#Los angeles female breakbeat djs professional

Hip-hop’s dance tradition, the kinetic counterpart to the sound scape of rap music and the visuals of graffiti art, is properly known as b-boying.” The Boston Globe: “Lesson one: Don’t call it breakdancing. To those who knew it before it was tagged with the name breakdancing, to those still involved in the scene that they will always know as b-boying, the tradition in alive and, well, spinning.” NPR: “Breakdancing may have died, but the b-boy, one of four original elements of hip-hop (also included: the MC, the DJ, and the graffiti artist) lives on.

#Los angeles female breakbeat djs professional

Santiago “Jo Jo” Torres Rock Steady Crew: “B-boy…that’s what it is, that’s why when the public changed it to ‘break-dancing’ they were just giving a professional name to it, but b-boy was the original name for it and whoever wants to keep it real would keep calling it b-boy.” Richard “Crazy Legs: Colon Rock Steady Crew: “When I first learned about the dance in ’77 it was called b-boying…by the time the media got the hold of it in like ’81, ’82, it became ‘break-dancing’ and I even got caught up calling it breakdancing too.”Īction New York City Breakers: “You know what, that’s our fault kind of…we started dancing and going on tours and all that and people would say, ‘oh you guys are breakdancers’ – we never corrected them.”

The obvious connection of the term “breaking” is to the word “breakbeat”, but DJ Kool Herc has commented that the term “breaking” was slang at the time for “getting excited”, “acting energetically” or “causing a disturbance”.įor those immersed in hip-hop culture, the term “breakdancer” may be used to disparage those who learn the dance for personal gain rather than for commitment to the culture. DJ Kool Herc is a Jamaican-American DJ who is responsible for developing the foundational aspects of hip-hop music. The original terms arose to describe the dancers who performed to DJ Kool Herc’s breakbeats. The terms of “b-boy” (break-boy), “b-girl” (break-girl”, and “breaker” are the original terms used to describe the dancers. The dance itself is properly called “breaking”, according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC. The term “breakdancing is also problematic because it has become a diluted umbrella term that incorrectly includes popping, locking, and electric boogaloo, which are not styles of “breakdance”, but are funk styles that were developed separately from breaking in California. Purists consider “breakdancing” an ignorant term invented by the media that connotes exploitation of the art is used to sensationalize breaking. Although widespread, the term “breakdancing” is looked down upon by those immersed in hip-hop culture. The terminology used to refer to b-boying (breakdancing) changed after promotion by the mainstream media. The majority of the pioneers and most notable practitioners prefer these original terms.

Although the term “breakdance” is frequently used to refer to the dance, “b-boying” and “breaking” are the original terms. B-boying is typically danced to hip-hop, funk music, and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.Ī practitioner of this dance is called a b-boy, b-girl, or breaker.

While diverse in the amount of variation available in the dance, b-boying consists of four kinds of movement: toprock, downrock, power moves, and freezes. The dance spread worldwide due to popularity in the media, especially in regions such as South Korea, United Kingdom, Germany, France, Russia, and Japan. And Mobb Deep’s Prodigy delivers on the threat with his astonishing first verse: “Rock you in your face, stab your brain with your nose bone…” It’s the kind of thing that should get you locked up for life.A style of street dance that originated among Black youths in New York City during the early 1970s. It’s the sound of a looming threat that could exist in any era. II” so timeless is that it’s also somewhat generic.

II,” Mobb Deep’s Havoc combined three equally mercurial jazz samples: Herbie Hancock’s “Jessica,” “Daly-Wilson Big Band’s “Dirty Feet” and Quincy Jones “Kitty With The Bent Frame.” The songs are so obscure (at least to hip hop fans), their presence in the track remained somewhat of a mystery for a decade and a half. II.” That slow drum beat and those sirens seemingly ripped out of a horror film. There’s something immediately terrifying about “Shook Ones, Pt.