SLANG FORTHE LOCK IN LOCKING

THE WORD BREAK IN BBOY CAME FROM THE BREAK OF A RECORD

(THE PERCUSION, OR DRUM SOLO IS CALLED A BREAK). THIS HASBEEN A FACT SINCE THE EARLY 70'S.

14OZONE AND TURBO WERETHE ACTUAL NAMES FOR

THESE DANCERS IN THE

MOVIES "BREAKIN" AND"ELECTRIC BOOGALOO"

NAAA..THERE REAL DANCE NAMES ARETURBO- IS REALLY SHRIMPOZONE- IS REALLY SHABADOO

15CARD BOARD BOXES NO NON NO...WE NEVER USED TO BREAK ON CARD BOARD.ORIGINBAL BBOYS WERE ON STRAIGHT UP CONCRETEREPRESENTING, OR WOOD AND MARBLE FLOORS. THE WHOLE CARDBOARD THING CAME ABOUT IN THE EARLY 80'S AND WAS USEDRARELY. MOSTLY FOR SPINNING. BY THIS TIME THE MEDIA BLEWTHE WHOLE THING OUT OF PROPORTION AND TURNED IT INTO A

CORNY GIMMICK.16BBOYS SHOULD BROOKLYN

ROCK IN A BBOY BATTLE UH, EXCUSE ME, BUT WHY DID YOU JUST TOP ROCK INTO ABROOKLYN 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 MOVEWHENA) 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'THAVE TO GO UP AND DOWN IN A BROOKLYN STYLE MOVEMENT.

17BOYS WHO CAN'T UP ROCKCAN BEAT REALUPROCKERS

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

STYLE DESCRIPTION REFERENCE-VERTICAL STYLES-

INDIAN STEP / ORBASIC TOP ROCK IT'S THAT COMMON STEP THAT JUST ABOUT EVERYBBOY DOES. EVERY ONE FROMROCK STEADY

CREWUP ROCK / BROOKLYNROCK A STYLE THAT WAS MASTERED BY BROOKLYN ROCKERSAND THE MOST COMMON SEEN WHEN TWO ROCKERS

(or bboys), HEAD UP WITH EACH OTHER USINGGESTURES THAT LOOK LIKE THERE STRIKING EACH

OTHER TO SCORE ("BURN") ON THERE OPPONENTSKING UP ROCK,DYNASTY ROCKERS

CHARLIE ROCK A STYLE THAT WAS INSPIRED BY THE CHARLESTONBUT MADE TO BE FUNKY BY BOYS AND ROCKERS FROSTY FREEZE,MR. WIGGLES

LATIN ROCK A STYLE DONE BY LATINOS WITH A LATIN (SALSA)FEEL TO IT MR. WIGGLES,KING UP ROCK

PYTHON STYLE A STYLE CREATED BY KEN SWIFT THAT IMITATEDMOVEMENTS FROM A KUNG FU MOVIE KEN SWIFT


13/34

TRUCK A STYLE THAT WAS DONE IN THE 70's AND TAUGHT TOROCK STEADY BY A FAMOUS MC (RAPPER) FROM THECOLD CRUSH 4 "ALMIGHTY K GEE" IT INVOLVESMOVEMENTS THAT LOOK LIKE YOUR DRIVING A TRUCKWHILE TOP ROCKIN WITH A SIDE TO SIDE MOVEMENTAND A DELAY HOP TYPE OF FEEL

CRAZY LEGS, KEN

SWIFT

BOYOING (TOP ROCK) A BOUNCY STYLE OF TOP ROCK DJ GRAND MIXERDXT

PEACE AND POWERFREEZE THATS RIGHT, TOP ROCKERS HAD FREEZES TOO. THISFREEZE WAS WITH ONE HAND ON THE FLOOR, LEGS

SPREAD APART AN KNEES EITHER SLIGHTLY BENT ORSTRAIGHT OUT AND ONE HAND STRAGHT OUT WITHEITHER A PEACE SIGN OR A FIST.AND SOMETIMES YOU

WOULD SHUFFLE YOUR FEET MIXING IT UP.

WIGGLES

JERKS (BROOKLYNSTYLE) HAND ROTATIONS, FOOT WORK AND BODY JERKS ,DONE DURING THE BREAK OF A RECORD. BREAK EASY/MOSTBROOKLYN

ROCKERSSLEEPERS (BROOKLYNSTYLE) DONE SIMILAR TO A BABY FREEZE BURN ONE

-FOOTWORK-CC LONG NOW REFEREED TO AS THE 6 STEP (A NAME THAT

ROCK STEADY ATTRIBUTED TO THIS STYLE) TAKES 6STEPS TO COMPLETE PATTERN

FLO MASTER, KENSWIFT, EASY ROCKECT.

4 STEP TAKES 4 STEPS TO COMPLETE PATTERN CRAZY LEGSBOYOING A BOUNCY STYLE DONE BY MID 70's BBOYS FROSTY FREEZEELBO ROCK FOOT WORK USING THE ELBOS INSTEAD OF HANDSTHE RUSSIAN DONE IMITATING RUSIAN DANCERS FROSTY FREEZEKNEE ROCK A LATE 70's STYLE THAT USES THE KNEES IN

FOOTWORK PATTERNS (ESPECIALLY 6 STEP, AND 4STEP )

MR. WIGGLES,

BABY LOVE, DOZE,FLOOR ROCK

RUSSIAN TAPS A STYLE BASED ON RUSSIAN KICK DANCE , BUT USES ASIDE TO SIDE MOVEMENT WITH HANDS TOUCHINGTHE FLOOR IN BETWEEN.

KEN SWIFT,WICKET, FLO,CRAZY LEGS

3 STEP BABY SWIPE A STYLE THAT WAS DONE IN THE LATE 70's EARLY 80's KEN SWIFTDOUBLE LEG KICKS DONE BY IMITATING A MOVE BY SAMMY DAVI JR.

WHERE IN THE MIDDLE OF A FOOT WORK PATTERNYOU KICK OUT BOTH LEGS WHILE SHIFTING FORM ONEHAND TO THE OTHER

FLIP ROCK

SPIDER STYLE (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 BODYFACING UP AND A CERTAIN MOVEMENT THAT GIVES ASPIDER EFFECT ( usually done as a transitional stylein-between other footwork patterns)

MR. WIGGLES,

BBOY STEVE (LV),FLOOR ROCK

CORK SPIN A CORK SCREW MOVE DONE IN A FOOT WORKPATTERN MR FREEZE

SWEEP SWIPES CREATED BY ICEY ICE ALIEN NESSCRISS CROSS SHUFFLE DONE LIKE A FAMOUS VERTICAL DISCO MOVE, WHERE

YOUR DOIN A CC LONG PATTERN AND THENCONTINUING THE FOOT WORK ROTATION YOU CRISSCROSS YOUR FEET .

BABY LOVE (IN THEMOVIE BEATSTREET)


14/34

SIDE SHUFFLES DONE IN THE MIDDLE OF A FOOT WORK PATTERN YOUHIT THE SIDE AND SHUFFLE YOUR FEET AND GO BACKINTO FOOT WORK

ACTION (in the

movie beat street),CRAZY LEGS

FRONT SWEEP BACKSWEEP INOVATED BY POW WOW OF SOULS SONIC FORCE,COMBINATING A FRONT SWEEP WITH ONE FOOT THEN

A BACK SEEP OF THE OTHER FOOT IN THE MIDDLE OF A

FOOT WORK PATTERN.ROCK A FELLA

BACK ROCK A STYLE OF FOOTWORK DONE ON THE BACK CRAZY LEGSPOWER FOOTWORK 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 POWERMOVE

ICY ICE, THE NEXTONE, ALIEN NESS

TRAVELING FOOTWORK A STYLE THAT TRAVELS ACROSS THE FLOOR WHILE ONALL FOURS (body facing up) WITH A CRAB LIKEMOTION (side ways crawl with legs first then hands)

KEN SWIFT, MR.FREEZE, FLOORROCK

SPIDER MAN FOOTWORK (a style that was inspired by a combination by CRAZYLEGS , created by MR. WIGGLES IN THE EARLY 90's), ITINVOLVES THE SPIDER MOVE (not style) OF PLACING

YOUR HANDS UNDER YOUR LEGS AND IN-BETWEENYOUR LEGS WHILE DOING FOOTWORK PATTERNSCREATING A LOOPING STYLE EFFECT.

MR. WIGGLES,STORM,VENGEANCE

-FREEZES-BABY FREEZE (original) lying on the floor on your side sucking you thumb or

throwing a tantrum. FROSTY FREEZEBABY FREEZE A PRESS THAT BALANCES ON HANDS WITH ONE LEG

ON THE KNEE, (and some times both legs switching likescissors)

KEN SWIFT, CRAZYLEGS

CHAIR FREEZE A SIMILAR POSITION THE BABY BUT WITH BACK LEGSTOUCHING THE FLOOR AND THE OTHER LEG CROSSEDON TOP OF THE BACK LEG

KEN SWIFT, CRAZYLEGS, MR. FREEZE

HOLLOW BACK INTRODUCED INTO BBOYING BY KID FREEZE, ANDMASTERED BY KID FLOAT IN THE EARLY 80'S, ITINVOLVES A HANDSTAND WITH YOUR FEET HANGINGOVER BACKWARDS BARELY TOUCHING THE FLOOR

FLOAT, KMEL,REVEAL

AIR BABY A MOVE THAT CAME FROM EITHER THE LATE 80's OREARLY 90's THAT INVOLVE A BABY FREEZE TYPEPOSITION BU BALANCING ON HANDS LIKE A HANDSTAND BUT WITH ONE ELBOW ON THE KNEE (and sometimes on one hand)

KEN SWIFT, FLOMASTER, CRUMBS

MICHAEL JORDANFREEZE THE UPSIDE DOWN JORDAN POSE FROM HIS SNEAKERLOGO (created by FLO MASTER) FLONINJA FREEZE A FREEZE THAT COMES OUT OF A POWER TWIST TYPE

MOVE, THAT LANDS IN A NINJA STYLE POSITIONICY ICE, NEXT ONE

PLANK FREEZE A BABY FREEZE WITH LEGS STRAIGHT OUT(created by KEN SWIFT) KEN SWIFT,WICKET, MR.

FREEZEHI PLANK IT'S THE ONE HANDED HAND STAND FREEZE WITH THE

OTHER ON YOUR 4 HEAD OR ELSE WHERE (inspired bythe plank freeze..created by FLO MASTER / AND QUICKSTEP)

FLO, QUICK,REMIND

ONE HAND CRUTCH /FLO FREEZE INSPIRED BY THE FAMOUS CAPOEIRA FREEZE, EXCEPTYOU CRUNCH IN AND TOUCH YOUR KNEE TO YOUR

ELBOW AND POSE FOR 2 SEC.FLO, MIGHTYMOUSE, WICKET

-STYLES-
http://search.targetwords.com/u.search?x=5977|1||||travel|AA1VDwhttp://search.targetwords.com/u.search?x=5977|1||||travel|AA1VDw


15/34

FOUNDATION( EARLY 70'S) THIS STYLE OF ORIGINAL BBOYING IS THE BLUEPRINT OF WHAT WE DO TODAY, THIS STYLE HAS STILL

YET TO BE SEEN IN OUR GENERATION (CREATED BYALL THE BBOYS IN THE EARLY 70'S GENERATION

THE TWINS, DST

FOUNDATION( MID 70'S) WHAT WE SEE AS BBOYING TODAY WAS CREATED INTHIS GENERATION, ROCK STEADY IS ONE OF THE LAST

GROUPS TO KEEP THIS STYLE IN IT'S PUREST FORMROCK STEADY

TEXT A STYLE OF BBOYIN THAT INVOLVES PIECINGTOGETHER A BUNCH OF LITTLE MOVES ANDFOOTWORK TO CREATE ON BIG COMBINATION (cocreated by KEN SWIFT, but inspired by bboys he grewup watching like SPY, and GREGO)

KEN SWIFT,WICKET,

ABSTRACT UNORTHODOX VERSION OF TEXT WITH COMMONPOWER MOVES (created by REMIND) REMIND, CRUMBS,VIETNAM

POWER / GYMNASTIC THIS STYLE WS ORIGINALLY DONE AS A DANCE,UTILIZING GYMNASTIC TYPE MOVES WITH BREAKING,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)

WICKET, IVAN,IRON MONKEY

THREADS A STYLE THAT IMITATES THREADING A NEEDLE WITHTHERE BODY PARTS, (innovated by wiggles in the early80's)

GIZMO,VENGEANCE,CRUMBS,

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

STYLE USED BY PIONEERED BY NOTES REFERENCESFASTRHYMING BustaRhymes Treacherous 3, SoulSonic Force Treacherous 3

Soul Sonic ForceMC POPPIN /TRIPLERHYMESSTYLE/SWINGSTYLE

Bone Thugs MC Globe, Soul SonicForce Globe usedold swing and

scat style jazzriffs, he wouldscat on a tapeand then writerhymes to hisscattin

"Planet rock"" Lookin for the Perfect Beat"by:Soul Sonic Force

GRUNGYDIRTY VOCALSTYLE

Dmx,MethodMan, Ja Rue

J D L from the coldcrush 4 mc's This is'nt alyrical style,

but a style ofvocal deliveryand cadence

that certainmc's havenaturally.

"Old Mc tapes from the 70's""Fresh, Fly, Wild, Bold"by: Cold Crush 4 mc's

CALM /MONO

TONEDVOCALS ANDSTYLE

Rakiem,Nas Rahiem from GrandMaster Flash and the

Furious 5 mc'she did it first. "The Message"

by: Furiuos 5 Mc's

STYLE USED BY PIONEERED BY NOTES REFERENCES
http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=346630http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=346630http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=346630http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=332153http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=332153http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=332153http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=332153http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=332153http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=332153http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=346630http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=346630http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949http://www.cdnow.com/switch/from=cr-11067339-1/target=buyweb_purchase/itemid=1949


16/34

KNOWLEDGERHYMES /POLITICALRHYMES

KRS ONE,PublecEnemy

Mellie Mel, Furious 5 Mel wasalways dropinbombs.

"Worls War 3""Beat Street"by: Furious 5 Mc's

STORYTELLING Slick Rick Grand master Caz, LaSunshine They did'ntcreate it, but

they had two

classic storyrhymes thatwere famousback in thedays, thateventuallylead to a Slick

Rick style

"Fat Lady Rhyme"by: LA Sunshine"Eyvette rhyme" Wild StyleSoundtrackby: Grand Master Caz

RUTENES Jurasic 5,Arsonist Furious 5, Cold Crush4, Fantastic 5, and all

old school crews from

the 70'sThis was partof the mainformatt of

every MCshow,

rutenes,rhymes, anddance as well

"Wild Style Soundtrack"by: Various crews"Flash to the Beat"Grand Master Flash and the

Furious 5 Mc'sGANGSTARAP NWA Kool G Rap, NWA, JustIce These eastand west

coast MC'sexpressedthere thugishways on wax

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

STYLE USED BY PIONEERED BY NOTES REFERENCESPARTY

STYLE/CROWDPLEASER

Luv Bug Starski, Buzy

Beeback in the

days thesetwo mc's werethe best atcrowdpleasing

COMIC BOOKSTYLE/CRAZY WORDPLAY

Pharoemonch Kool kieth, Sed Gee(Ultra Magnetic mc's) this boy KoolKieth said

some of theillest and

funniest sh&t"Ultramagnetic MC's"

INTELECTUALSTYLE Kool Moe Dee, T laRock, Special K Kool moe Deewas the

apitome of

intelect."Kool Moe Dee"

SMOOTHSTYLE

Big DaddyKane, Jay Z Grand master Caz(Cold Crush 4 MC's),

Whiper Whip(Fantastic 5 MC's)

Caz was thecoolest on the

mic.TWO MANRUTENESTYLE/DUO'S

RunDmc Salt & Pepper (theoriginal Whip, andData rock, NOT THEGIRLS)Double Trouble (LilRodney c, KKRockwell)

masters oftwo manrutenes andtrading backand forth

"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, iam 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,
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17/34

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) ISTHE 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 LIKECONGAS, TIMBALES, BONGOS, AS WELL AS A BASE GUITAR, SAX, AND SO FORTH. USUALLY YOUWILL FIND IT EITHER IN THE BEGINNING , OR IN THE MIDDLE OF A SONG. WHEN IT'S IN THE MIDDLEIT WILL USUALLY HAVE A GRADUAL BUILD UP OF SOME SORT, AND ALLOT OF SONGS WILL EVENSTART 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, ORBBOYS (HIP HOP DANCERS) TO GET DOWN TOO, OR JUST FOR PEOPLE TO PARTY TOO. WHAT YOURGENERALLY 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 BREAKBEATS? THE BEST PLACES TO FIND RECORDS THAT MIGHT HAVE BREAKBEATS 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 THERESTUFF, 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 LATE70'S.B) LOOK FOR ALBUM COVERS THAT HAVE ANY KIND OF FUNKAPPEAL, LIKE ALLOT OF PERCUSSIONISTS, OR IF THE COVER SHOWS

A WHOLE LOT OF BLACK AND LATINOS IN THE BAND, THREE WHITEGUYS AND A BLACK GUY (USUALLY THAT WOULD INDICATE THAT THEBLACK GUY IS THERE FOR THE FUNK), AN ALL WHITE BAND THAT'STRYING TO LOOK BLACK OR DRESSED HIPPY, LOOK FOR SONGTITTLES THAT MIGHT INDICATE ANY REFERENCES TO THE FUNK, LIKEFUNKY CHICKEN, FUNKY PRESIDENT, FUNKY NASSAU, OR WORDSLIKE, SOUL POWER, DANCE TO THE DRUMMERS BEAT AND SO FORTH.

WHAT DO I LOOK FOR ONTHE RECORD IT SELF? A) WHEN YOU PULL THE RECORD OUT THE SLEEVE, THE ACTUALRECORD SHOULD BE THICK, AND NOT THIN LIKE TODAY'S WAX.

B) THEN CHECK THE GROOVES ON THE RECORD, LOOK FOR THETHIN PARTS OF THE GROOVES IN THE MIDDLE OF THE SONG, THATWOULD USUALLY INDICATE SOME SORT OF BREAKDOWN, IT COULDBE A DRUM SOLO.C) ALWAYS REQUEST TO LISTEN TO THE RECORD, USUALLY THEYMIGHT HAVE A TURNTABLE THERE IN THE STORE, IF NOT YOUSHOULD INVEST SOME MONEY IN A PORTABLE RECORD PLAYER, YOUCAN FIND SOME CHEAP ONES ON EBAY.COM. WHEN YOURLISTENING, 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 THISFOR EACH SONG ON THE ALBUM.


18/34

WHAT SHOULD I PAY FORTHESE RECORDS? THE BEST FEELING IN THE WORLD FOR ME IS FINDING GEMS ANDONLY PAYING 50 CENTS FOR IT, OR A DOLLAR OR SO, BUT RECORDS

CAN REACH FROM $5 TO $100, OR MORE, DEPENDING ON THEPOPULARITY OF THE BREAK. IF YOU LUCK OUT AND FIND A BREAK,THEN YOU SHOULD ASK YOUR SELF HOW MUCH IS IT WORTHHAVING.BUT FOR ME IF IT COSTS THAT MUCH, THEN THAT WOULD MEANTHAT PEOPLE KNOW THE VALUE OF THE RECORD AND THAT THE

RECORD IS ALREADY POPULAR, OR PEOPLE KNOW OF IT, SO I WILLNOT BUY IT. I'D RATHER FIND SOME OBSCURE RECORDS AND THENPAY NO MORE THAN $5 FOR IT, UNLESS IT'S SOMETHING THAT IREALLY LIKE.

WHAT ARE SOME OTHERTIPS THAT MIGHT BEHELPFUL?

A) KNOW YOUR DRUMMERS. IF YOU BUY A RECORD WITH A DOPEBREAK ON IT, CHECK THE CREDITS AND SEE WHO THE DRUMMER IS,AND THEN WHEN EVER YOU COME ACROSS A RECORD WITH THATDRUMMER BUY IT. MEMORIZE WHICH LABELS THESE DRUMMERSPLAY ON, ALLOT OF TIMES THEY ARE STUDIO DRUMMERS THAT PLAYON A NUMBER OF SONGS FOR A PARTICULAR LABEL, LEARN AS MUCHINFO ABOUT THE DRUMMERS AS POSSIBLE.B) FOLLOW THE LABELS THAT SPECIALIZE IN FUNK BEATS, LABELSLIKE KUDU, BUHDA, KING, STAX AND SO FORTH WILL ALWAYS

FEATURE ARTISTS THAT HAVE SIMILAR SOUNDS OR USE THAT SAMEFUNKY STUDIO MUSICIANS.C) DON'T SLEEP ON 45's, THEY USUALLY HAVE A DIFFERENT MIX ATTIMES THAT WILL FEATURE THE BREAK MORE.

D) DON'T SLEEP ON DISCO AND OTHER TYPES OF DANCE MUSICTHAT STARTED COMING OUT AT THE END OF THE FUNK ERA (LATE70'S/ EARLY 80'S) PUNK, REGGAE, GO GO, DISCO, SKA, ECT.E) ALWAYS TRY TO GET TWO COPIES OF EACH RECORD. IF YOURPLANNING ON MIXING, BACKSPINING, AND CUTTIN THEM UP ONYOUR TURNTABLES.F) WHEN EVER YOU GO TO A RELATIVES HOUSE THAT MIGHT HAVEAN OLD RECORD COLLECTION, ASK FOR IT, OFFER QUICK CASH FORIT, USUALLY THEY WILL BE READY TO PAY YOU TO TAKE IT AWAY.G) TAKE RISKS, IF YOU FOUND A RECORD THAT DOESN'T GIVE YOUANY INDICATIONS OR HINTS AS TO WHETHER IT MIGHT HAVE ABREAK BEAT IN IT, BUT YOU STILL HAVE A GOOD FEELING ABOUTIT, AS LONG AS IT'S UNDER $5 DOLLARS GET IT. I CAN'T SAY HOWMANY TIMES I FOUND BREAKS ON SOME OBSCURE WIERD RECORDS.

H) IF YOUR NOT INTO DIGGIN IN CRATES AND GETTIN YOURFINGERS DIRTY THEN YOU CAN ALWAYS GO ONLINE AND FINDSTORES THAT SELL BREAKS, OR GET INFO ONLINE AS TO WHAT YOUSHOULD GET, BUT THE BIGGEST PAY OFF TO ME IS FINDING ABREAK THAT NOBODY ELSE HAS, OR THAT IS NOT POPULAR YET.I) ALWAYS STAY COOL WITH THE RECORD SHOP EMPLOYEES, THEYWILL CALL YOU WHEN THEY GET NEW SHIPPMENTS, AND IF YOUSLIDE THEM A COUPLE OF DOLLARS THEY WILL EVEN PIN POINT THETYPES OF RECORDS YOU WANT AND STASH THEM FOR YOU ..MY BOYWORKED AT DOWN STIRS RECORDS IN MANHATTAN ..AND HE MADEALOT OF MONEY STASHIN RECORDS FOR MANY TOP PRODUCERS.AIGHT YALL...THEMS IS MY TIPS..SEEYA!

..HAPPY DIGGIN..


19/34

ALL HIP HOP TERMS

FUNKY/ FUNK ANY THING THAT MOVES YOU IS FUNKY/ A HIGHLY RHYTHMICPERFORMER/ THE MUSIC THAT POPPERS DANCE TO/ JAMES BROWN,PARLIMENT,ECT.

GET DOWN/ GET LOOSE/GET BUZY/ GO OFF DO YOUR THING, HOW A PERSON WILL ASK SOME ONE TO DANCEOR RHYME ( YO LET ME SEE YOU GET DOWN.)

REPRESENT GO ALL OUT FOR YOUR SELF OR CREW, OR ANYTHING YOUR DOWNWITH OR STAND FOR.

BUTTER WHEN SOMETHING IS SMOOTHDOPE/ PHAT/ CRUNK/

TRUCK WHEN SOMETHING IS REALLY GREAT, IN A THICK UNDERGROUNDWAY.JAM WHEN DJ's PLAY MUSIC IN A HALL, CLUB, COMMUNITY CENTER

ECT...ITS A JAM/ ALSO MEANS TO GET DOWNWAX RECORD

BBOYINGBBOY/ BGIRL COINED BY KOOL HERC TO DESCRIBE THE ELITE DANCERS AT HIS

PARTYS....HERC ORIGINALLY MEANT "BREAK BOY" BUT DEPENDINGON WHAT AREA YOU WERE FROM IN THE BRONX . THE DEFINITIONCOULD HAVE BEEN "BEAT BOY", OR BRONX BOY".

BREAK DANCE A TERM THAT THE MEDIA CREATED BACK IN THE EARLY 80'S THATIS HATED BY BBOYS EVERY WHERE. ALSO A WORD USED BY BBOYSTO DESCRIBE A COMMERCIAL WANNA BE BBOY, OR A BREAKERWITH NO FOUNDATION THAT ONLY DOES GYMNASTIC MOVES .

BREAKIN IS ALSO A TERM ADOPTED AS THE NAME OF THE DANCE (EX: ABBOY BREAKS OR IS BREAKING)

BOYOING A WORD USED IN THE BRONX RIVER AREA OF THE BRONX TODESCRIBE THE BOUNCY STYLE OF BREAKING THAT THE BBOYS DID,

IT WAS ALSO USED TO DESCRIBE THE BALL ON THERE SKI HATSTHAT WENT BOYOING WHEN THEY DANCED.

GO OFF WAS A PHRASE THAT DESCRIBED THE ACTION OF A BBOY ...NOT ANAME OF A DANCE. YOU ALSO COULD HAVE BEEN GOING OFF ONTHE MIC OR THE TURNTABLES, OR IN A FIGHT.

FOOTWORK THE ACTION A BBOY DOES WHEN HE HITS THE FLOOR, WHEN YOURWORKING YOUR LEGS AROUND THE CENTER OF YOUR GRAVITY ONALL FOURS. ALSO A MAIN COMPONENT OF BBOY FOUNDATION THATWAS SET IN THE MID 70'S.( the 6 step, 4 step, are just a couple of

basic footwork patterns, there are dozens more)TOP ROCK 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 ABASIC FOUNDATION ..BEFORE YOU HIT THE FLOOR YOU MUST TOPROCK.

FREEZE THE ENDING POSE...THE PERIOD TO EVERY BBOYS COMBO IS THEFREEZE. IT IS ALSO USED AS THE CLIMAX AND DISS MOVE THATGETS THE CROWD REACTIONS. ALSO A BASIC FOUNDATION EVERYBBOY MUST END THERE DANCE IN A POSE AND SHOULD HAVE AVAST CATALOG OF FREEZES.

STYLE HOW A BBOY/ BGIRL FINESSES THERE MOVES.PAUSES, DELAYSAND HESITATIONS ADD TO A STYLE...LIKE A JAZZ MUSICIAN...

FLAVA IS SIMILAR TO STYLE BUT IS MORE OF AN ACCENT TO EACH MOVESTHAT GIVES IT A PERSONALIZED TASTE...


20/34

CHARACTER MANY DANCERS EITHER BORROW A PERSONALITY FROM ACARTOON OR MOVIE, OR THEY HAVE A NATURAL CHARACTER THATCOMES OUT IN THERE DANCE, FROM KEN SWIFT'S MUGSEY, TOIVAN'S ULTIMATE TASMANIAN DEVIL LIKE IMAGE...IT ADDSANOTHER LEVEL TO THERE PERFORMANCE THAT MAKES THEREDANCE EVEN MORE MEMORABLE.

POWER MOVES IT USED TO BE THAT A POWER MOVE WAS ALL TYPES OF SPINSTHAT LOOKED POWERFUL..BUT AS IT HAS BEENESTABLISHED..ANYTHING THAT TAKES STRENGTH ISPOWER...(LOOK AT CRUMBS)

BATTLE THE ACT OF COMPETING WITH OTHER BBOYSBURN 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 MYFOOTWORK)

WACK NOT GOOD, WEEK, SOME ONE, OR A MOVE THAT IS CONSIDEREDBAD.

CREW A GROUP OF DANCERS FORMED AS A CLICK OR ORGANIZATION TOCOMPETE AS A WHOLE.

BREAK BEATS THE ORIGINAL FORM OF HIP HOP MUSIC THAT SET OFF THE BBOYSUB CULTURE.

BITING THE ULTIMATE SINFUL NONO....IT MEANS TO COPY OR STEALANOTHER BBOYS MOVES, STYLE, CHARACTER AND ALL THE ABOVECRITERIA'S THAT MAKE A BBOY ORIGINAL...NEVERBITE!!!!!!!!!!!!!!!!!!!

POPPINGBOOGALOO STYLE ROLLIN OF THE HIPS AND DIFFERENT BODY PARTS/ A PARTICULAR

STYLE THAT GOES WITH THE ROLLS.TWISTO FLEX A RUBIX CUBE STYLE OF POPPIN/ SEPERATING AND DISECTING

YOUR BODY IN TWIST LIKE MOTIONS.TICKIN STOP MOTION STYLE OF POPPIN

STROBIN GIVING THE EFFECT OF A STROBE LIGHT WHILE DOING NORMALTHING YOU WOULD DO IN A CLUB TYPE ATMOSPHERE (DRINKING,COMBING HAIR, LOOKING AT YOUR WATCH) NOT NECESSARILY A

DANCEANIMATION IMITATING CARTOON OR CLAY ANIMATION

SACIN A SHUFFLING OF THE FEET WHILE MOVING YOUR ARMS TO THEBEAT IN DIFFERENT DIRECTIONS. ORIGINATED IN SACRAMENTO

STRUTTIN A STYLE BASED ON THE 70'S TERM "TO STRUT YOUR STUFF"/MOVEMENTS TAKEN FROM ACTUAL STRUTS OR PIMP WALKS

FILMORE STYLE THAT ORIGINATED IN FILMORE CAL. LOOKS LIKE A SIDE TOSIDE MOVEMENT THAT INVOLVES STRAIGHTENING OUT THE ARMSIN DIFFERENT DIRECTIONS WHILE STEPPING WITH THERE FEET INDIFFERENT DIRECTIONS

WAVING CREATING THE ILLUSION THAT YOUR BODY HAS ELECTRICALCURRENTS FLOWING SMOOTHLY THROUGH IT. ALSO MAKING ONESBODY LOOSE AND FLUID LIKE WATER

TUTTIN A KING TUT OR HIEROGLYPHIC STYLE OF POPPINSTICKIN A STYLE THAT INVOLVES STICKING OUT THE ARMS IN SYNCOPATED

RHYTHMS AND STRAIGHT ARM SHAPES, AND SNAPPING THEELBOWS WHILE DOING IT.

WRITING (GRAFFITI)WRITER THE ORIGINAL NAME OF WHAT PEOPLE REFER TO AS "GRAFFITI

ARTIST"MASTER PIECE/

PIECE A NAME , WORD OR PHRASE DONE IN A STYLE THAT IS FILLED INWITH COLORS AND HAS AN OUTLINE AND OTHER DECORATIVEFILLINGS

THROW UP A QUICK AND EASY VERSION OF A PIECE, DONE IN A WAY TO GETAS MANY UP AS POSSIBLE IN A SHORT TIME

TAG WRITING YOUR NAME IN A GHETTO STYLIZED WAY


21/34

WILD STYLE A PIECE THAT IS DONE WITH ALOT OF DETAILED CONNECTIONSAND ARROWS AND OTHER INTRICATE DECORATIONS THAT MAKE ITHARD TO READ.

BOMB/ BOMBING A MISSION THAT WRITERS GO ON, WRITING YOUR NAME ANYWHERE AND EVERY WITH AN ABUNDANT AMOUNT OF TAGS ORTHROW UPS/ SMOTHERING AN AREA WITH ONES TAG OR THROWUP.

MARRIED COUPLE A PIECE ACROSS TWO TRAIN CARSALL CITY WHEN A WRITER BOMBS THE ENTIRE CITY IN AN ATTEMPT TO BE

THE KINGGETTING UP GETTING FAME THROUGH TAGGING EVERY WHERE OR ON A

PARTICULAR TRAIN LINE, OR AREATOY/ HOT 1 TEN A WRITER THAT IS NOT GOOD AT TAGGING OR PIECING,

SOMETIMES ANYTHING THAT ISN'T GOOD.AEROSOL ART ARTISTS THAT USE SPRAY PAINT AS A MEDIUM, NOT NECESSARILY

A WRITERCREW A GROUP OF WRITERS UNITED

BITING TO COPY, OR STEAL SOMEONE'S STYLE OR EXACT LETTERSBUFF TO PAINT OVER, ERASE OR CLEAN OFF TAGS AND PIECES FROM ATRAIN OR WALL

PILOT, MAGNUM, SPECIAL WIDE AND SQUARE TIP MARKERS THAT ARE REFILLABLEAND USED FOR TAGGING

UNI WIDE, MINI WIDE WIDE AND NARROW TIP REFILLABLE MARKERSMARSH, FLO MASTER,SUPERMARKET INKS SPECIAL INKS PREFERRED BY WRITERS FOR THERE RESISTANCEAGAINST BUFFING, OR CLEANING.

ESPECIALLY THE OLD SUPERMARKET STAMP INK THAT IS HARD TOCLEAN OFF.

FLO PEN SPECIAL PEN WITH REPLACEABLE CHISEL POINT AND OTHER STYLETIPS, ALSO REFILLABLE

MOP TIP TO PIN OUT A REGULAR PILOT (OR OTHER BRAND) WIDE TIPMARKER TILL IT RESEMBLES A MOP, PREFERRED FOR IT SLOPPYLOOK

HOME MADE MOP TIP A MARKER MADE BY WRITERS OUT OF AN EMPTIED OUT ROLL ONDEODORANT BOTTLE, AND STUFFED WITH FELT FROM A CHALKBOARD ERASER AND FILLED WITH INK,

FAT CAPS/ THIN CAPS A SPECIAL SPRAY NOZZLE THAT MAKES THE CAPS DIFFERENT SIZESAND EFFECTS

BUBBLE LETTERS/ SOFTYSOFT AND ROUNDED LETTER STYLE OF PIECINGWHOLE CAR A PIECE THAT TAKES UP THE LENGTH OF A TRAIN

WINDOWS DOWN A PIECE THAT COVERS FROM THE WINDOWS OF A TRAIN DOWNTOP TO BOTTOM DOING A PIECE ON A TRAIN THAT COVERS FROM THE TOP TO THE

BOTTOM OF THE TRAIN

HOOK UPS SPECIAL COLOR DECORATIONS DONE INSIDE OF A PIECE.FILL IN THE COLORING OF A PIECE OR THROW UP

OUTLINE AN UNCOLORED PIECE / THE BLUE PRINT OF A FULL COLOR PIECELAY UP AN AREA WHERE TRAINS ARE USUALLY PARKED, EITHER

UNDERGROUND OR ELEVATED WHERE WRITERS BOMBYARDS TRAIN YARDS WHERE TRAINS ARE STORED AND PARKED AND

WHERE WRITERS BOMB

BURNER AN EXTREMELY INTRICATE PIECE WITH INTRICATE COLORSRACKING UP TO STEAL SPRAY PAINT AND OTHER SUPPLIES USED BY WRITERS

VICKED/ VAMPED TO ROB OR GET ROBBED FROM ANOTHER WRITER FOR SPRAYPAINT, OTHER SUPPLIES AND MONEY AND JEWELRY AS WELL.

STREET TERMSSTAY UP TAKE CARE
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22/34

PEACE HI OR GOODBYECHILL RELAXCRIB A HOME, APARTMENT, PLACE WHERE SOMEONE LIVESDIS TO DISRESPECT SOME ONE OR SOMETHING

BEEF ALTERCATIONVIC / JACK/ STICK UP

TO ROB SOMEONE/ SHORT FOR VICTIM

GEESE/ RACK/ TO STEAL

BEAT DOWN BEAT SOMEONE UPRECOGNIZE TO REALIZE SOMEONE OR SOMETHING ABOUT SOMEONE/ TO

RECOGNIZE SOMEONE'S SKILLS IN HIP HOP5 O POLICE

BURNER/ POUND/ IS/STEEL/ GAT GUN

CREW/ SQUAD/ POSSIE/CLICK CAN BE EITHER A GANG/ OR A GROUP OF HIP HOPPER (MC'S,DANCERS, WRITERS ECT.)

LAY THE SMACK DOWN HIT OR SMACK SOMEONED.L./ DOWN LOW KEEP IT ON THE DL, OR DOWN LOW MEANS TO KEEP A SECRETOLD SCHOOL/ OG SOMEONE WHO HAS BEEN AROUND FOR A LONG TIME AND HAS

VAST STREET KNOWLEDGE OF SOME SORT.PLAYER A PERSON THAT CONTROLS WOMEN FOR THE SAKE OF CHEATING

ON THEM AND OR TRICKING THEM INTO SPENDING THERE MONEYON THEM

PIMPIN SOME ONE WHO ADMINISTERS TO FEMALE PROSTITUTION/ ORSOME ONE WHO HAS SO MANY GIRLS THAT THEY TERM THEM

SELVES PIMPS.BLING THE SHINE OFF OF SOMEONE'S PLATINUM JEWELRY

PLAYA HATER SOME ONE WHO HATES ON PLAYAS OR RATS ON THEM AND SOFORTH

WACK NOT GOOD, WEEK, TERRIBLE

HIP HOP INFLUENCESTITLE HOW THIS INFLUENCED HIP HOP

JAMES BROWN James Brown's music has influenced HIP HOP overall, from hisdancing, call and response, his musical feel, his influence on BREAKBEATS or FUNK DRUMMING. James Brown hired so many influential

drummers and musicians in his band that he pretty much singlehandedly shaped the world of BREAK BEAT MUSIC.

FUNK DRUMMING THE BREAK BEATS. From EARL PALMER to CLAYTON FILLYAU toCLYDE STUBBLEFIELD. these FUNK DRUMMERS created the beats

that made HIP HOP music what it is today.JAMES BROWN GOOD FOOT From what the TWINS say. James Browns movements inspired young

BBOYS dance styles.AFRICAN DANCE / CAPOEIRA

(Angola) The roots to HIP HOP culture is in it's bloodlines. And in CAPOEIRAyou can see the movements and it's similarities to BBOYING.HOOFIN/ TAP / FLASH STYLE(SAMMY DAVIS JR. NICHOLAS

BROTHERS)If you look at certain footwork patterns and steps where SAMMY

DAVIS kicked his feet out, and certain ground moves done by groups

like the NICHOLAS BROTHERS. you can definitely see the influence onBREAKING>


23/34


24/34

in the late 60's early 70's there was a revolution goin on in the streets of NYC. we had some of thesickest gangs rumbling in the parks at midnight, and running the ghetto hoods block by block. Back thenbeing in a gangs like being in a family. and your family was also your entire neighborhood. Some gangsstretched out throughout the entire NYC area, and had chapters in every borough.

BLACK SPADESSAVAGE NOMADSSAVAGE SKULLS

CHINGALINGSGHETTO BROTHERSTHE IMMORTALS

YOUNG SINNERSROYAL CHARMERS

THE SEVEN CROWNSJAVELINS

GLORY STOMPERSBLUE DIAMONDS

Being raised in the Bronx myself, i grew up on east Treomont in Grand Concourse near Echo park (anarea 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 parkwhen i was only around 6-7 years old. i drank my first liquor in echo park with SHORT STOP from thejavelins, i smoked my first cigarette picking up buts off the streets while playing hookie at age 7, i startedmy first fire by echo park during school hours and watched the smoke rise till pedestrians yelled at meand i ran, i also learned my first tag and was givin the name "lil KOOL KAT" by my older sister. i washung 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 outthe window. lol. i was always finding 007 knives, stilettos, and broken clackers (a toy that had two heavyballs 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 upin 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 ina war zone at times. hearing gun shots in the allies at night and seeing the blood stained streets the nextmorning on your way to school. that was mine and every other young kids life in the south Bronx duringthese times. back the rumbles could start over any thing from stepping on some ones shoes, messingwith the wrong girls, or being in the wrong turf and not removing your colors (gang jacket). The southBronx 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, handgrenades, 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 fromone side to the other. Another test was RUSSIAN ROULETTE, and as brotha LUCKY STRIKES put it in thebook YES YES YALL. Allot of potential gang members were left dead in abandon building, with the policethinking it was suicide and not a gang recruiting ceremony.

GANG INFLUENCE ON HIP HOP


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MUSICIn every aspect of HIP HOP culture there is a connection of some sort of gang influence. in many casesHIP HOP heads were gang members them selves. lets take the DJ for example. while KOOL HERC gainedrespect from gangs by doin his thing, he was also shoutin them out on the mic, and keepin the peace inhis 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 doorsof jams. Then of course we have one the South BRONX's biggest gang leaders who turned his gang intothe 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 BLACKSPADES, and soon turned the SPADES into the ORGANIZATION, and eventually the ZULU NATION. theywere the the biggest and most feared as well. Aside from BAM there was DJ DICE from CHUCK CHUCKCITY CREW, DJ FLASH and the CASANOVA CREW, and many other DJ affiliations. gangs would show up tojams often to gain there respects, and if that didn't happen, to break sh%t up. but one of the mostfamous chants to come off during a ZULU jam was when a gang called THE GESTAPO would show up. andback the the ZULU mc's would get the crowd to chant ZULU!, but the Gestapo crew would respondGESTAPO!, in the end the mc would chant ZULU! and the whole crowd would chant back GESTAPO! and itbecame 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 certaindance that they did before going to war. it was sort of like a gang member imitating what he will do to hisenemy 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 emulatedby 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 onthe streets. RUBBER BAND was also said to have laid the foundation of the dance with JERKS and BURNSand 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 DYNASTYROCKERS. (for more info on uprockin"UNITEDUPROCKERS").

GANG INFLUENCE IN WRITING/GRAFFITIThis 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 therehoods with graffiti. allot of writers came from gangs, and while writing can be argued as being an elementof HIP HOP, there were tons of writers that had nothing to do with HIP HOP and weren't even black orLatino. 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 herbus 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)
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in 1955 in KINGSTON JAMAICA, a child was born who would eventually end up in one of the darkestghettos 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 BRONXthe culture: HIP HOP

Clive Campbell migrated to New York's west BRONX when he was only 12 years old. When the youngClive 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 KENNETHhad. 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 thesounds and culture of his JAMAICAN roots, toasting, and the dubbing (mc'in and dj'in) that the DJ's hadin his original birth place was instilled in his soul. He eventually got a system of his own and began dj'inlocally to help make money to buy his lil sis some school clothes. His first DJ gig was a party in 1520Sedgwick. in a small recreation center that his sister rented for about $25, and they would charge about25 cents for girls and 50 cents for guys at that time. He began to throw many parties there before apredominantly African American crowd (at this time the Latinos were more heavily into LATIN DANCE andDISCO). 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 downsof instrumentals, and drum solos. He new that by extending the break he could lock the crowd into astate 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 hebegan buying two copies of each record, (which he would soak the labels off so that other DJ's couldn'tfind out what records he was playing) and began to manipulate the turntables when the break ended onone turntable he would start it all over again on the next turn table, and would do this over and over untilhe 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 thatherc named his crew the herculoids, but he son clarified that the name herculoids was a name he gave tohis sound system. It was so loud that no other DJ could compete with him in a park jam battle which ayoung up and coming DJ by the name of Africa Bambaataa found out when he was blown away by herc'ssystem in a battle. Herc owned what was known as a macintosh amp, which at the time was the mostrespected power amp, and also had sure speaker columns, he dubbed his system the "HERCULORDS" andhis distinct sound was based on his heavy bass. he was also quoted saying that the only person that wasclose to him ion his time was a kid named "SMOKEY". herc began playing in clubs like twilight zone, andeventually the hevalo club. as his fame grew other DJ's began to make there contributions to hercssound. 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 thelargest, and the most versatile. Bam was also the leader of the largest ghetto organization in NYC. TheZULU NATION. And eventually landed a major deal on TOMMY BOY RECORDS along with mc's POWWOW, 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 claimalong with DJ THEODORE for inventing the scratch., FLASH was also the DJ for one of the most influentialhip 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 youngerbrother of a well known DJ "MEAN GENE" and part of a crew called "THE L BROTHERS" and he eventuallybecame 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 bestremembered 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 DJMC'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 manyDJ'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 AfricanAmerican and Latino youth.AFRICA ISLAM: Known as the son of BAMBAATAA, he was a bboy/ DJ, and had the perfect feel for


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playing breaks for the hardcore bboys. he had a crew called the MAY BERRY CREW with mc's DONALD Dand KID VICIOUS.GRAND MIXER DST: Besides being a dope BBOY / DJ / PRODUCER. DST had incredible DJ skills, andrecorded 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 scratchfor every name that GLOBE CALLED out. He is no longer with us and will be missed by all OG HIPHOPERS.


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OTHER INFLUENTIAL DJ'sthere were many DJ's that were around during the creation of HIP HOP culture, but most were known asmain stream, and disco DJ's. it is the opinion of many that herc was known as the DJ of the ghettos, andfor focusing his sound on break beats rather than disco. These are some of the big DJ's of that time whostill had a major influence on hip hop culture.

KOOL DJ DEEDJ TEX

DISCO KING MARIO

JOHNNY THUNDER BIRDHOLLYWOOD

GRAND MASTER FLOWERSDJ PETE DJ JONES

EDDIE CHEEBATHE BREAK BEAT

(the percussive part of many SOUL, FUNK, and R&B records)


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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 HIPHOP rhythms have it's origin in AFRICAN MUSIC. But to be specific we have to go back to the mostinfluential DRUMMERS, of the time period when FUNK music with break beats were being recorded.

EARL PALMERROGER HAWKINSCLAYTON FILLYAU

CLYDE STUBBLEFIELDMELVIN PARKERJAMES "DIAMOND" WILLIAMSJAMES GADSONAL JACKSON, JR.ANDY NEWMARK

DAVID GARIBALDIJOHN "JABO" STARKS

MAURICE WHITERAY TORRESMIKE CLARK

And many more drummers contributed to the sound that molded what HIP HOP is today. This particulardrum sound was said to have been created in NEW ORLEANS. According to the book "GIVE THEDRUMMER 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 banddrummers who fused Latin percussion influences from the AFRICANS in NEW ORLEANS native landBRAZIL. Add the sounds of new Orleans jazz to this gumbo and you have a unique sound that jazzdrummers would imitate but only on one drum kit (as opposed to hundreds of drummers) this added awhole new syncopation to the drum patterns of that day which was like a revolution in music. You seeaccording to CLAYTON FILLYAU, when he started playing for JAMES BROWN, he refused to have the bandlean on him as just a live click track, he pretty much made it clear that he was doing his thing and othermusicians better keep up. When CLAYTON played on live at the APOLLO. That became a major breakthrough 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 whatAFRIKA 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 wasreferred to as a "JAM" no matter how far you were, once a DJ started playing these beats. People wouldgather 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 wasso 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 offthere 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 lineconnection to the tribal pasts of these young African American, and Puerto Rican teenagers. A DJ wouldtease the crowd with the opening of a funk song with the vocals singing over the beat, guitars, andhorns. But once that break would kick in, the crowd would get down harder and the DJ would thenmanually extend the break with two turntables and back spinning the records in such a way as to get thecrowd in a frenzy. By show casing the DJ's speed, and precise on time cuts. The crowd would respond bygetting down harder with there latest moves and dance. But to get the crowd into the grooves evenharder the DJ's started introducing vocalists that would chant, and crowd please and keep the peoplepartying. These vocalists were called "MC'S".

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


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One of the most forgotten arts of HIP HOP is undoubtedly the art of finding break beats. it seems thatmost of today's DJs are more focused in showcasing there skills than finding funky new ill breaks fromobsolete rare records and impressing the crowds with a new beat. this art form was probably the mainelement that actually kept people comin back to jams. just to hear what new beats there favorite DJwould surprise the crowds with. Besides keepin the party rockin and making the people move. DJs werealso known for certain break beats that they introduced to the HIP HOP ears. KOOL HERC was known forwashing off record lables and replacing them with different ones so that other rival DJs would not knowwhat 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 DJswould buy there breaks at were places like "the RHYTHM DEN", or "DOWNSTAIRS RECORDS". back in theearly 70's it was all about the rare breaks. scratchin, and cuttin was a the criteria of the future, but in 73it was all about your sound system, and who had what record that nobody else had. that was the marksof respect. Also look at the articleBEAT QUEST.

THE MCIn 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 "TheName 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 (mamajoke) 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, attimes the most vital attractions as well. They were the stars of the show mainly because they were themost heard and most exposed out of all of the other elements of a jam. While the DJ was spinning thephattest break beats that made other DJ's wanna find out what that record was, the mc was manipulatingthe crowd with there clever word play. This eventually lead too mc's forming a crew with the DJ andthrowing bigger jams that would include battles to see who had the tightest crew. The first mc on recordto rhyme over break beats was a mc by the name of "COKE LA ROCK". KOOL HERC featured "COKE LAROCK" in his earlier jams to fill in and crowd please while Herc was spinning records. The next mc (onrecord) 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 onesand 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 andalong with his crew mates THE TREACHEROUS 3 (LA SUNSHINE, SPECIAL K) they had consecutive ghettohit 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 WEREWHIPPER WHIP: He had the smoothest voice and precision delivery.DATA ROCK: Also a great mcCOWBOY: 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 understandthe history of this dance. In researching bboy history, i found that there were many names being tossedaround 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 wouldconstantly come up were groups like "CRAZY COMMANDERS", and "SAL SOUL". I found myself just likeevery other bboy seeking history very confused. but only up until a an event that took place in Ohio onSept. 10-11 1999. in this panel discussion we were finally abel to bring THE NIGGA TWINS as well asBBOYS TRAC 2, and JOJO. two sets of bboys representing two different generations. and i must say thatfireworks were bursting in the room that day. but in the end when the smoke cleared i was able to scrapeup this breakdown, which is still based on my thoughts of what took place between these two generationsof 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"
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Now before i get into this section, there is an important issue that needs to be cleared up. during theearly 70's the original bboys were mostly if all African American. in the Bronx we had a mixture of bothblack 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 bothdance 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 whowas the first bboy ever? and the first name they mentioned was "JAMES BROWN". they felt that Jamesset the pace in the dance that they did, and in examining what they did during there era, there is sometruth to that. you see the original BBOYS from the early 70's didn't break the same way we were breakingin the mid 70's. and if you ask them what they think of the bboys from the mid 70's ear they will straightup say "it's dope but it ain't bboyin". what bboys like the twins consider bboyin is a totally different styleand foundation than the "TOP ROCK , FOOTWORK, AND FREEZE" foundation that we teach today. thereare many truths to unveil about early bboys. so lets start with the name. the name "BBOY" was actuallynot the name of every kid that breaks, but an actual phrase coined by the father of HIP HOP "DJ KOOLHERC". 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 thatwere getting down in his jams. dancers like

KLARK KENTTHE AMAZING BOBO

JAMES BONDSAU SAUTRICKSYTHE NIGGA TWINS

EL DORADO MIKEand more

these dancers were among the most respected bboys in the bronx in the early 70's, and they werecalled the bboys. to them the word BBOY was like the name of there specific crew. how did the this wordbecome an actual title for the dance? my guess would be that the legend of these dancers wouldeventually carry the word BBOY to represent the name of the dance to all the young up and comingdancers who followed there footsteps. in my experience as a young HIP HOP dancer in 1976. the wordBBOY was any body who was BREAKIN at the time. but in any event, we excepted this name and till thisday it is still the best descriptive term for the dance. although there were many expressions during the70's that people used to describe the actions of breaking. terms like "GO OFF" were popular was that wewould 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 therething. 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 theoriginal BBOYS were more like "THE SLING SHOT", "THE FRANKENSTEIN", and "THE DRACULA" lots ofstand up dancing that involved allot of shuffling, and was very funky, and there was also sweeps andground moves similar to what SAMMY DAVIS, or the NICHOLAS BROTHERS would do. And in examiningthere top rock style (vertical dance), it was totally different than bboys of today. they seemed to have awhole 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 theFurious 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, andeven objects around him. and one time he started gettin down on the ground in an out d

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