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.

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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)

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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