Bboy Battle

HEllo there it's been ah long time since I posted something new. Anyway here I am again doing what I do best. hehehe JOke. Our crew has something to show you. new moves, more improvement in our bboying, and a lot of talent. We recently have a battle between crepnasty crew and B Bronx. It was held last Saturday, November 15 at Gaisano City Mall. It was ah 5 on 5 battle. We are on the right side and the other crew is on the left side. Anyway here is my video. Hope you enjoy it.

interview of king uprock

well I watch this video about an interview of king uprock about bboying.. I learned a lot bout what he said in the interview.. And it Widens my knowledge about bboying...

planet bboy

here is a preview of planet bboys that are showing now on selected area only.. featuring the bboys around the world.. This video is features north and south Korea battling.. Not war but breakdancing.. showing there skills in different way.. this is only the directors cut of the film.. there are others more..

bboy hong10

bboy hong10 is one of the best bboys in the world.. He is well-known in the bboy society around the world.. his signature freeze combo is amazing..and he even teach it online. bboy hong10 is ah member of korean bboy group called drifterz crew... watch him teaching his moves and his best video...

BBoyz at their finest..

I like you to watch this video that I recently watch.. It is ah video of bboys who has physical dis function.. But they gave it all they got, and I have to say that they got the respect of bboy communities in there country and even the world. Even I couldn't do what they are doing given that I have both legs.. This to show that bboying has no physical boundaries..

Gambler crew

Gambler crew is one of the best crew that I've seen in Youtube. They are unique in there own ways, strong in there powermoves, and quick in there routine and foundation. Gambler crew are made of 14 members, and they are bboy bruce lee, still, soul soy, so, the end, sick, ssun, pop , noodle, rush, furious, blast, zesty, and hound. I don't know exactly if they are the original members of gambler. So if you knew the original members of gambler crew feel free to post a comment. Anyways watch the video of gambler crew.

our first dance

Our first dance with my new group... It was an intermission number on the awarding day of our basketball league in our barangay.. All of us are trilled to be invited in such occasion, and I think the crowed are entertained... Enjoy!!!!.

memory of Saga Breaker

This video is all about the Saga breaker... Our old crew.. Watching it makes me proud that I joined them... All the fun, the joy, the hardship, and the love of bboying..

typhoon frank

June 21 the day I will not forget..on june 21 at exactly 2 in the morning typhoon frank hit iloilo with destructive force.. it only takes second to flood half of the city
and destroy schools, houses, establishment,church etc. in the city.. there are many casualties and many are still missing.. Even today relief operation are still going on.. My family and I are lucky because the flood didn't reach our place.. But even so I am still worried about my friends and relatives that are affected of typhoon franks destruction.. All of them need help and I cant do anything.. So I just pray that they are safe... I Just want you to see what destruction typhoon frank did to my city..

Best Baby Breaker

I recently watch this video about the best baby bboy in the world... As I watch this video I was happy to know that even babies know how to breakdance even if it is funny to watch.... Watch this!!!

floor madness in bacolod

floor madness is held in QOURUM Disco Bar at Bacolod City Philippines. It's ah Breakdance battle featuring Waseda Iloilo Breakers of Iloilo and Critical Breakdown Crew of Bacolod. Well It is ah two part video featuring the best crew in there respective City, Bacolod and Iloilo... I enjoyed it because I was there when they battle. Anyway it is ah friendly battle only no harm done all of them are friends anyway. So to make the introduction short here is the video of Floor madness featuring Waseda iloilo and Critical Breakdown Bacolod..


So who do you think Won?...

B-Girls in Action

I recently watch this video on youtube and I'm Amaze of what this girls can do .. Its ah battle of B-Girls in Boty 2007 Finals 2 on 2 Battle... Well when you watch the Video you will know who one the contest... Although it is not as good as the b-boys can do, it is still bboying and showing off that skill even though they are girls it is still amazing on my part.. Watch it too believe and be Amaze also Of what B-girls can do in ah Battle...

what I do today

today my crew and I were watching videos that I burn from my pc... The videos are all about breakdancing moves and some bboy battle.. As we watch the videos My crew member were amaze of what other bboys around the world can do and after we watch every battle they just get up and try to copy the moves in video and they said that we should put it in our dance so I tell them that if we put the moves in videos that we watch in our dance you should be able to do it properly and they must improve on there bboying techniques and they ask me how will they improve on bboying so I tell them that you must practice real hard to master the moves you, must endure pain,you must do it from the bottom of your heart, and the important thing is you must have courage to do it.. So after we finish watching they said to me that we should start practicing right now.. So we go to our practice area and they practice those moves that they learn after watching those videos... I am proud of them because they are willing to learn new moves and they don't hesitate to try it...

my newest crew

this is what we practice.. my crew and I were practicing when my friend arrive he is one of the older member of our crew but he cannot join because he has ah review in cebu city ( his taking up electronics communication engineering.. So before he went to cebu he wants to take ah picture of us bboying.. souvenir thats what he say.. so while we are bboying he takes picture... So watch this pic sorry for the lightings it was taken
at around 11 pm. Philippine time....
This is bboy dharel.. his favorite bboy post is head hallow...

this is bboy fella.. his favorite is airchair.. and many more

this is bboy edz.. he likes many bboy post..

this is bboy wanbol.. he is our aerial genius..

This is bboy mark.. his favorite bboy post is air baby

And this is me bboy slick doing what I do best.. I have more pictures because I like to post them all... hehehehe







This my New Crew The "HardKnoX" Crew


PEACE OUT!!!!!

taking one step at ah time

taking one step at ah time... that is what i am saying to my crew... you cant force yourself to be good at dancing or breakdancing its a learning process everyday... but first you have to discipline yourself... you cant be ah dancer if you always complain, that your always tired, your always late without ah reason, and you don't always comply on the rules of your fellow crew member.. the crew is your team, your second family, your friends... that's what I always say to my crew as there choreographer at the same time there leader (soon to be)... You will not be rewarded if you just laying around and doing nothing you have to get it if you want to earn it... My fellow crew wanted me to be strict and I tell them that I'm always strict but my style is I give them ah lesson that they will learn in there own ah lesson that will tell if they are man enough to handle it... cause other will not take it if you say bad things to them... and one other things that I say to them that your only enemy is your self.. self pride that is.. The only way to recognize that you are good is knowing that your fellow crew member appreciate what you are doing and showing them that you change for sake of the crew..

My Hobby..

everyday I practice bboying with my crew... I practice foundation, toprock and breakdance... i am doing better in foundation and in toprock but my breakdancing is not quiet perfect yet.. I have been practicing flare, windmill, airchair, hollow back and some freezes... I have taken some instruction from you tube and advice from the other crews in my city.. so what I did is I combined those advice and instruction from you tube and apply it on bboying... Amazingly those basic breakdance that i learned way back then is getting so easy now, Everyday I learned new freezes and I even learn how to balance my body using my upper body only especially when I do my airchair.. Airchair is lifting your body using your one hand only and at the same way it balance your whole body.. But the problem about my airchair is, I cannot raise my both feet higher.. I am still practicing on it and hopefully someday I can raise my both feet higher.. My flare is not that good also... back then when I flare my legs wont even raise higher and i cannot balance it when it make its 180 degrees turn or half turn... now I can make 360 degrees turn or 1 turn and I will practice hard so that I can turn my body around many times.. All that I learned in bboying is a working progress. So you I expect to be good in one day and I started bboying last dec. 2007 only so thats why I am not that good.. Even professionals in bboying take years to be good in bboying... Thats is why I will never quit cause maybe someday I will be known in the whole world as one of the best bboys....

2nd panaad the 1 on 1 battle

I just recently watch this video called 2nd panaad, it was ah 1 on 1 bboy battle held in SM Bacolod city Philippines.It was ah national breakdance battle were group of bboys around the nation compete for the title of best bboys. The crews are from Taguig, Cebu , Palawan, Bacolod, Dumaguete, and Iloilo... Actually the crew are smaller than last years national breakdance competition I'm expecting 8 to 10 crews around the nation but none the less it was great a battle showcasing the best crews in there respective cities.. The winner is heman from waseda breakers iloilo from iloilo city... my fellow Ilonggo!!!.. here are some videos of 2nd panaad the 1 on 1 bboy battle.. Enjoy!!!

my fellow bboys

red ball bc one (breakdance battle)

more videos on bboys

gamblers crew korea

extreme crew japan

rivers crew korea

pokemon crew france

boty unit usa

last 4 one crew korea

power moves

here are some examples of power moves... remember anything is possible when you practice.... thats the human body....

basic freezes

footworks

here is what they called 2 steps.. i could explain it to you but i just let the video teach it to you....

next is three steps... except for the last part. the last part is called baby freeze..

this is one is called 4steps to 5 steps to 7 steps and sweep combo... just try to understand...

next on is called 6 steps...

practice makes perfect.. but nobody is perfect... so dont practice... lol... joke... please try this at home...

bboys from my city..

there are lots of bboy crew in the Philippines.... but somehow iloilo cities bboy crews are well known... bboy communities in iloilo are few because of lack of areas to practice, few only knows break dancing, less support of the local government and last is the criticism of other crews... that is why other crews here got separated... but somehow we strive to be known not only in our city, not only in the Philippines but the whole world.... so let me introduce the crews of iloilo city..... 1st of is waseda iloilo

waseda iloilo is a group compose of bboys(breaker boys)that live here in iloilo.


2nd cbd or should i say (Christ believer dancer)
they are a group of bboys that studies in one school...

3rd saga... my crew.. not now... because we got separated...


4th hard knoxx crew.. my new crew... from my place... they really like allstar Philippines...

I forgot other crews.... that all for today.. peace out... bboys for life!!! LOL

events

here are some events in the world of hiphop...

toprock

The Importance of Toprock - First off...It needs to be acknowledged that b-boying is first and foremost a DANCE. If you don't know how to dance there's a good chance you'll never get too far in b-boying. Toprock is also a lot more than just "making room for you moves." You've got to remember that b-boying had already been around for a few years before the first b-boys (The Nigga Twins are usually given credit for that) ever went down to the floor. So what were people doing? Toprocking. Basically what this means is that no discussion of the foundation of b-boying should ever be without Toprock. Toprock is really the only surefire way to show that you know how to dance and how to rock a beat. Its also the beginnning of any throwdown that you do so for most people its the first impression they'll have of you. Sure you can have shitty toprock and a good blow-up...but why would you want to do that? Grab the cypher or your opponent's attention right from the start. In a set you want to show that you have everything so to be complete you NEED toprock.

Toprock Conditioning- There's really no conditioning required for Toprock. It doesn't really require any major straining on the muscles or any sort of complex momentum to figure like in power moves. However, that does not mean toprock is without its difficulties. One tip that will help is that before you start practicing your toprock, bounce from side to side on the balls of your feet like a boxer. Try and get used to staying on your toes as much as possible. Your toprock needs to be able to adapt and you need to be able to constantly move therefore its important to stay on the balls of your feet so you can keep everything bouncy and ready to change to variations in the music. It also helps you have smoother transitions into your footwork, flips, freezes, or whatever you want to do from your toprock. Toprocking with flat feet will make look slow and make it look like you're trying too hard.

A Note on Rocking the Beat
Rocking the beat is more than just stepping out on the snare. That's just the basic aspect of it. Rocking the beat basically means expressing the music through your dance. I doesn't just mean the drums but every single aspect. Drums, bass, horns, lyrics, everything. However, for those just starting out...just worry about the snare drum. That's the only thing that matters when you're first learning. It's how most people judge whether or not someone is "on beat." Once you become more advanced you can then try to rock the horns, lyrics, bass, and everything else.

Song Structure - Almost all songs that we dance to in the west are made using a 4/4 pattern. What this means is that there are 4 beats per measure (therefore 1 measure=4 beats). For example, let's take the song "Dance to the Drummer's Beat' by Herman Kelly and Life. The drum pattern repeats every measure and goes BOOM---BIP-BOOM-BOOM-BIP (BOOM = bass drum, BIP = snare). Listen to the song and nod your head. If hearing the beat right you'll notice that you're nodding in time with the hi-hat of the drum. Typically changes occur at multiples of four measures, this is important because it will allow you to anticipate changes in a song even if you've never heard the song before. Now, listen to "Dance to the Drummer's Beat" from the beginning, after the first horn blast begin counting out every beat. Remember how I said changes occur on multiples of four? Typically, small fills occur after 8-12 measure and bigger changes occur after 16-32. Now as you're counting notice that the piano comes in at 32 measures. 16 measure after that the bass riff changes and 16 measure after that the cowbell comes in. Ok now, it's been 32 measures since the piano started...and we know have all the instruments playing. Now what do you think will happen in another 32 measures? Yup...the vocals start. Now if you were dancing to this...you would start with basic toprock...change it up after about 32 measures and add in some more intricate hand motions to match the piano. Then maybe do a skip step for the cowbells and act out or lipsync the vocals as they start. I know this all sounds very complicated but to be honest, I'm really just telling you this to know what to listen for when you're just hearing a song and not dancing to it. Learn to understand music and when changes occur. After a while you won't need to count and you'll just "feel" when a change in the song is going to occur. If you study songs and not just listen to them in your free time it will be possible to gain the "Sixth Sense" of toprock; Knowing when to change up your style when you've never even heard the song.

I'll give tips to beginners and advanced toprockers. Beginners, ignore the fact the advanced tips are even there. You shouldn't be trying them until you think you've got the most basic techniques down.

Indian step AKA Cross Step AKA Front step - I consider this to be THE most important toprock style and my personal favorite Why? Because it's very easy to do and very easy to keep on beat. It's also adaptable to a wide range of BPMs (Beats Per Minute, the measurement that determines how "fast" a song is), it is also has a wide range of modifications you can do to personalize it and make it truly "your" cross step.

1. Stand with feet together (But not touching) and hands together in front of you.
2. Step forward with right foot slightly in front of left and a litte turned out. Open arms out.
3. Return to step 1.
4. step foward with left foot slithgtly in front of right and a little turned out. Open arms out.
5 return to step one.

Beginners: you should be hitting the snare on 2 and 4.

Advanced: try adding in some hops before doing steps 3 and 4. For example, if you have a BOOM-BOOM-SNARE beat, hop on the "BOOM's"
Also try coming out farther with your foot on 3 and 4, dropping lower to the ground, maybe even touching it. These are some of the more basic and common modifications to the cross step.

Back step - Exactly the same as cross step, except step back instead of forward.

Charlie Rock AKA Charleston Rock - Developed from a popular dance in the 1920s called the Charleston. To do the Charlie rock:
1. stand with feet together (but not touching).
2. step in front of Left foot with right foot
3. step in front of Right foot with Left foot
4. step in front of Left foot with right foot.
5. Step behind left foot with Right foot
6. Step behind Right foot with left foot
7. Step behind left foot with Right foot. return to step 2

Beginners: This can be done repeatedly but most of the time it's done just once. You should be trying to hit the snare on 4 and 7. Foot placement can also be a little to the side if the song is a bit to fast but you should still be doing the basic forward and backwards movement. For Your Arms: just swing them as if you were walking.

Advanced: can't think of anything right now.

Skip Step AKA Hopskotch: Both of these names are ones that me and my crew use and I don't know what anyone else calls or if anyone has even given it a name.

1. Stand with your feet together (but not touching)
2. Hop and kick your legs out and point your toes to the right side. Your left foot should be on the balls of your foot and your right foot should be on the heel with the toes pointing up.
3. Hop and go back to position one.
4. Hop and kick your legs out and point your toes to the left side. Your right foot should be on the balls of your foot and your left foot should be on the heel with the toes pointing up.

Beginners: This is a very quick toprock so in a song with a 4/4 pattern you jump out on 2 and 4 (usually the bass and the snare). Just think of someone playing hop scotch. Pointing your toes to one side isn't necessary. You could just as easily keep your toes forward. With your arms just hold them in front of you on 1 and 3 and hold them out on 2 and 4.

Advanced: Rember how I said this was called hop scotch? Well...do a hopscotch motion. On 1 and 3, instead of landing on both feet try landing on just one, or try leaning to the side when you land one foot. This is also a good toprock to experiment with your hand motions since your feet aren't doing anything to exciting.

Latin Rock: I'm pretty sure this gets its name from the latin dances that inspired a lot of the early uprockers and toprockers. This is a pretty difficult step so I wouldn't recommend trying it until you've gotten the others down pretty well.

1. Stand with your feet together (but not touching)
2. kick your right foot out. When you kick you don't want to kick real high or hard or anything just give a small kick straight out.
3. Now bring the ball of your right foot back down to the ground and hop and end up in position 2 of the skip step.
4. Bring your right foot back and stand on the ball of your foot while kicking out with your left foot.
5. Bring the ball of your left foot back down to the ground and hop and end up in position 4 of the Skip step.

Beginners: The kick from steps 2 and 4 should be on the 1st beat of a pattern (usually the bass) and you should end up in the heel-toe position of steps 3 and 5 be on the snare.

Advanced: Try to alternate between this and the skip step.

Apache: Again, this is another one that I'm not sure of the name. This is just what I call it, not sure why. I think I heard someone a long time ago call it this, and it just stuck. If anyone knows another name let me know. It's essentially just a variation on the indian step.

1. stand with feet together (but not touching).
2. Bring your right foot across and step down in front and to the side of your left. Similar to Indian step but turn your torso a little more and step a little farther to the side. When your right touchs, your left foot is going to come of the ground a little.
3. Bring your right foot back to center and kick out (same kick from the Latin step).
4. Put your right foot down and at the same time lift your left foot off the ground.
5. Bring your left foot around so it steps down to the right of your right foot and turn your torso to your right side.
6. Bring your left foot back to center and kick out.
repeat.

Outlaw: Sort of a cross between the latin rock and the backstep.

1. stand with feet together (but not touching).
2. Kick out with your right foot and then put the toe of your foot on the ground.
3. This is where it's gonna get complicated...Do a small hop off of your right foot do another small kick again with right foot (not high) and put your heel down. It's barely even a kick...your just going from the ball of your foot to the heel. AT THE SAME TIME your left foot goes behind your right foot just like in the back step.
4. Now, rock back onto the ball of your right foot and kick out with your left foot, again, not high, just putting your heel on the ground.
5. Rock from the heel of your left foot.
6. Rock to the toe of the left foot and kick your right foot behind. (repeating steps 2-4 but on the opposite side).

Now steps 3 and 6 should go by very quickly. You should be hitting the beat on steps 3 and 6. Basically when the ball of your foot touches down behind the other foot (the backstep).

House Step: Loosely inspired by house dancing. This is just what I call it.

1. stand with feet together (but not touching).
2. Kick your right foot out and then rock back onto the toe (similar to what you did in the outlaw)
3. When the toe of your foot is on the ground do a small hop and kick your left foot back and tap the ground with your left toe while hopping a couple of inches to the side and forward with your right foot. At this point most of your weight should be on the right foot.
4. Now, slide the right foot back to the center position while moving the left foot forward and kicking out.
5. Rock back onto the toe of the left foot and step back on your right foot (step 3 but on the opposite side)

what is uprock

Uprock is a soulful, competitive street dance. It was developed in the Bushwick area of Brooklyn between 1967 and 1968 by two men; Rubberband Man and Apache. Uprock is danced in synchronization to the rhythms of Soul and Funk music; and certain Rock songs. The dance consists of foot shuffles, spins, turns, freestyle movements, sudden body movements called "jerks", and hand gestures called "burns". The "Uprock" dance involves two or more dancers, single or as a team, dancing alternatively or simultaneously, performing what is called a dance battle (-Breakeasy).Uprockers battle throughout the duration of a complete song (from the beginning to the end) in a line formation called the "Apache Line". The Apache Line allows two opposing dancers or crews to face each other and execute their "burn" gestures towards one another. Although Uprockers sometimes emulate fight moves with their "burns", physical contact is never allowed. Physical contact is usually a sign of inexperience. If an Uprocker is experienced he or she will not make any physical contact in order to "Burn" his or her opponent. Experienced Uprockers are also familiar with the songs that they dance to, and they use the lyrics and sounds of the music to out-do their opponent. Uprock is mastered with discipline, patience, heart, soul, and knowledge. In order to grasp the essence of the dance and become a good Uprocker, one must become familiar with the HISTORY of Uprock.

what is dance/bboying

Every culture has the elements: dance, poetry, visual art, and music. Hip-Hop is the culture that contains the elements: bboying (dance), emceeing/spoken word/rap/spittin (poetry), graffiti (visual art), and DJing (music).

What is bboying?

First and foremost, Bboying is--and always will be--a DANCE...

Definition: dance

1. intransitive verb move rhythmically to music: to move the feet and body rhythmically, usually in time to music


^^^ Dancing involves music (as stated by the definition) ^^^

To dance, one must "move rhythmically in time to music". Every dance has a category of moves that are used to move in time to music in their own unique way. Bboying also has a category of moves to be used rhythmically with music. In order to be a successful bboy, one must master their own bboy sets (category of moves) and the ability to move rhythmically to music.

How can I be a successful bboy?

Master/Study Physics.

Master/Study Musicality.

Golden rule: Master/Study Bboying History and influences.

The external, tangible, physical aspect of bboying deals with one's body's actions or movements. To master a bboy move (or move in general), one must be able to accomplish certain requirements that may include (but are not limiting to) strength, stamina, and dynamics (study of motion). A person attains strength by keeping their body in the best shape possible: stretching for flexibility and conditioning the necessary muscles. A person attains stamina by practicing sets/moves/movements. A person attains a knowledge of dynamics by learning how to generate (and keep in momentum) a constant amount of force with one's body. The better one can control the force generated in their body, the easier one can master a dynamic/power move.


The internal, conscious, musical aspect of bboying deals with the music being played. Music determines the mood/tone/attitude/tempo of the person representing the music's 'physical' expression. To show proper musicality, one matches their movement with a vocal or instrument sound. There are two levels of musicality: beat hitting and beat riding. Beat hitting is the basic form of musicality where one matches the instrument(s) at instant/important intervals (points in time, like a high-hat sound). Beat riding is less commonly seen. It is the more advanced form of musicality where one matches the instrument(s) whole interval by continuously expressing the instrument(s) from once it starts until once it ends. To advance further in musicality, learn to match the music's mood/tone/attitude/tempo with one's physical motions.

To understand the mental aspect of bboying, one must be exposed to it's background/history and gain experience in the field of bboying. Attending/Participating in jams, sessions, and/or battles strengthen one's knowledge on how to gain respect and recognition. EVERY INDIVIDUAL BBOYS FOR THEIR OWN REASON. THEREFORE, EVERY BBOY HAS A UNIQUE BBOYING PHILOSOPHY. Bboys are known to dance for reasons like fitness, relieving stress, attention, and pride. If one knows why they bboy, they know in which direction to strengthen mentally and to concentrate their attention on.

Since bboying is a physical expression to music, bboying is an art. Excellent art comes with the utmost patience and concentration.

just a little pick

my crew... Saga breakeR

tha philippine all star

dj's

equipment

dee jays

A disc jockey or DJ is a person who selects and plays prerecorded music for an audience.

There are several types of disc jockey. Radio DJs introduce and play music that is broadcast on AM, FM, shortwave or digital radio stations. Club DJs select and play music in a bar, club, disco, a rave, or even a stadium. Hip hop disc jockeys select, play and create music with multiple turntables, often to back up one or more MCs. In reggae, the disc jockey (deejay) is a vocalist who raps, toasts or chats over pre-recorded rhythm tracks while the individual choosing and playing them is referred to as a selector.[1] Mobile disc jockeys travel with portable sound systems and play at a variety of events.

Equipment and techniques
Pioneer CDJs and M-AudioTorq DJ equipment
Pioneer CDJs and M-AudioTorq DJ equipment

DJ equipment consists of:

* Sound recordings in a DJs preferred medium (eg. vinyl records, compact discs, computer media files)
* A combination of two devices, or sometimes one if playback is digital, to play sound recordings, for alternating back and forth to create a continuous playback of music (e.g. record players, compact disc players, computer media players such as an MP3 player)
* A sound system for amplification or broadcasting of the recordings (e.g. portable audio system, PA system) or a radio broadcasting system.
* A DJ mixer, an electronic, usually two-four channel, mixer with a crossfader used to smoothly go from one song to another (using two or more playback devices)
* Headphones, used to listen to one recording while the other recording is being played to the audience, and
* Optionally, a microphone, so that the DJ can introduce songs and speak to the audience.

Other equipment could or can be added to the basic DJ set-up (above) providing unique sound manipulations. Such devices include, but are not limited to:

* Electronic effects units (delay, reverb, octave, equalizer, chorus, etc). Some club DJs use a suboctave effect which creates a very low bass sound and adds it to the mix.
* A computerised performance system, which can be used with timecode encoded vinyl/CD content to manipulate digital files on the computer in real time.
* Multi-stylus headshells, which allow a DJ to play different grooves of the same record at the same time.
* Special DJ digital controller hardware can manipulate digital files on a PC or laptop, by using midi signals
* Samplers, sequencers, electronic musical keyboards (synthesizers), or drum machines.

Several techniques are used by DJs as a means to better mix and blend prerecorded music. These techniques primarily include the cueing, equalization and audio mixing of two or more sound sources., complexity, and frequency of special techniques depends largely on the setting in which a DJ is working. Radio DJs are less likely to focus on music-mixing technique than club DJs, who rely on a smooth transition between songs using a range of techniques.

Club DJ turntable techniques include beatmatching, phrasing, and slip-cueing) to preserve energy on a dancefloor. Turntablism embodies the art of cutting, beat juggling, scratching, needle drops, phase shifting, back spinning, and more to perform the transitions and overdubs of samples in a more creative manner (though turntablism is often considered a use of the turntable as a musical instrument, rather than a tool for blending prerecorded music). Professional DJs may use harmonic mixing to choose songs that are in compatible musical keys.

[edit] Types

The role of selecting and playing prerecorded music for an intended audience is the same for every disc jockey. The selected music, the audience, the setting, the preferred medium, and the level of sophistication of sound manipulation are factors that diffentiate different DJ types.

[edit] Radio disc jockeys

Main article: radio personality

A radio disc jockey plays music that is broadcast across radio waves, AM and FM bands or worldwide on shortwave radio stations. Radio DJs are notable for their personalities. Because terrestrial radio usually uses program directors/music directors to generate the playlist, present-day radio DJs do not typically pick the music to play at stations. Emceeing and answering the phone is their primary duty. For more information see Notable Radio DJs.

[edit] Club disc jockeys
Jason Jollins performing in New York City
Jason Jollins performing in New York City
Darude performing at The Docks, Toronto, 2007
Darude performing at The Docks, Toronto, 2007

Using several turntables, CD players or a hard drive source, a club disc jockey selects and plays music in a club setting. The setting can range anywhere from a neighborhood party or a small club to a disco, a rave, or even a stadium. The main focus of club DJs is on the music they play and how they remix tracks in and out of each other or also just to add a bit of energy to a track.They build their sets by choosing tracks to control the energy level of the crowd and use beatmixing (or "beatmatching") technique for seamless transition between tracks. For more information, see Notable Club DJs.
Club DJ Paul Oakenfold cues up a song
Club DJ Paul Oakenfold cues up a song

[edit] Hip hop disc jockeys

Main article: Turntablism

A hip-hop disc jockey is a DJ that selects, plays and creates music as a hip-hop artist and/or performer, often backing up one or more MCs.

[edit] Notable hip hop disc jockeys

Jamaican-born DJ Kool Herc (born 1955), inventor of the breakbeat technique; he is considered to be "the father of hip hop culture". Grand Wizard Theodore created the distinctive "scratching" sound made by moving a record back and forth whilst the needle is still in the groove. Grandmaster Flash (born 1958), also one of the early pioneers of hip-hop DJing, created the Quick Mix Technique, which allowed a DJ to extend a break using two copies of the same record; essentially invented modern Turntablism. Afrika Bambaataa (born 1957), was instrumental in the development of hip-hop from its birth in the South Bronx to its international success. He also created the first hip-hop track to feature synthesizers; "The godfather of hip-hop"

Jazzy Jay (born 1961) was pioneering DJ, who helped Rick Rubin lay the foundation for what would become Def Jam Recordings. DJ Jazzy Jeff (born 1965), of DJ Jazzy Jeff and the Fresh Prince (also backed Will Smith on his solo efforts). Jam Master Jay (1965-2002), founder and DJ of Run-DMC, one of the most innovative hip-hop groups of all time. DJ Clue (born Ernesto Shaw on January 8, 1975 in Queens, New York City) is a mix DJ known for his involvement in the mix tape circuit. He signed as an artist on Roc-A-Fella Records. Eric B. (born 1965), one half of duo Eric B. & Rakim, popularized the James Brown-sampled funky hip-hop of the late 1980s. Terminator X (born 1966), DJ of the highly influential hip-hop group Public Enemy. Before rapper, Redman put out albums as an MC, he DJed for several New York City groups and solo artists and even was the official DJ for a New York night club under the name DJ Red Dott.

DJ Lethal, the DJ for Irish hip-hop group House of Pain who subsequently became the DJ for Limp Bizkit. DJ Qbert (born 1969), founding member of the turntablism group the Invisibl Skratch Piklz and three-time winner of the International DMC Award. Mix Master Mike (born 1970), skilled DJ of hip-hop group Beastie Boys, three-time winner of the International DMC Turntablism Award. The X-Ecutioners, a turntablist band with several collaborations with groups and artists, including Linkin Park and Xzibit. DJ Premier (born 1966), one of the duo Gang Starr. He also featured with many famous Hip-Hop artists like Nas, LL Cool J, Rakim and many others. See also: Category:Hip hop DJs

[edit] Reggae disc jockeys

In reggae terms (specifically dancehall), the deejay is traditionally a vocalist who would rap, toast, or chat to a "riddim". The term "selector" is reserved for the person who performs the traditional function of a DJ, though he does not always play the music. He often just selects the record and passes it to the mixer who plays it over the sound system.

[edit] Mobile disc jockeys

Main article: Mobile disc jockey

Mobile DJ
Mobile DJ

Mobile Disc Jockeys are an extension of the original Radio disc jockeys.They travel with or go on tour with mobile sound systems and play from an extensive collection of pre-recorded content for a specific audience. In the 2000s, mobile DJs need a large selection of music, professional-grade equipment, good organizational skills, vocal talent as an MC, mixing skills, quality lighting, insurance for liability, and on-site back-up equipment.[2] In the 2000s, the role of the Mobile DJ has expanded. Many Mobile DJs have assumed additional responsibilities to ensure an event's success. These responsibilities include the roles of MC, event organizer and coordinator, lighting director, and/or sound engineer.[3]
Historic Image - Captain PJ
Historic Image - Captain PJ

In the past, Mobile DJs utilized vinyl records or cassettes. During the Disco era of the 1970s, demand for Mobile DJs (called Mobile Discos in the UK) soared, and top Disc Jockeys travelled with hundreds of vinyl records and cassette tapes.[2] In the 1990s, Compact Disc became the standard. Mobile Disc Jockey trade publications such as DJ Times magazine and Mobile Beat magazine were founded in this era.[3]Mobile DJs have formed professional associations such as the Canadian Disc Jockey Association (CDJA), the Canadian Online Disc Jockey Association (CODJA), the American Disc Jockey Association (ADJA), and the National Association of Mobile Entertainers[3] In the UK, associations include the National Association of Disc Jockeys (NADJ), and the South Eastern Discotheque Association (SEDA).

[edit] Timeline

[edit] Mid-1800s to 1910s

In 1857, Leon Scott invented the phonoautograph in France, the first device to record sound. In 1877, Thomas Alva Edison invented the phonograph cylinder, the first device to play back recorded sound, in the United States. In 1892, Emile Berliner began commercial production of his gramophone records, the first disc record to be offered to the public. In 1906, Reginald Fessenden transmitted the first audio radio broadcast in history also playing the first record, a contralto singing Handel's Largo from Xerxes.[4]

In the 1910s, regular radio broadcasting began, using "live" as well as prerecorded sound. In the early radio age, content typically included comedy, drama, news, music, and sports reporting. The on-air announcers and programmers would later be known as disc jockeys. In the 1920s - "Juke-joints" became popular as a place for dancing and drinking to recorded jukebox music. In 1927, Christopher Stone became the first radio announcer and programmer in the United Kingdom, on the BBC radio station. In 1929, Thomas Edison ceased phonograph cylinder manufacture, ending the disc and cylinder rivalry.

[edit] 1930s-1950s

In 1935, American commentator Walter Winchell coined the term "disc jockey" (the combination of "disc", referring to the disc records, and "jockey", which is an operator of a machine) as a description of radio announcer Martin Block, the first announcer to become a star. While his audience was awaiting developments in the Lindbergh kidnapping, Block played records and created the illusion that he was broadcasting from a ballroom, with the nation’s top dance bands performing live. The show, which he called Make Believe Ballroom, was an instant hit. The term "disc jockey" appeared in print in Variety in 1941.[5]

In 1943, Jimmy Savile launched the world's first DJ dance party by playing jazz records in the upstairs function room of the Loyal Order of Ancient Shepherd's in Otley, England. In 1947, he became the first DJ to use twin turntables for continuous play. In 1947, the Whiskey à Go-Go nightclub opened in Paris, France, considered to be the world's first discothèque, or disco (deriving its name from the French word, meaning a nightclub where the featured entertainment is recorded music rather than an on-stage band). Discos began appearing across Europe and the United States. From the late 1940s to early 1950s, the introduction of television eroded the popularity of radio's early format, causing it to take on the general form it has today, with a strong focus on music, news and sports.

In the 1950s, American radio DJs would appear live at "sock hops" and "platter parties" and assume the role of a human jukebox. They would usually play 45-rpm records featuring hit singles on one turntable, while talking between songs. In some cases, a live drummer was hired to play beats between songs to maintain the dance floor. In 1955 Bob Casey, a well-known "sock hop" DJ, introduced the first two-turntable system for alternating back and forth between records, creating a continuous playback of music. Throughout the 1950s, payola payments by record companies to DJs in return for airplay was an ongoing problem. Part of the fallout from the payola scandal was tighter control of the music by station management. The Top 40 format emerged, where popular songs are played repeatedly.

In the late 1950s, sound systems, a new form of public entertainment, are developed in the ghettos of Kingston, Jamaica. Promoters, who called themselves DJs, would throw large parties in the streets that centered on the disc jockey, called the "selector," who played dance music from large, loud PA systems and bantered over the music with a boastful, rhythmic chanting style called "toasting." These parties quickly became profitable for the promoters, who would sell admission, food and alcohol, leading to fierce competition between DJs for the biggest sound systems and newest records.

[edit] 1960s and 1970s

In the mid-1960s, nightclubs and discotheques continued to grow in Europe and the United States. Specialized DJ equipment such as Rudy Bozak's classic CMA-10-2DL mixer began to appear on the market. In 1969, American club DJ Francis Grasso popularized beatmatching at New York's Sanctuary nightclub. Beatmatching is the technique of creating seamless transitions between back-to-back records with matching beats, or tempos. Grasso also developed slip-cueing, the technique of holding a record still while the turntable is revolving underneath, releasing it at the desired moment to create a sudden transition from the previous record.

By 1968, the number of dance clubs started to decline; most American clubs either closed or were transformed into clubs featuring live bands. Neighborhood block parties that were modeled after Jamaican sound systems gained popularity in Europe and in the boroughs of New York City.

During the early 1970s, the economic downturn led most of the dance clubs to become underground gay discos. In 1973, Jamaican-born DJ Kool Herc, widely regarded as the "godfather of hip hop culture", performed at block parties in his Bronx neighborhood and developed a technique of mixing back and forth between two identical records to extend the rhythmic instrumental segment, or break. Turntablism, the art of using turntables not only to play music, but to manipulate sound and create original music, began to develop.

In 1974, Technics released the first SL-1200 turntable, which evolved into the SL-1200 MK2 in 1979, which as of the mid-2000s remains the industry standard for deejaying. In 1974, German electronic music band Kraftwerk released the 22-minute song "Autobahn", which takes up the entire first side of that LP. Years later, Kraftwerk would become a significant influence on hip hop artists such as Afrika Bambaataa and house music pioneer Frankie Knuckles. During the mid 1970s, Hip hop music and culture began to emerge, originating among urban African Americans and Latinos in New York City. The four main elements of hip hop culture were MCing (rapping), DJing, graffiti, and breakdancing.

In the mid-1970s, the soul-funk blend of dance pop known as Disco took off in the mainstream pop charts in the United States and Europe, causing discotheques to experience a rebirth. Unlike many late 1960s, clubs, which featured live bands, discotheques used the DJs selection and mixing of records as the entertainment. In 1975, Record pools began, enabling disc jockeys access to newer music from the industry in an efficient method.

In 1976, American DJ, editor, and producer Walter Gibbons remixed "Ten Percent" by Double Exposure, one of the earliest commercially released 12" singles (aka "maxi-single"). In 1977, Hip hop DJ Grand Wizard Theodore invented the scratching technique by accident. In 1979, the Sugar Hill Gang released "Rapper's Delight", the first hip hop record to become a hit. It was also the first real breakthrough for sampling, as the bassline of Chic's "Good Times" laid the foundation for the song.

In 1977, Saratoga Springs, NY disc jockey Tom L. Lewis introduced the Disco Bible (later renamed Disco Beats) which published hit disco songs listed by the beats-per-minute (the tempo), as well as by either artist or song title. Billboard ran an article on the new publication and it went national relatively quickly. Making this concept more public made it easier for beginner DJs to learn how they could create seemless transitions between songs without dancers having to change their rhythm on the dance floor.

[edit] 1980s

In 1981, the cable television network MTV was launched, originally devoted to music videos, especially popular rock music. The term "video jockey", or VJ, was used to describe the fresh faced youth who introduced the music videos. In 1982, the demise of disco in the mainstream by the summer of 1982 forced many nightclubs to either close or to change entertainment styles, such as by providing MTV style video dancing or live bands. Released in 1982, the song "Planet Rock" by DJ Afrika Bambaataa was the first hip-hop song to feature synthesizers. The song melded electronic hip hop beats with the melody from Kraftwerk's "Trans-Europe Express". In 1982, the compact disc reached the public market in Asia and early the following year in other markets. This event is often seen as the "Big Bang" of the digital audio revolution.

In the early 1980s, NYC disco DJ Larry Levan, known for his eclectic mixes, gained a cult following; and the Paradise Garage, the nightclub at which he spun, became the prototype for the modern dance club where the music and the DJ were showcased. Around the same time, the disco-influenced electronic style of dance music called House music emerged in Chicago. The name was derived from the Warehouse club in Chicago, where the resident DJ, Frankie Knuckles, mixed old disco classics and Eurosynth pop. House music is essentially disco music with electronic drum machine beats. The common element of most house music is a 4/4 beat generated by a drum machine or other electronic means (such as a sampler), together with a solid (usually also electronically generated) synth bassline. In 1983, Jesse Saunders released what some consider the first house music track, "On & On". The mid-1980s also saw the emergence of New York Garage, a house music hybrid that was inspired by Levan's style and sometimes eschewed the accentuated high-hats of the Chicago house sound.

During the mid-1980s, Techno music emerged from the Detroit club scene. Being geographically located between Chicago and New York, Detroit techno artists combined elements of Chicago house and New York garage along with European imports. Techno distanced itself from disco's roots by becoming almost purely electronic with synthesized beats. In 1985, the Winter Music Conference started in Fort Lauderdale Florida and becomes the premier electronic music conference for dance music disc jockeys.

In 1985, TRAX Dance Music Guide was launched by American Record Pool in Beverly Hills. It was the first national DJ-published music magazine, created on the Macintosh computer using extensive music market research and early desktop publishing tools. In 1986, "Walk This Way", a rap-rock collaboration by Run DMC and Aerosmith, became the first hip-hop song to reach the Top 10 on the Billboard Hot 100. This song was the first exposure of hip hop music, as well as the concept of the disc jockey as band member and artist, to many mainstream audiences. In 1988, DJ Times magazine was first published. It was the first US-based magazine specifically geared toward the professional mobile and club DJ.

Starting in the mid 1980s, the wedding and banquet business changed dramatically with the introduction of DJ music, replacing the bands that had been the norm. Band Leaders like Jerry Perell and others, started DJ companies, like NY Rhythm DJ Entertainers. Using their knowledge of audience participation, MC charisma and "crowd pleasing" repertory selection, the wedding music industry became almost all DJ, while combining the class and elegance of the traditional band presentation. New DJs as well as Band Leaders with years of experience and professionalism transformed the entire industry. Now everyone loves a good banquet DJ. The latest trend is to combine real musicians with the DJ music for a more personal and artistic approach.

[edit] 1990s-2000s

During the early 1990s, the rave scene built on the acid house scene. Some DJs, wanting to be the only source for hearing certain tunes, used "white labels" — records with no info printed on them — in an effort to prevent other trainspotters from learning what they were spinning. The rave scene changed dance music, the image of DJs, and the nature of promoting. The innovative marketing surrounding the rave scene created the first superstar DJs who established marketable "brands" around their names and sound. Some of these celebrity DJs toured around the world and were able to branch out into other music-related activities.

During the early 1990s, the compact disc surpassed the gramophone record in popularity, but gramophone records continued to be made (although in very limited quantities) into the 21st century — particularly for club DJs and for local acts recording on small regional labels. During the mid-1990s, trance music, having run rampant in the German underground for several years, emerged as a major force in dance music throughout Europe and the UK. It became one of the world's most dominant forms dance music by the end of the 1990s, thanks to a trend away from its repetitive, hypnotic roots, and towards commercialized song structure.

In 1991, Mobile Beat magazine, geared specifically toward mobile DJs, began publishing. In 1992, MPEG which stands for the Moving Picture Experts Group, released The MPEG-1 standard, designed to produce reasonable sound at low bit rates. The lossy compression scheme MPEG-1 Layer-3, popularly known as MP3, later revolutionized the digital music domain. In 1993, the first Internet "radio station", Internet Talk Radio, was developed by Carl Malamud. Because the audio was relayed over the Internet, it was possible to access internet radio stations from anywhere in the world. This made it a popular service for both amateur and professional disc jockeys operating from a personal computer.

In 1995, the first full-time, Internet-only radio station, Radio HK, began broadcasting the music of independent bands. In 1996, Mobile Beat had its first national mobile DJ convention in Las Vegas. During the late 1990s, nu metal bands, such as Korn, Limp Bizkit, and Linkin Park, reached the height of their popularity. This new subgenre of alternative rock bore some influence from hip-hop because rhythmic innovation and syncopation are primary, often featuring DJs as band members. As well, during the late 1990s, various DJ and VJ software programs were developed, allowing personal computer users to deejay or veejay using his or her personal music or video files.

In 1998, the first MP3 digital audio player was released, the Eiger Labs MPMan F10. Final Scratch debuted at the BE Developer Conference, marking the first digital DJ system to allow DJs control of MP3 files through special time coded vinyl records or CDs. While it would take sometime for this novel concept to catch on with the "die hard Vinyl DJs", This would soon become the first step in the new Digital DJ revolution. Manufacturers joined with computer DJing pioneers to offer professional endorsements, the first being Professor Jam, who went on to develop the industry's first dedicated computer DJ convention and learning program, the "CPS (Computerized Performance System) DJ Summit", to help spread the word about the advantages of this emerging technology. In 1999, Shawn Fanning released Napster, the first of the massively popular peer-to-peer file sharing systems. During this period, the AVLA (Audio Video Licensing Agency) of Canada announced an MP3 DJing license, administered by the Canadian Recording Industry Association. This meant that DJs could apply for a license giving them the right to "burn" their own compilation CDs of "usable tracks", instead of having to cart their whole CD collections around to their gigs.

graffiti

see the art of graffiti

history of breakdancing

Breakdancing seems so different from all other kinds of dancing that the first question people ask when they see it is: "Where did these kids learn to dance like that?" To many people, this dance seems to have come out of nowhere. But like everything else, Breakdance did come from somewhere, something and someone. In the case of Breakdancing, that someone is the great superstar, James Brown, and the something is the dance, the Good Foot. In 1969, when James Brown was getting down with his big hit "Get on the Good Foot" the Hustle was the big dance style of the day. If you've ever seen James Brown live in concert or on TV, then you know he can really get down. And when he preformed his hit, he did the kind of dance you'd expect James Brown to do. High Energy. This almost acrobatic dance was appropriately enough known as the lot of kids around New York City.

By the time the Good Foot became the new dance style, the tradition of dance battle was well established. Dancers would gather at places like Harlem World on 116th Street in Harlem and Battle-dancewise. Battles are covered in more detail in the section on battles, challanges, and contests, but the important thing as fas as the history of Breakdancing is concerned is that Breakdancing was particularly well-suited for competition. And not only was the Good Foot well- suited for dance battles, it appealed to certain young men who were very athletic.

The Good Foot, which was soon to be called B-Boy and shortly after that Breakdancing, or Breaking, was very different from the Breaking we see today. In some ways it was simpler. There were no Headspind. No Windmill. No Handglides or Backspins. It was what is now called old-style Breaking. Old-Style Breaking consisted only of floor work, or Floor Rock, and in a way it was more complex than modern Breaking. There may be some small variations on the Headspin and a Backspin, but basically, a Headspin is a head spin and a Backspin is a back spin. But Floor Rock can involve some extremely complicated leg moves, and it is done very fast. And it did not take long before where were a lot of Breakdancing battles happening.

Among those for whom old-style Breaking was especially popular were many of the youths and street gangs that roamed the South Bronx. And it was in those streets that Breakdancing really started. Often, the best Breakers in opposing gangs would battle dance wise instead of fighting. They would battle over turf. Or because someone stepped on someone else's shoes. They might battle prove that their gang was better than the other gang. Sometimes they would make a contract that the loser would not go around to the winner's neighborhood anymore. Sometimes they battled just to gain each other's respect. Unfortunately, these Breaking battles did not always stop fight. In fact, they often would cause a fight, since dancers would sometimes get physical when they couldn't win dance wise. No one likes to lose. But today Breaking battles have, to a large extent, replaced fighting in the Bronx.

In this way Breakdancing crews-groups of dancers who practice and perform together-were formed. And soon formal crews organized, who not only practiced and preformed together, but who also developed their own dance routines. Some of these crews became very dedicated to their dancing, and since they had nothing better to do, would spend hours a day practicing, developing more and more complex moves, improving their form, and increasing their speed. And then Afrika Bambaataa came along. Bambaataa is the legendary grand master D.J. who is the individual most responsible for the successful growth of Breakdancing. He is a record producer and member of the Soul Sonic Force, who’s "Looking For The Perfect Beat" was chosen as the No.4 best single in the 1983 Jazz and pop Critics' Poll. Afrika Bambaataa is also the leader of the Zulu Nation in the Bronx.

In 1969, Afrika Bambaataa saw Breakdancing as more than just dancing. He saw it as a way to achieve something. He saw the potential of Breakdancing, and encouraged the dancers to keep at it. To work hard, and to believe that if they stuck with it, something good would come of it. Bambaataa then started one of the first Breakdance crews, the Zulu Kings. The Zulu Kings won a lot of battles and talent shows and preformed in various clubs in New York. At the same time they won a lot of adherents for the Zulu Nation.

Old-style Breaking remained popular until about 1977, when the Freak took over, based on the hit record "Freak Out" by the Shieks. Then around 1979 and early 1980 a new Breakdance crew was organized-Rock Steady Crew. Even though Rock Steady Crew was especially talented, a lot of people put them down being old-fashioned. But Bambataa encouraged them. He told them that if they stuck with it, something good would happen. He took them on, and soon they were performing at the Mudd Club, the Ritz, and other Punk rock clubs around New York. When Rock Steady performed for Malcom McLaren and Bow Wow Wow at the Ritz people started taking them seriously. Breakdancing Was In Again.

But the new-style Breaking was different from the old. Rock Steady added a lot of acrobatic moves. Breaking now included not only Floor Rock but Headspins, Backspins, Handglides, and Windmills. In 1981, Charles Ahearn made his Hip-Hop movie, Wild Style, a raw vision of rap singing, graffiti, scratching, and Breakdancing in the Bronx. Ahearn called on Rock Steady to do the Breaking and Rock Steady became the preeminent Breakdance crew and new-style Breaking became even more popular. When the spring of 1982 rolled around the Roxy was a well-established New York roller-skating rink. But the popularity of roller skating quickly began to fade, and in June of '82, Pat Fuji turned the Roxy into a dance club on Thursday, Friday, and Saturday night. The Roxy quickly became the Hip Hop center. It was here that rappers, D.J.'s, and Breakdancers would perform and hang out.

If you wanted to discover a Breakdancer for your show or video, you would come to the Roxy. Or if you just wanted to watch or learn some new moves, you would come to the Roxy. And the Roxy started to sponsor Breakdance contests, which would help the winners get more recognition. In June, 1983, Pat Fuji hired professional Jazz dancer Rosanne Hoare to run the Street Arts Consortium, whish was a house Breakdancing, rapping, and graffiti art. Rosy was going to officially establish a home for Hip Hop Culture. While the Street Art Consorium never really happened as envisioned, Rosy did provide a home for Breakdancers. She not only provided a place where they could feel at home, but she worked with them as a choreographer, helping to extend their dance possibilities. She also helped many dancer find commercial and performing dance work. Most importantly, Rosy was-and is-always there as a friend whom they can count on. She herself has taken up Breakdancing.

learn bboys style of moves, moves name, and when it occurs...

General Terms

[edit]

Style of Moves

Blow Up - A dynamic movement that makes the crowd go crazy. Its a good idea to end your set with one.

Burn/Diss- a gesture to humiliate or insult the opponent.

Commando - When one BBoy dances out of the circle with a move and another enters at the same time doing the same move so it's as if one is fading out and the other is fading in. (ex: bboy1 doing CC's but at the same time backing out as bboy 2 enters while doing CC's.)

Drops - just what the name says, its a simple DROP to the floor usaully done from toprock. the bboy will generally toprock and then do a drop move whick will bring him down to the floor. ( such as a knee drop, you tuck one foot into the back of your knee and fall to the ground)

Flips - ... if you dont no wat a flip is ur stupid

Floorwork - The part of the dance that is mostly low to the ground

Leg work - A form of floorwork that involves all sorts of sweeping and other leg movements eg Helicopters, frontsweeps...etc

Footwork - A form of floorwork involving step patterns performed on the floor. eg Six step, Bicycle pumps, CCs... etc

Freezes - A move that is stall for a matter of minutes or seconds.

Kicks - balancing on one hand while formin a shape with ur body

Power Moves - A term adopted to describe the more dynamic moves that involve continuous spinning eg airflares, flares or windmills.

Routine - Two or more Bboys dancing in sync.

Spins - Moves in which you spin on a body part.

Floats - Moves in which only your hand(s) are in contact with the ground.

Toprock - The upright aspect of bboy dance

(Note: Uprock is not bboying, Uprock is the Rock Dance that influenced Toprock)

[edit]

Where BBoying Occurs

1 on 1 battle - A battle where only 2 bboys are present. The better individual is determined the victor.

Battle - When two groups of bboys (ranging from individuals to entire crews) perform sets in alternation with the intent of outdoing their opponent. The victor is often decided by judges, the crowd or the individuals in the battle and is based on several criteria.

Competition - Organized event for Bboys to showcase their skills in one or many of a range of different type of "battles".

Crew battle - A battle where an entire crew or part of a crew is involved. Each individual is not rated by themselves, the crew is treated as a whole and the winner is determined by how well the crew performed. The implications of this are that individuals can focus on a specific aspect of bboying rather than having to cover all aspects as they would in a 1 on 1 battle.

Cypher - Also known as an open circle, a circle formed by Bboys in which any one of them is free to come in and dance.

Jam - a party that involves Bboying, or all of Hip Hop's Elements.

Showcase - When an individual crew performs a show to a crowd with no opponents present. The aim is to show a variety of skills that the crew has ranging from foundation and power to style and choreography. The show is rated on several criteria usually by a panel of judges.

[edit]

Description Of BBoys

Bboy - Full term is "Break Boy", came from Kool Herc in the 70's when the people would dance the "drum breaks" that he would loop at his parties, so he started calling them Break Boys, which was then shortened to Bboys.

Bgirl - A female breaker.

Biter - Someone who copies a set or a move, without adding his own style to it.

Eboy - A Bboy who spends all his/her time on the internet frontin' like they practice. What bboy.org is full of.

Powerhead - One who is very highly skilled in Powermoves. Some powerheads lack much footwork, toprocks, and freezes.

Stylehead/Foundationhead - One who is seen to have ignored the aspect of power in learning bboying and focused only on foundation.

Stylist - One who has a unique style to their way of bboying. Seen as a compliment.

[edit]

Other

Beef - Tension or an ongoing dispute between Bboys or Crews.

Break(Beat)- part of a song/record/track where the music is purely a drum set.

Burry

Character

Crew- a group of bboys under the same name, such as a team or a family.

Flavor or Flava - The term used to describe the visual "taste" of ones dance.

Roast - to completely destroy another team

Smack - to hit, often with a hand open (similar to a slap)

Smoke - to defeat in a battle, circle, cypher etc.

Style - The way you do what you do.

Added a new structure. Hopefully will do so to the rest of the page, feel free to add to the blank descriptionsRingerINC 08:25, 24 December 2006 (CST)

[edit]

Move Names

1990s- A spinning one handed handstand.

2000s- Same as 1990s, but with your other hand on top of that which is being spun upon.

2-step aka Baby Swipes

3-step - a basic footwork pattern involving 3 steps to form a complete rotation

6-Step - a basic footwork pattern involving six steps to form a complete rotation;

Aerial (or no handed cartwheel) - a no-handed cartwheel

Air Swipes - Same as airflares, VERY often confused with Master Swipes.

Airbaby - A freeze that comes in two variations, 1-handed or 2-handed, where only one knee is resting on the corresponding elbow;

Airchair: a chair freeze with feet and head off the ground now commonly done with many different leg positions

Airflares - An air powermove where you make a 360 (a little less actually) degree turn before your hands touch the ground again.

Airtracks - Same as Airflares

Around The World's - The transitional move that alternates hollowback to invert, in a circular motion, where the legs circumnavigate the hips

Applejacks - like kipups but you stay with your hands behind you and your feet on the floor, you then crunch together and kick one leg, then you lean back and catch yourself, do this repeatedly

Baby Freeze - a freeze supported by your hands and frequently head with your ribs resting on one arm and with your knees bent, one foward, resting on your free elbow and the other backward to some degree.(sometimes switching legs)

Back Rock

Back Spin-a move that you spin on your back, using your legs to create power for the spin

Back hand-springs - leaping backwards onto your hands then back onto your feet, a great way to break your neck and wrists if you don't know how to do them properly

Broncos- Jump into handstand, then kicking your legs to land back on your feet.

Butt Spin - A spin on the butt

Bicycle Pumps - a footwork pattern that resembles jogging on the spot but in a push up position.

Bridge

CC's : a downrock move that involves twisting side to side while letting your opposite leg fly over the leg you've planted on the ground during twists

Chair Freeze - A freeze where you support your body with your elbow stabbed in your back, feet and head touching the ground.

Coindrop - a single windmill, can be started from standing or from anything. differences between is single windmill & you bounce/pump higher.

Crab Freeze

Crow Freeze - an airbaby variation

Crickets - A rotating, jumping hanglide freeze

Darkhammers - A pumping float move. Unlike Crickets and Jackhammers, you switch hands in every pump in this move.

Drop aka Go Down - The bboys way of getting from Toprocking to Floor rocking.

Eight-Ball Footwork

Elbow Freeze - A freeze on the elbow

Elbow Spin - A spin on the elbow

Elbow Tracks - Similar motion to airflares, but instead of using your hands you use your elbows.

Flares - Similar to the gymastics movement 'Thomas Flair/Flare'

Floats - Basically a moving freeze, usually when the body is facing down and the body is somewhat parallel to the ground.

Forearm Freeze - a freeze on the forearm

Freezes- sudden stops in motion frequently in unnatural positions.

Front Flip - A forward flip that does not involve tucking

Go Down - See drop.

Hand Glide- spinning on your hand whos elbow is stuck on the side of your gut.

Head Eraser

Head Hollows - a hollowback with your head on the ground

Headspins - a spin on your head

Heelspin - a spin on your heel

Helicopter-Rotating one leg in a circular motion, while in a crouching position

Hollow Backs - a handstand with a very arched back, with your head between your arms.

Jackhammers - a cricket with only your stabbed hand

Kerroppi - A 2-handed freeze where both knees and planted on both elbows

Kick outs - With one hand on the ground both feet are kicked outward from the body and then brought back in many variations exist.

Kip Ups- Pushing your two hands while on your back to get up. It gets you up while you're laying down on your back.

Knee Drop - The illusion of dropping on one's knee. Aquired by throwing one's leg back and placing the foot behind the knee of the other leg and dropping in one swift motion. The trick is to land on the ball of the foot that is between the back of the other leg's knee - NOT on the knee itself.

Knee Spin - A spin on one knee

L-Kicks- a one-handed handstand position and your leg makes an L-shape

Master Swipes - High Swipes in which your feet/foot don't/doesn't touch the ground when your hands are on the ground, and your hands don't touch the ground when your foot/feet is/are.

Munch Mills aka Baby Mills - Windmills with ur body in a fetus position.

Neck Move

Omega Bomb - A high-tier move that is executed by performing a kip-up into planche position, and holding it to some degree.

Pencil Drop: A headstand drop where your arms are at your sides and your legs are closed together

Pike - a postion where your legs are together, straight and perpendicular to your body.

Planche- a form of handstand where the body is horizontal to the ground and arms are not bent at the elbow but are angled in order to support body weight. Requires a lot of upperbody strength.

Rubber Band - Continuous kip ups.

Scissor Hops - jumping on your hands in a handstand while kicking your legs front and back, switching kicks inbetween each pump

Scorpions - kind of a reverse hollowback, a planche with your legs coming over your head from behind

Scrambles aka 12 step - The grape vine pattern of footwork done by Baby Love in the movie beatstreet.

Side shuffles

Sky Scrapers - hopping around in a circle from one hand to the other hand while in hand stand position.

Spins - Rotating in a circular motion, be it in a freeze, handstand, or toprock, etc

Stars - A shoulder spin with the body spread out like a starfish

Suicide- to land flat on one's back from a height

Supermans - windmills with arms extended outward like superman when he flies

Sweep catches

Swipes

Threading - while holding onto one foot with your hand, you bring the other foot through the circle created by your hand and foot. Sometimes done in a hand stand position, sometimes done while sitting down or in a freeze.

Tombstones - Like munch mills, except with your legs together and piked.

Top Rock - The standing element of bboying usually done at the start of a set.

Tracks - A movement done from the same base as chair freeze which involves turning your body over while held up by your hands then feet consecutivly while your head stays on the ground.

Turtle - A turtle freeze, except one walks in a circle. Elbows are always stabbed (/supports the body). One walks in a rotating see-saw like manner.

Turtle Freeze - A two handed freeze. Only two hands touch the ground. The elbows are placed near your abs, in order to support the rest of your body.

UFO's - hoping around with your hands straight down close to your crotch. however your body is not touching the floor and held upright.

Uprock- 1) a Dance that started in the late 1960s by Rubberbandman. It was originally called Rocking or the Rock dance, till people started coming to Rock Battles/Jams thinking it was going to be a Rock concert type thing, so they changed it to Uprock. It involves Freestyle, Burns, and jerks against a opponent to Funk and soul tracks of during that time. See www.dynastyrockers.com for clips, music, and more information on Uprocking.

2) a Bboy completely watered down from definition number 1. It consists of 4 counts. On the first count you throw a punch, 2nd and 3rd Counts you shuffle your feet back and forth (jumping putting one foot in front of the other), do that 3 times, then drop, or crouch down to the floor, which is then repeated.

Valdez - A variation of back walk-over started from crouching position.

Windmills- rolling around on one's torso with one's legs in a v-shape

Worm aka caterpillar - Noob