HISTORY OF HIP HOP
The Bronx was a rough place to grow up in the 70’s. Kids were surrounded by drug use, crime, gang violence, and a general air of defeat. Restless, yet refusing to be a victim of their circumstance, the youth started to dabble in different kinds of art. These art forms – whether it was music, dance, graffiti, fashion – soon became a lifestyle. A lifestyle known as Hip Hop. They embodied Hip Hop in the way they dressed, talked, expressed themselves, and treated their community. The values of Hip Hop are still alive and powerful. In whatever form, Hip Hop is characterized creativity, identity, self-expression, originality, and respect. Hip Hop is a movement that represents the freedom to learn, grow, and evolve.
It is still the same movement it was in the 70’s – the one that gave the inner-city youth the motivation to live a better life. And in order for you to be Hip Hop, you must actively participate in the culture.
Hip Hop Dance is a style of dance with deeply rooted historical, social, cultural contexts that trace back to the African and Afro-Caribbean diaspora. In this article, we’ll talk about Hip Hop’s history from the 1970’s in the Bronx, New York. We’ll also examine how Hip Hop culture, specifically Hip Hop dance, influences our lives in the present day.
DJing and turntablism are the techniques of manipulating sounds and creating music and beats using two or more phonograph turntables (or other sound sources, such as tapes, CDs or digital audio files) and a DJ mixer that is plugged into a PA system. One of the first few hip hop DJs was Kool DJ Herc, who created hip hop in the 1970s through the isolation and extending of "breaks" (the parts of albums that focused solely on the percussive beat).
Emcee: an acronym for the Master of Ceremonies. Emcees began as hosts at hip-hop parties who would prompt the breakers to dance. Influenced by original spoken-word artists, emcees began to do rhythmic call-and-response with the audience, a technique that eventually morphed into the poetic form of rapping that we know now.
Graffiti: hip-hop’s visual element. The modern form of graffiti or "graff" actually began before hip-hop music and dance, but it quickly became a part of the culture as many graffiti artists grew up in the same area as other hip-hop artists. Many graffiti artists are emcees, deejays, and/or breakers.
Breaking: The dance element of hip-hop, performed by dancers called B-Girls or B-Boys. Birthed in the late 1970s in New York, breaking blended movement styles such as jazz and martial arts with dance styles from the Caribbean, Latin America, and Africa. B-Girls and B-Boys got their name because they danced over the DJ’s "breaks" at hip-hop parties in the Bronx.
THE ORIGINS
Kool Herc real name (Clive Campbell) emigrated to the Bronx in 1967 when he was 12 years old. While attending Alfred E. Smith High School he spent a lot of time in the weight room. That fact coupled with his height spurned the other kids to call him Hercules. His first deejay gig was as his sister’s birthday party. It was the start of an industry. 1520 Sedgwick Avenue. The address of Herc’s family and the location of the recreation room where he would throw many of his first parties as the DJ.
Herc became aware that although he new which records would keep the crowd moving, he was more interested in the break section of the song. At this point in a song, the vocals would stop and the beat would just ride for short period. His desire to capture this moment for a longer period of time would be a very important one for hip hop.
Herc would purchase two copies of the same record and play them on separate turntables next to each other. He would play the break beat on one record then throw it over to the other turntable and play the same part. Doing this over and over, he could rock any house in NY. (Not to mention it being an early form of looping that would be made easier through electronic sampling.)
He would dig in crates and look everywhere to find the perfect break beat for his parties. He didn’t care what type of music, because he only needed a small section of a song for his purposes.
His first professional DJ job was at the Twilight Zone in 1973. He wanted to get into another place called the Hevalo, but wasn’t allowed…yet.
His fame grew. In addition to his break beats, Herc also became known as the man with the loudest system around. When he decided to hold a party in one of the parks, it was a crazy event. And a loud one. At this time Afrika Bambaataa and other competing DJ’s began trying to take Herc’s crown. Jazzy Jay of the Zulu Nation recalls one momentous meeting between Herc and Bam.
Herc was late setting up and Bam continued to play longer than he should have. Once Herc was set up he got on the microphone and said “Bambaataa, could you please turn your system down?” Bam’s crew was pumped and told Bam not to do it. So Herc said louder, “Yo, Bambaataa, turn your system down-down-down.” Bam’s crew started cursing Herc until Herc put the full weight of his system up and said, “Bambaataa-baataa -baataa, TURN YOUR SYSTEM DOWN!” And you couldn’t even hear Bam’s set at all. The Zulu crew tried to turn up the juice but it was no use. Everybody just looked at them like, “You should’ve listened to Kool Herc.”
Finally his fame peaked and at last, in 1975, he began working at the Hevalo in the Bronx. He helped coin the phrase b-boy (break boy) and was recently quoted as saying he was “the oldest living b-boy.”
DJ Kool Herc actually goes into a deeper meaning of the word b-boy. He describes the true meaning of it as an individual who has reached a breaking point or is "broken," and they're letting all their energy out onto the dance floor. It was meant to be a way for rival street gangs to fight for turf. The best dancer of one group would come out and "battle" the best dancer of the other gang. Breaking, along with other elements of hip hop is what gave the kids of that time an outlet. It was a time where they felt like they were out of control. This way, they had the opportunity to create something that was their own.
Naturally, a huge part of b-boying and hip hop is the art of the battle, where one challenges the other to test their skills and see who is the most dominant. It's through the constant challenging of skills that has lead this movement to evolve to what it is today.
As competing DJ’s looked to cut in on the action, Herc would soak the labels off his records so no one could steal his beats. Grandmaster Flash had another story about Herc in his heyday Flash would go into the Hevalo to check out Herc, but Herc would always embarrass him. He would call Flash out on the mike and then cut out all the highs and lows on the system and just play the midrange. Herc would say, “Flash in order to be a qualified disc jockey…you must have highs.” Then he would crank up the highs and they would sizzle through the crowd. Then he would say, “And most of all, Flash, you must have…bass.” And when Herc’s bass came in the whole place would be shaking. Flash would get so embarrassed he would leave.
After a while spinning the records got to be an all intensive thing and Herc wouldn’t have as much time to talk to the crowd and get them going. He needed someone else to help out and act as the Master of Ceremonies for him. And thus, for all practical purposes, Coke La Rock became the first hip hop MC ever. Another club that Herc rocked was the Sparkle located at 174th and Jerome Avenue in the Bronx. This was the spot that came before the Hilltop, 371 (DJ Hollywood’s spot) and Disco Fever. In 1977, Herc’s career began to fall. The rise of Grandmaster Flash and Furious Five, and Bambaataa’s various crews with their polished emcee styles put Herc at a disadvantage. One night he was stabbed three times at his own party and his career never fully recovered. He appeared as himself in the film Beat Street.
Kool Herc played his last Old School party in 1984. Most recently he has appeared on Terminator X’s release “The Godfathers of Threat” and with the Chemical Brothers on their album “Dig Your Own Hole.”
Similar to Bambaataa he does appear in Europe and New York from time to time. Although he is not part of the hip hop vocabulary of most of those who listen to it these days (unfortunately), Kool Herc is the father of this underground sound from New York that found its way to becoming a worldwide phenomenon.
Kool Herc lives on…
THE INFLUENCES
MUSIC
When it comes to the original b-boys and girls of Hip-Hop culture, there is an overwhelming collective of influences. The idea of the groove connected with a couple of universal accolades, one of them being the Godfather of Funk and Soul, James Brown.
James Brown has influenced the art of breakin’ in many ways. The music of James Brown was the most played by DJs at jams. James Brown records were among the records with the highest groove because of the break section. Mr. Brown made sure he always had a grand drummer in his band. The magical handiwork of Clyde Stubblefield and Clayton Fillyau are James Brown’s most resonant in the Hip-Hop community.
Not only did the tunes of James Brown influence the breaker, but his all time classic moves laid down the blueprint for the hip-hopping b-boy and girl. While the adults of the Bronx and downtown Manhattan nightclub goers were obsessed with “The Hustle”, the youth was getting hip with the funk bound moves of James Brown. His 1972 single, “Get on the Good Foot” became a nationwide hit and chart shiner and took over the style of dance for youth in the black community. The dance routine by Mr. Brown for “Get on the Good Foot” became an instant mimic of funk lovers. The routine was filled with energetic rapid dancing that had focal emphasis on drops and spins to the floor. The routine became known as “The Good Foot”.
James Brown is indeed the core influence of the boogie boy and boogie girl. But what lead to the time of James Brown? The influencers of James Brown have a lot to do with why the Black community is to in tune with the art of dance and funk vibes. It actually goes so back to the beginning of time.
In the late 1910s to the early 1920s, the flash and style seen in the moves of Black Vaudevilledancers put the people in awe. Black Vaudeville dancers in the likes of Alice Whitman, who is known as the greatest female tap dancer of her time and Bill Robinson a.k.a. Bojangles, who is admired for his lavish footwork are icons who the early b-boys and girls mimicked their moves from.
Considered by many as the greatest tap dancers in history, during the 1930s, Fayard and Harold known as the Nicolas Brothers were a phenomenon. Their inclusion of flips, twists, acrobatics, spins and signature floorwork was one of a kind. The true boogie boys and girls took also after the craft of the Nicolas Brothers.
TAP DANCE
MARTIAL ARTS
In the mid to late 70s, Kung-Fu films were very popular in New York City and all over the world. Kung Fu movie stars like Bruce Lee, Jet Li, Sammo Hungand many others became idols to New York City youth because of their amazing, complex moves of combat.
In the 80s, every night it was a fad for the youth to head to Times Square in Manhattan aka The Deuce to catch the latest Kung-Fu flicks. The Deuce was packed with New York City youth from every borough, The Bronx, Brooklyn, Queens, Harlem, and Staten Island. At the time, the movie theaters in Times Square were showing Kung Fu flicks.
There are over a tenfold of martial arts moves that transferred into the life of breaking. Most of these moves are known to be power moves. Power moves are moves that require intense speed, spinning, impulse, rotating and several acrobatic like movements. One of the most popular power movies is The Windmill. The windmill is a power move that came from a Kung Fu movie. With the use of the elbow, stomach, feet, legs and back, breakers found a way to rotate back to their fronts.
FUNK DRUMMING
Breakbeats were addictive to hear for a reason. Breakbeats were extracted from classic funk and soul songs from the 60s and 70s. When hip hop started to brew, it was mostly the youth who paved the way. The youth was influenced by the funky sounds their parents used to blast in their homes. You can almost say parents made hip hop lol. The reason why many DJs had vicious record collections was because their parents were hardcore disco funk lovers. That passion for the sound of funk was passed down to their offspring, birthing the youth of hip-hop culture.
The art of funk drumming is the core of the breakbeat. DJs and b-boys were pretty spot on when it came to identifying funk drummers. James Brown is responsible for the most classic breakbeats in history. The funk drumming heard in the tunes of James Brown, made his drummers all time legends. Clayton Fillyau, John Starks and Clyde Stubblefield are exalted for their hand work. These men set the foundation for funk drumming in the late 60s to early 70s and were Mr. Brown’s main drummers. Talk about funk power. Classic songs such as “Sex Machine”, “Super Bad”, “Funky Drummer” and “I’ve Got Money” bestowed the most used breakbeats in the history of hip-hop b-boying.
Now, it was not just the drummers of James Brown that posed with the best breaks. Maurice Whitewho is best known as the founder of Earth, Wind and Fire and Earl Palmer who worked the drums for class acts in the likes of Little Richard, Sam Cooke, Ray Charles, Frank Sinatra are also known for their craft of funk drum beats.
THE MOVES
Breaking/Rocking started in 1969. That was the year that James Brown recorded "Get on the Good Foot," a song that inspired an acrobatic dance based on the high energy moves that Brown performed on stage. Soon, kids in New York were doing the Good Foot -better known as B-Boy(short for Break Boy)- which was the direct precursor to the sort of breaking we know today.1969 was also the year that Afrika Bambaataa started organizing ghetto youth into one of the first Rocking/breaking crews: The Zulu Kings. The Zulu Kings won contests and talent shows. They performed their moves at dance clubs. Bambaataa recognized the potential for acrobatic dancing, and he encouraged young people to stick with it. But most people thought the Zulu Kings were just another gang.When the Zulu Kings were challenged by a rival street gang, Bambaataa, they called for a break in the usual street warfare and suggested that the two groups fight with steps rather than weapons. Sure enough, the rival gang was just as ready to square off with dance steps as they were with knives and chains. Afrika Bambaataa's followers grew into the Zulu Nation which was 5000 strong. The kids in the Zulu Nation would rather dance than fight, and breaking (a term invented by Afrika Bambaataa) became an integral part of hip-hop. These dance battles gradually evolved into a highly stylized form of mock combat called "Uprock". In an uprock battle, a dancer would lose if he actually touched his opponent. A B-Boy named Rubberband is credited with developing Uprock. Breakin' was originally known as "Rocking". "Old Style" breakin' and B-Boy'n consisted only of floor work ("Floor Rock" or "down rock") and "top rock" (dancing on two feet, like the Moonwalk). Acrobatic moves such as the headspin had yet to emerge. Floor Rock involved complicated leg moves. Athletic young men found it was a good way to win dance contests.
B-Boy'n was especially popular in the South Bronx, where rival gangs would battle over turf, or just to gain each others' respect. Breakin' remained popular until 1977, when a dance called the Freak took over. Meanwhile, another dance was catching on...one which would lead to the development of the Electric Boogie. This dance was called the Robot. People started doing the Robot as early as 1969, but the dance really took off after Michael Jackson danced the Robot while singing "Dancin' Machine" on national TV.
In 1979, a new Rocking/breaking crew was organized called Rock Steady Crew. These dancers were very talented, but breakin' wasn't as popular anymore. People said that Rock Steady were old fashioned. One person who encouraged Rock Steady Crew was Afrika Bambaataa. The kids in Rock Steady Crew were all original members of Bambaataa's Zulu Nation. Bambaataa told them to stick with it. Rock Steady Crew invented many of the "power moves" that made breaking famous. Crazy Legs and Frosty Freeze (who specialized in "freeze" moves) practiced in Central Park, New York and on the streets until they had perfected their routine. They added a lot of acrobatic moves such as the headspin, handglides, backspins, and "The Continuous Backspin" (better known as the Windmill).
The evolution of b-boying started with a couple of moves and eventually grew into a selection of styles.
The word (B-)Boying most likely came from the African word "Boioing" which means to hop or jump, and is just one of the indicators of the influence African dance. It was the African people's dance culture which brought the heavy rhythm and the idea of dancing in a circle, but it was definitely a variety of influences that made up early B-Boying including gymnastics, Eastern martial arts, tap dance, Salsa, Afro-Cuban and Native American dances. One of the most influential dances was a South American martial arts/fighting dance known as the Capoeira. Contrary to many rumors, B-Boying didn't originate from the Capoeira but it played a large role in its early development.
The Capoeira originated in the 16th century and was practiced by many of the millions of African slaves brought to Brazil. Since fighting was not allowed but singing and dancing was permitted, the slaves prepared for their resistance by incorporating fighting moves into their dancing. The fight-dance was performed in a circle with a crowd surrounding it, and as soon as a guard or official came close, the fighting would turn into a dance again. Eventually the dancing the Capoeira became forbidden and most of the slaves who practiced the Capoeira died after their five years of service, yet a few managed to escape into the forests of Brazil. The Capoeira lived on in the forest villages of the escaped slaves and Brazilian slums throughout the centuries until it became legal again in the 20th century. When B-Boying started to become popular, a lot of the Capoeira moves, punches, and spins were integrated into B-Boying. You might hear the terms “rocking”, “popping” and “locking” the most when it comes to b-boy moves. Rocking is actually another term for breaking. In the early days of breaking, all of the moves were done straight up. As the moves of the boogie boy grew, straight up rocking became known as top rocking. Legendary top rock moves include, “The Good Foot” and “Charlie Rock”. The original rockers hailed from all over New York City, but the popular styles mostly came from rockers from Brooklyn, Harlem (Manhattan) and The Bronx.
Rubberband is one of the most prolific rocker pioneers of New York City. He was full of swag and best known for his elite flexibility and rubberlike style. Rubberband was very influential when it came to migrating rocking from the hood streets to the club floors.
THE ROCKING CREWS
Kieth and Kevin Smith, better known as The Legendary Twins and formerly The Nigga Twins, were an American b-boy duo from the Bronx, New York City. The Nigga Twins were members of the Herculoids, a collective led by DJ Kool Herc. They were also members of the first "breaking" crew called “The B-boys." According to a statement made by the Nigga Twines at the Breaking Convention in Europe. The B-Boys or B-Girls is the name of the original crew of dancers that performed at DJ Kool Herc’s parties. The Nigga Twins first began b-boying in 1972, and is among the first generation b-boy crews not to be confused with the second generation crews "The New York City Breakers," "Rock Steady Crew," and many others. The Legendary Twines, were at their most active period during the mid-1970s, which was before many other well-known dance crews had been founded. They were known for their high fashion, such as trench coats, and sported cigars as part of their routines.
THE LEGENDARY TWINS (1972)
THE BRONX BOYS ROCKING CREW (1975)
Back in 1975 Batch, Shark, and Cash formed a graffiti crew, we named it The Bronx Boys (TBB) since we were indeed from the Bronx, TBB fitted us just right. During those old school days Up Rocking and Graffiti were the two best things for the young people growing up in the Bronx and tagging up was what motivated us the most since it contained the substance of what fame was to become of The Bronx Boys Rocking Crew
ZULU NATION/ZULU KINGS (1973)
The Zulu Kings were created on the same day as Zulu Nation, November 12 1973, They were to be the Offical Bboy Crew for the Zulu Nation. This Concept came about since the five brothers who helped Afrika Bambaataa organize the Zulu Nation, were all Bboys!
The orginal members were Ahmed Henderson, Aziz Jackson, Mentioned in the movie Scratch, Shaka Reed, Kusa Stokes and Zambu Laner.
SALSOUL CREW (1974-76)
Found by Joey which opened a teen club called Dungeon in a abandoned building which he bought from a South Bronx Renovation Act. He opended up the Dungoen allowing in a new generation of B-Boys who had aleady been learning hw to b-boy from Trac and his crew. Joey started to recruit thes younger guys as he apparently wanted to try and recapture the early days with the SALSOUL crew. Joey originally formed TDK The Disco Kids Crew. While not one of the most well known crews these days, The Salsoul Crew were truly pioneers in the b-boy world.
During the years 1974-1976 they were the most feared crew in the Bronx.
DYNASTY ROCKERS CREW (1973)
In 1973 Danny Boy ( Danny Negron) and Carlos Perez created the legendary Dynasty Rockers. Manny Figueroa, Eddie Figueroa, Danny Boy and Carlos were the first Dynasty members.
The popularity grew which gave way for several branches of the crew. The Junior Dynasty dancers and Girl Dynasty Dancers were organized and also uprocked on the scene. Not only did the Dynasty Rockers bring new skills to uprocking, but they were the first nongang affiliated crew to flash the word "Rockers" on their "Colours".
Star Child LA Rock (1977)
BLUE, TRAC2, P.BODY170, BOS, AND DANNY DAN
There was a graff writer named RCA ( Mark ) founder of the writing crew BF ( Bronx Family) one day came to our club house (an abandoned buliding) and tagged on our wall, RCA BF La Rock StarChild. a week later Bos, Blue,and myself was trying to think of a name to create our own crew, as i turn and looked at the wall i noticed what RCA wrote under his name, so out of Respect to him we aprpoached him at the school yard and ask for permission if we could use the name La Rock StarChild and he said yes, as he we were heading back we came up with the idea of changing it to StarChid La Rock, so when we got back we noticed that the wall was baby blue and he wrote his name with a dark blue marker, so that became our crew name, and made our shirts baby blue with dark blue lettering.
MASTERMIND ROCKERS (1977)
CRAZY COMMANDOS CREW (1976-77)
.All Latino Bboy crew from burnside Avenue including the infamous "man of thousand moves" Spy.
.All Latino Bboy crew from burnside Avenue including the infamous "man of thousand moves" Spy.
ROCK STEADY CREW (1979)
.All Latino Bboy crew from burnside Avenue including the infamous "man of thousand moves" Spy.
DYNAMIC ROCKERS (1978-79)
Hailing from Queens, the Dynamic Breakers were actually a spin-off group from the larger Dynamic Rockers crew. It was the Dynamic Rockers who had the, now legendary, battle with the Rock Steady Crew in front of Lincoln Center; as well as the U.S.A. (United Skates of America) battle seen in the documentary, Style Wars. The group was formed by Eddie Ed (Osvaldo Luna).The Dynamic Rockers’ style of b-boying incorporated gymnastics and acrobatics, as well as the traditional footwork and uprocking styles of their Bronx counterparts. It was something that (even to this day) some b-boy purists say is not “true” b-boying…but it was to be precisely this style, which had more visual appeal (particularly to the uninitiated), that would later propel the art form into the mainstream.
FLOOR MASTERS (1981)
.4 crews came out of the "Floor Masters Crew", the New York City Breakers, Maginificent Force, Incredible Breakers and the Body Mechanics. Floor Masters was the freshest crew in that period that served any other crew strictly Bronx Boys. The crew started in the year 1981.
NEW YORK CITY BREAKERS (1982)
The New York City Breakers are a breaking crew from the Kingsbridge section of the Bronx originally known as the Floor Masters Michael Holman an up-and-coming filmmaker who promoted Hip-Hop parties at a night club called Negril.
ROCKWELL ASSOCIATION
Shorty (First Godfather of rockwell assoc.) (according to Rubberband)
The group included Willie, Carlos, Victor, Hector, Pops, Rubberband, George, and Shorty.
tito and macho were members of RCA Rockmasters in1976 a puerto rican crew near tha tremont section of tha bronx on 180th ST. on South Blvd which later became Rockwell Association
Rockwell Association also gave birth to Floor Masters Tops by giving spanky tha crew name !
Willie Will (Rockwell assoc.) .....1978 march 23rd a crew battle between Rockwell assoc. vs CC crew in a last man standing crew battle with willie will vs. spy....wil being tha winner!(told by rubberband)
AIR FORCE CREW (1984)
This was an offshoot of one of the early West Coast Crews known as The Shake City Rockers.
In 1984, some of them dropped out of the b-boy scene and Cesar started up the new crew.
Ceser is also well respected today because of his efforts to continue the b-boy movement today. He helped revitalize the RadioTron into a club that people come to dance and host battles.
Kid Tuff was a member of the group The Unique Dominos before joining Air Force.
Crew Members: LiL Cesar, Mr Animation, Kid Tuff.
LONDON ALL STARS (1985)
BROKEN GLASS UK (1983)
Back in 1984 Manchester’s Broken Glass were the best-known breakdance crew in the UK, appearing on a whole host of national TV programmes ranging from the cutting-edge music show, The Tube, to children’s favourite “CBTV”, and even popping up at peak-time on a Saturday night (ITV’s “Some You Win”). The Broken Glass Street Crew originally came together in the summer of 1983, busking in Piccadilly Gardens in Manchester city centre. They were true pioneers of British breaking (Kermit, a founding member, would be the first UK breakdancer photographed for a national publication). At this point in time, Manchester was at the heart of the underground Electro-Funk scene, from which the early British b-boys (and fly girls) emerged, and I was the DJ at the North’s leading specialist black music nights of the era, Wednesday at Legend and Tuesday at The Pier, in nearby Wigan. I’d also taken over the Friday night at The Haçienda, then very much an alternative venue, and, in addition to this, would appear at the clubs Saturday night sessions, playing for an hour each week, and introducing their regular crowd to the New York Electro that held sway on the black scene. Crew Members ( Kermit, Raymond Campbell, Kevin Lowe, Royston Swanston, Tim Ford aka Bones, Danny Price, Dave aka The Wave, Davy T, Stephen Morris, Kevin Morris, Michael Morris, Swanny, Benji Reid, Greg Wilson.
SECOND TO NONE CREW(1985)
Second to None was formed in 1985 by Steve Kerr, Paul Spencer, Terry Shaw and Tony the Pencil. It was made from members of the Bournemouth crews: “Shock City”, “South Style”, “Universal Rockers” and “The Masters” from Portsmouth and Southampton. Shortly after, they started a practice session at a club called, “Madison Joe’s” which became the centre of the hip hop universe on the South coast of England. Since the 1980’s STN never gave up breakin, no matter how much abuse they received from the fashion victims and larger louts. In 1989 they ventured out to Europe and were surprised to see a vibrant scene still going strong, so through the 90’s they started to go out there more often to jams and took part in some of the most seminal battles of all time which influenced alot of people to get back into training, especially in the USA. in 1996 and 1997 they won the UK Bboy Championships and cemented their reputation as the best and most influential crew to have ever come out of the UK.
Shock City Crew, Universal Rockers and South Style Crew eventually merged into Second to None in 1985. This new crew would practise their moves in The Pavilion Theatre ballroom, The Academy in Boscombe or outdoors on a lino for hours on end.
The members are (from left to right): Nick Palmer, John Isaacs, Paul Spencer, Darrel Hardin, Tony Penfold, Nathan Losado, Asa Hardin and Adam Renshaw.
SHOCK CITY UK (1984)
UNIVERSAL ROCKERS UK (1984)
SOUTH STYLE UK(1984)
INCREDIBLE BODY MECHANICS (1982)
MAGNIFICIENT FORCE (1983)
This combined super group of b-boys consisted of dancers from various crews.
Tangerine was one of the top female poppers ever.
SPARTANIC ROCKERS (1986)
Founded in Bern/Switzerland in spring 1986.
The members are located in Switzerland & Japan and some are pioneers and first generation of the dance in their country. The crew is well known all over the world for creative and theme-based shows.The fundamental idea of the crew was and still is friendship.
That's probably also why throughout all the years almost the same people sticked together which is very unusual for a B-Boy crew.
First generation dancers from Switzerland and Japan. International judges and event organizers. Oldest still active website about the dance in the world wide web.
Crew Members: Defice, Zed, Madmonty, Remy, Takeo, Hiro, Tsuyoshi, Go, Tomo, Bay, Tiger (R.I.P Jo.
WOLVERHAMPTON BBOYS UK (1987)
THE LEGENDARY BATTLES
NEW YORK CITY BREAKERS VS ROCK STEADY CREW
ROCK STEADY CREW VS FLOOR MASTER (1982)
ROCK STEADY CREW VS DYNAMIC ROCKERS (STYLE WARZ)
This performance, which was also a battle with rival b-boys from The Dynamic Rockers, was crucial not only because it was covered by local television stations, The New York Times, The Village Voice, The Daily News, and National Geographic, it would later gain them worldwide exposure.
Hailing from Queens, the Dynamic Breakers were actually a spin-off group from the larger Dynamic Rockers crew. It was the Dynamic Rockers who had the, now legendary, battle with the Rock Steady Crew in front of Lincoln Center; as well as the U.S.A. (United Skates of America) battle seen in the documentary, Style Wars. The group was formed by Eddie Ed (Osvaldo Luna).The Dynamic Rockers’ style of b-boying incorporated gymnastics and acrobatics, as well as the traditional footwork and uprocking styles of their Bronx counterparts. It was something that (even to this day) some b-boy purists say is not “true” b-boying…but it was to be precisely this style, which had more visual appeal (particularly to the uninitiated), that would later propel the art form into the mainstream.
