A short History & Discription Emcee

The term Emcee comes from the abbreviated Master of Ceremonies (M.C.). In its conventional sense, MC referred to the master of a ceremony or of an event. From there,the MC evolved to become an entertainer and a public speaker. This element embraces the American Constitutional right of Freedom of Speech. The MC is the voice of Hip Hop ones who directs, moves, and inspires the crowd with rhyme and reason. DJ Pete Jones, KC the Prince of Soul, Shiba Shiba, DJ Hollywood, Lovebug Starski, Brucie B, The Cowboy, Coke La Rock,MC Happy, Timmy Hall, Grand Master Caz, Melle Mel &The Furious Five, Shake Rock, The Cold Crush Brothers, Afrika Bambaataa, Kool Moe Dee & The Treacherous Three, Fantastic 5, Sugar Hill Gang, Kurtis Blow, Run DMC, Whodini Big Daddy Kane, MC Lyte, Egyptian Lover, Jazzy D, Ice T and KRS-ONE are a few of the MC Legends that made Hip Hop what it is today.


Emcee or Rap is the most famous, financially lucrative, and corporate exploited element of Hip Hop because of the record companies, who saw its value originating with Sugar Hill Gang's"Rapper's Delight" which was the first Hip Hop single to become a Top 40 hit. Kurtis Blow was the first Emcee to get a mainstream record deal. The MC is the Poet and the Spoken Message of Hip Hop. It all began with clean and positive rhymes, just being clever with words. An MC can rap about his thoughts, feelings, experiences, or just about anything at all that he/she is choosing to communicate. Today, the true MC seeks to be a master of his/her own vocal expression, music, message and consciousness.


Most MC's rate themselves on their ability to "rock a party", speak clearly into the mic, tell a good story, or"battle" freestyle "off the top of their head" without writing or planning anything. A talented MC can "drop" one single and turn it into a multi-million dollar product. This is why record companies and rappers have made so much money. It all started with DJ's first utilizing vocals to get the crowd involved. The MC is the powerful element that then took vocals and lyrics and elevated Hip Hop to its modern day Superstar Generating status. Lovebug Starski was the first to coin the phrase hip hop as well as The Cowboy (RIP) the rhyme goes something like this. A little Hip Hop, The hibiti, The hibiti-hip hip hop. A little little, little,little, little Hip Hop as he danced moving his hips. The rest remains history in the making.

A short History & Discription of Djin

The term Deejayin' goes back to 1971 in New York City with the original DJ's: Pete DJ Jones, DJ Hollywood, JJ the Disco King, Kool DJ Herc, Kool DJ Rock, Grandmaster Flash, DJ Champagne (RIP), Grand Wizard Theodore and Red Alert, among many many others. On the West Coast, DJ Antron, Evil E and Hen G, Tony G, Gemini, Captain Rock and the World Class Wrecking Crew were among the ground breaking pioneers. All of these DJ legends set free a powerful force of creative energy, which still emanates to this day. These first DJ's would perform in the Bronx at underground parties, parks, and basements in their local neighborhoods. 


Their creative breakthrough was to bring two turntables together and to play them simultaneously. This was called "mixing". The Father of Hip Hop DJ Kool Herc brought all the elements together and inspired a new movement in the community by bringing everybody to the park with the biggest and loudest sound system playing R 'n B, Funk, Soul, and extending the break-beat of the record giving birth to the dance movement call Bboying. Some say that this is how the name Break Boy, Bronze boy or BBoy got its name from also known as Break dancing. Grand Master Flash created Kutting, which are two records playing continually and repeating the same song as well as re-arrange the song, creating an avenue for the MC to entertain the crowd with rhymes over the instrumental. Grand Master Flash technique was so smooth and fast. Also, according to legend, Grand Wizard Theodore invented "scratching" largely by accident.


He liked the sound and developed the technique which many have utilized and mastered since. This also gave DJ Hollywood the opportunity to grab the mic and shout "Somebody say OOH! YEAAH! "Throw your hands up in the air and wave them like you just don't care and if you have clean under wear Somebody say OOH! YEAAH! Now screeeeam!!!" Dj Hollywood was defenetely the boss on the mic. Some say that this is how MCin' was born. The DJ is the foundation that sourced Hip Hop. Incredible DJ techniques such as "Kutting", "Mixing", "Transforming", "Beat Juggling", and "Triple Threat" were invented and perfected as Hip Hop evolved. DJ Q-Bert is credited with inventing "Flaring" and the "Crab". 

A short history & Description of Breakin'/Bboyin'

The American dance of Breakin' or B-Boyin' originated from the ghetto neighborhoods of New York City in the Mid-70s. It was developed by many different crews and individuals including Spy, Frosty Freeze, Mr. Freeze, Chino, JoJo, Rock Steady Crew, New York City Breakers, Incredible Breakers, and the Dynamic Rockers, among many others. When DJ's first started spinning their records and the break beats began to play, Breakers or B-Boys adrenalin would start to flow, motivating them to create a "cypher" or circle in which to "battle" one another on the dance floor.


This is where B-Boyin' was born. B-Boyin' requires and demands more physical strength than any of the other elements. The foundation of BBoyin' includes combinations of moves such as "Power Moves", "Footwork" "Spinning", "Freezes" and "Top Rocks". Breakin' was developed from many different dance cultures such as African, Indigenous, Latin and Russian Dance, Tap, Capuera, Lockin', Lindy Hop,Martial Arts, and Gymnastics to name just a few. "Top/Up Rockin" is a preparation and a building of energy created to release in the middle of the "cypher". It is a battle dance that B-Boys do similar to Indigenous Dance. "Footwork" is an intricate style which uses circular based leg movements with original steps such as "CC's", "Flips", "Splits", and different"Freezes" such as the "Chair Freeze" and "Hollow backs" to complete a freestyle routine."Power Moves" is another style, utilizing aerodynamics, flying in the air, powerful maneuvers where your feet never touch the ground, always spinning and twisting with control.


Some "Power Moves" include "Aerials", "Headspins", "Air Flares", "Air Thomas Flares", "Halos", "Windmills", "Handspins", "Elbowspins", "Backspins" and combinations of all of these. The Shake City Rockers, Air Force Crew, L.A. Breakers, Rockin Wizards, Pony Express and several other crews in Los Angeles took B-Boyin' to new and miraculous heights never before imagined nor thought possible.

World championships (BBOYING)

• Battle of the Year (BOTY) was founded in 1990 in Germany.^] It is a breaking competition for b-boy crews. BOTY holds regional qualifying tournaments in several countries such as Zimbabwe, Japan, Israel, Algeria, Indonesia, Italy, and the Balkans. Crews who win these tournaments go on to compete in the final championship in Montpellier, France. BOTY was featured in the independent documentary Planet B-Boy that filmed five b-boy crews training for the 2005 championship. A 3D film Battle of the Year: The Dream Team is scheduled for commercial release in January 2013. It was directed by Benson Lee who also directed Planet B-Boy.

• B-Boy Summit is an international four-day conference founded in 1994 by b-girl Nancy "Asia One" Yu in San Diego, California. The B-Boy Summit places a lot of emphasis on the history of hip-hop culture and breakers understanding the roots of where it came from. For this reason, the conference includes a breaking competition, a talent showcase for rappers and DJs, and live paintings by graffiti artists so that "each element of Hip-Hop combine[s] together to make the cipher complete."There's also competitions for lockers and poppers as part of the "Soul Fest" portion of the conference.

• The Notorious IBE is a Dutch-based breaking competition founded in 1998.IBE (International Breakdance Event) is not a traditional competition because there are not any stages or judges. Instead, there are timed competitive events that take place in large multitiered ciphers—circular dance spaces surrounded by observers—where the winners are determined by audience approval.There are several kinds of events such as the b-girl crew battle, the Seven 2 Smoke battle (eight top ranked b-boys battle each other to determine the overall winner), the All vs. All continental battle (all the American b-boys vs. all the European b-boys vs. the Asian b-boys vs. Mexican/Brazilian b-boys), and the Circle Prinz IBE.The Circle Prinz IBE is a b-boy knockout tournament that takes place in multiple smaller cipher battles until the last standing b-boy is declared the winner. IBE also hosts the European finals for the UK B-Boy Championships.

• Red Bull BC One was created in 2004 by Red Bull and is hosted in a different country every year.The competition brings together the top 16 b-boys from around the world. Six spots are earned through six regional qualifying tournaments. The other 10 spots are reserved for last year's winner, wild card selections, and recommendations from an international panel of experts. A past participant of the competition is world record holder Mauro "Cico" (pronounced CHEE-co) Peruzzi. B-boy Cico holds the world record in 1990s. A 1990 is a move in which a breaker spins continuously on one hand—a hand spin rather than a head spin. Cico broke the record by spinning 27 times. A documentary based on the competition called Turn It Loose profiled six b-boys training for 2007 championship in Johannesburg. Two of these b-boys were Ali "Lilou" Ramdani from Pockémon Crew and Ronnie Abaldonado from Super Cr3w.

• R16 Korea is a South Korean breaking competition founded in 2007 by Asian Americans Charlie Shin and John Jay Chon.Like BOTY and Red Bull BC One put together, Respect16 is a competition for the top 16 ranked b-boy crews in the world. What sets it apart from other competitions is that it is sponsored by the government and broadcast live on Korean television and in several countries in Europe. In 2011, R16 instituted a new judging system that was created to eliminate bias and set a unified and fair standard for the way b-boy battles should be judged. With the new system, b-boys are judged against five criteria: foundation, dynamics (power moves), battle, originality, and execution. There is one judge for each category and the scores are shown on a large screen during battles so that the audience can see who is winning at any given moment.

Power Versus Style

Multiple stereotypes have emerged in the breaking community over the give-and-take relationship between technical footwork and physical power. Those who focus on dance steps and fundamental sharpness are labeled as "style-heads." Specialists of more gymnastics-oriented technique and form—at the cost of charisma and coordinated footwork—are known as "power-heads." Such terms are used colloquially often to classify one's skill, however, the subject has been known to disrupt competitive events where judges tend to favor a certain technique over the other.

This debate however is somewhat of a misnomer. The classification of dancing as "style" in b-boying is inaccurate because every b-boy or b-girl has their own unique style developed both consciously and subconsciously. Each b-boy or b-girl's style is the certain attitude or method in which they execute their movements. A breaker's unique style does not strictly refer to just toprock or downrock. It is a concept which encompasses how a move is executed rather than what move is done.

Downrock Style

• Traditional New York Style: The original style of b-boying from the Bronx, based around the Russian trepak dance, this style of downrock focuses on kicks called "CCs" and foundational moves such as 6-steps and variations of it.
• Euro Style: Created in the early 90's, this style is very circular, focusing not on steps but more on glide-type moves such as the pretzel, deadlegs, undersweeps and fluid sliding moves
• Canadian Style: Created in the late 90's, also known as the 'Toronto thread' style. Based upon the Euro Style, except also characterized by elaborate leg threads

Bboy style

• Power: This style of b-boying is what most members of the general public associate with the term "breakdancing". Power moves comprise full-body spins and rotations that give the illusion of defying gravity. Examples of power moves include headspins, backspins, windmills, flares, airtracks/airflares, 1990s, 2000s, jackhammers, crickets, turtles, hand glide, halos, and elbow spins. Those b-boys who use "power moves" almost exclusively in their sets are referred to as "power heads" or power movers.
• Abstract: A very broad style of b-boying which may include the incorporation of "threading" footwork, freestyle movement to hit beats, house dance, and "circus" styles (tricks, contortion, etc.).
• Blowup: A style of b-boying which focuses on the "wow factor" of certain power moves, freezes, and circus styles. Blowups consist of performing a sequence of as many difficult trick combinations in as quick succession as possible in order to "smack" or exceed the virtuosity of the other b-boy's performance. This is usually attempted only after becoming proficient in other styles due to the degree of control and practice required in this type of dancing. The names of some of the moves are: airbaby, airchair, hollow backs, solar eclipse, reverse airbaby, among others. The main goal in blowup-style is the rapid transition through a sequence of power moves ending in a skillful freeze.
• Flavor: A style that is based more on elaborate toprock, downrock, and/or freezes. This style is focused more on the beat and musicality of the song than having to rely on "power" moves only. B-boys who base their dance on "flavor" or style are known as "style heads".

Uprock

A separate but related dance form which influenced breaking is uprock also called rocking or Brooklyn rock. Uprock is an aggressive dance that involves two dancers who mimic ways of fighting each other using mimed weaponry in rhythm with the music.Uprock as a dance style of its own never gained the same widespread popularity as breaking, except for some very specific moves adopted by breakers who use it as a variation for their toprock. When used in a b-boy battle, opponents often respond by performing similar uprock moves, supposedly creating a short uprock battle. Some dancers argue that because uprock was originally a separate dance style it should never be mixed with breaking and that the uprock moves performed by breakers today are not the original moves but poor imitations that only show a small part of the original uprock style

It has been stated that breaking replaced fighting between street gangs. On the contrary, some believe it a misconception that b-boying ever played a part in mediating gang rivalry. Both viewpoints have some truth. Uprock has its roots in gangs.^{:116, 138} Whenever there was an issue over turf, the two warlords of the feuding gangs would uprock. Whoever won this preliminary battle would decide where the real fight would be.This is where the battle mentality in breaking and hip-hop dance in general comes from."Sometimes a dance was enough to settle thebeef, sometimes the dance set off more beef."

History (Origin)

B-boying at its inception borrowed from other performance styles, as many elements of b-boying may be seen in other antecedent cultures prior to the 1970s. Concerning martial arts, b-boying looks very similar to the movement found in the Brazilian martial art capoeira which came about in the 1500s; however, b-boy pioneers Richard "Crazy Legs" Colon and Kenneth "Ken Swift" Gabbert, both of Rock Steady Crew, deny they ever witnessed capoeira when they were young; they cite James Brown and Kung-Fu films as influences instead. Many of b-boying's more acrobatic moves, such as the flare, show clear connections to gymnastics. An Arab street dancer performing acrobatic headspins was recorded by Thomas Edison in 1898.However, it was not until the 1970s that b-boying developed as a defined dance style.

Beginning with DJ Kool Herc, Bronx-based DJs would take the rhythmic breakdown sections (also known as the "breaks") of dance records and prolong them by looping them successively. The breakbeat provided a rhythmic base that allowed dancers to display their improvisational skills during the duration of the break. This led to the first battles – turn-based dance competitions between two individuals or dance crews judged with respect to creativity, skill, and musicality. These battles occurred in cyphers – circles of people gathered around the breakers. Though at its inception the earliest b-boys were "close to 90 percent African-American", dance crews such as "SalSoul" and "Rockwell Association" were populated almost entirely by Latino Americans. Historian Joseph Glenn Schloss described it as such:


In other words, there were three basic stages to the development of the dance: the early rock dance of the '60s, which was Latino and citywide; Brooklyn rocking or uprocking which was Latino and Brooklyn-based; and b-boying, which is Black and Latino and Bronx-based. Within this basic framework, it is not difficult to see how three constituencies-Brooklyn Latinos, Bronx Latinos, and African Americans-could have three totally different perspectives on the history

Terminologi

The terminology used to refer to b-boying changed after promotion by the mainstream media. Although widespread, the term "breakdancing" is looked down upon by those immersed in hip-hop culture. Purists consider "breakdancing" an ignorant term invented by the media that connotes exploitation of the art and is used to sensationalize breaking. The term "breakdancing" is also problematic because it has become a diluted umbrella term that incorrectly includes popping, locking, and electric boogaloo, which are not styles of "breakdance", but are funk styles that were developed separately from breaking in California. The dance itself is properly called "breaking" according to rappers such as KRS-One, Talib Kweli, Mos Def, and Darryl McDaniels of Run-DMC.

The terms "b-boy" (break-boy), "b-girl" (break-girl), and "breaker" are the original terms used to describe the dancers. The original terms arose to describe the dancers who performed to DJ Kool Herc's breakbeats. DJ Kool Herc is a Jamaican-American DJ who is responsible for developing the foundational aspects of hip-hop music. The obvious connection of the term "breaking" is to the word "breakbeat", but DJ Kool Herc has commented that the term "breaking" was slang at the time for "getting excited", "acting energetically" or "causing a disturbance".Most b-boying pioneers and practitioners prefer the terms "b-boy", "b-girl", and/or "breaker" when referring to these dancers. For those immersed in hip-hop culture, the term "breakdancer" may be used to disparage those who learn the dance for personal gain rather than for commitment to the culture B-boy London of the New York City Breakers and filmmaker Michael Holman refer to these dancers as "breakers".Frosty Freeze of the Rock Steady Crew says, "we were known as b-boys", and hip-hop pioneer Afrika Bambaataa says, "b-boys, [are] what you call break boys... or b-girls, what you call break girls." In addition, co-founder of Rock Steady Crew Santiago "Jo Jo" Torres, Rock Steady Crew member Mr. Freeze, and hip-hop historian Fab 5 Freddy use the term "b-boy", as do rappers Big Daddy Kane and Tech N9ne.

BBOYING

B-boying or breaking, often called "breakdancing", is a style of street dance that originated as a part of hip hop culture among African American and latino youths in New York City during the early 1970s.Fast to gain popularity in the media, the dance style also gained popularity worldwide especially in South korea France, Russia, Japan, and Brazil. While extremely diverse in the amount of variation available in the dance, b-boying consists of four primary elements: toprock, downrock, power moves, and freezes. B-boying is typically danced to hip-hop and especially breakbeats, although modern trends allow for much wider varieties of music along certain ranges of tempo and beat patterns.

A practitioner of this dance is called a b-boy, b-girl, or breaker. Although the term "breakdance" is frequently used to refer to the dance, "b-boying" and "breaking" are the original terms. These terms are preferred by the majority of the art form’s pioneers and most notable practitioners.

List Breakbeat Music (Kill The Beat)

~Flying Fish feat Andy Ross - Mr Matatwe (Keep It Up)

~Fred Karlin - Your Hip Miss Pastorfield (Remix)

... ~'Goldrush' by The Herbaliser

~Incredible Bongo Band - In A Gadda Da Vida

~James Brown - Superbad

~John Hawksworth - Flash Barrier

~La banda salsa - Y ata A yo yo

~Laura Vane - The_Vipertones_Roof_Off

~Lefties Soul Connection - Fais Do Do

~Lefties Soul Connection Code 99

~Los Tios Queridos - Si Me Ves Volar (Fast Mix)

~Magic Disco Machine - Scratchin

~MILTON HAMILTON & SPIRITUALIZED-MY LOVE SUPREME

~Monophonic & Huckspin - Bulgarianized Alternative

~Mr. Comicstore ft. Nicole williams - Are U Ready

~New Mastersounds - Nervous

~Nicole Willis and the Soul Investigators - Holdin On

~Ryan Shaw - Do The 45

~salinas - straussmania

~Scott Davis And The Movements - New York Applejack

~Soopasoul - Brand Nu

~Soopasoul - Swing Down (Instrumental)

~Soul Searchers - Blow Your Whistle

~Speedometer - Hot Packet

~Speedometer - same old thing

~Speedometer - Take A Chance

~Stefano Torossi - Fearing Much

~Sugarman 3 - Take It As It Come (Remix)

~The Bamboos - Happy ( Max Sedgeley Cover)

~The Bamboos - The Witch

~The Hypnomen - Need No Doctor

~The Incredible Funk League - On & On Feat. Sadat X

~The New Mastersound- Coffee Provider

~The Quantic Soul Orchestra - Get A Move On (Alternative Mix) (Mr Scruff Cover)

~The SoToro - Going to Borinquen

~You Boys Can Boogie To

~O'Donel Levy - Playhouse

~Quincy Jones - Main Squeeze

~Roy Ayers - Brother Green

~Sharon Jones - I Got A Thing On My Mind

... ~Southside Rockers - Old School Scat

~Pete Rock and cl Smooth - The creator

~The Herbaliser - Goldrush

~Ultrafunk - Boogie Joe The Grinder

~Speedometer - Orisha

~Mr Wiggles - Bronx Outlaws

~DJ Terry - BOTY2004 Final Mixtape

~African Battle by Manu Dibango

~Fader Gladiator (bboy war) - Beatstreet

~Break Dance Music-K Papworth-Hard Hitter

~Breakestra Getcho Soul Togetha Part 1

~Brownout (Freestyle 2008) - Homenaje

~Cookin On 3 Burners - four n twenty

~Cookin on 3 Burners - Kebs Bucket

~Cookin on 3 Burners - Tokyo Saucer

~Cookin on 3 Burners feat_ K.Auldist - Push it up

~Cookin' On 3 Burners - gravel rash

~Cookin' On 3 Burners Ft Falon Williams - Cook It

~Dancing in the Moonlight lyrics

~Deck Brothers - Breaks of Fury Mix Snippet

~DJ Spinna - Rock

Origami & Threads (Or spyderman Style)

Profo Won

well there is a debate about that

when i speak im speaking from an outside perspective

i first wanna say im not from canada im from california

i have done my research and im cool with Dyzee and Gadget

so this is what i see from where i stand

according to the Boogie Bratz

Gadget and Megas created the style called Origami

according to Supernatuals

Lego from Supernatz created a certin thread style

Megas used to be Supernatz before Boogie Bratz

so thats why there is this conflict on who started what

IMPO

i feel like in any scene people will influence each other just cause that region holds a certin energy

this is before youtube so all you had was each other

when you cypher or even battle another crew some traits will rub off on you even if you are not aware of it

the best is to talk to Gadget and Dyzee to find out

the middle ground!

Thats my take on it!

Micah Vr

If you're referring to threading- that was not origami...origami was Boogie Brats approach to breaking that incorporated threading, but a large part were things that we learned from watching storm that became evident in our crews style (hence why a lot of the flow is similar to what storm was on...very inspired by storm)...a lot of rocking to the back and how he used going to the back to transition and connect footwork and power with great fluidness) People confuse what Boogie Brats knew and called origami as threading. Threading was a part of it and a huge part of Toronto's scene all together. As per Mr. Wiggles, the true name to be given to threading is Spiderman Footwork, which it should be called. The name origami was a Boogie Brat term for our overall approach that was heavy on threading, transitions and flow learned by watching storm and how we connected it into power and the overall dance. That is the Boogie Brat explanation that somehow got misunderstood over the years- we never invented threading and threading should be called Spiderman Footwork as Mr. Wiggles laid it down. Cheers ;-)

Micah Vr

Profo: origami was a name given by me- the approach was mainly a result of both Megas and I, but I could not rule out my younger brother (Jesse) Mighty Mouse, the Toronto scene that inspired that and Storm.

Profo Won

Word up! Thanks Micah for givin the insight!

Cuz to me i can see the difference from each crew from T-Dot

If you look closely Bag of Trix, SuperNatz, DDT,and Boogie Bratz all had a different flow and use of threads!

But the main thing i would say is that T-Dots approach to threads!

There were a few here and there but not so concentrated consciousness of it than T-Dot

Micah Vr

Word Profo- I remember being a kid and seeing Bag of Trix doing a lot of threading...huge part of Toronto...and it was in Toronto where Wiggles came and clarified the origins of it in footwork and bboying.

Karl Olivier Dyzee Alba

This is a good post, and Im glad there is some middle ground on here. If we are talking about Threading styles, here is how I saw it.

Bag of Trix (specifically Gizmo) pioneered quite a few Threads. The way he did it was as a move, by doing three consecutive threads of the same move.

Lego, was the first guy to take multiple threadz in a continuous complexed patern, which started the whole mentality of Threading as a complexed illusion. He and stripes pioneered many of the steps people are doing today such as the Legoleg, Deadleg, Leg-O's, knee threads, leg wraps, and Arm threads.

Boogiebrats, pioneered the (swing through) Threads, and mixed it with power and flow "Origami".

The best thing to do is take a look at old footage to see exactly who was doing what, and how they did it.

Fredrick Freeze Herranen

Hey,

really dope information coming out here.

I try to break things down as i saw it n what i know.

I think thread styles is something that was done by a lot of people as a move ( u know when u grab ur foot n just jump threw the loop. Backwards or forwards). This is something that was done a lot in northern Europé thru the early 80´s. Nico from Throw Down did it laying down by threading his foot back n forth and then back to footwork. Hed did this in the middle 80´s as i recall. I started doing a thread go down to a back rock thread combo during the same period. This is a round 85-86. I spoke to Wiggles a couple a years ago n as i recall it he n somebody from Floormasters later NYC Breakers had a threading style. Would be mad dope if Brother Wiggs could go deeper on this. Cause i think they might have been some of the first ones who explored it into a style ?

I also know that the brothers from Atomic B-Boy´s was heavy into threading in the early 90´s there style wasnt smooth n flowy like the rest of us. It was more angels n hard hitted.

This was before we saw Gizmo from Bag of Trix, Boogie Bratz n Super Naturals. Them brothers evolved this stuff to another level. Wich inspired us to go deeper. I think we started seeing the Canadians around mid to late 90´s ( gotta check that thoe). Thx Dyzze n Crazy Smooth for givin me some knowledge from there.

Profo, how u doing brother?

Well as i know from speaking to Poe who actually was into Actual Force and Karim Barouche, Pascal Blais, brother Laos etc. They got influenced by the documentary one hour with Rock Steady. In that movie Kuriaki N Buck 4 (RIP). Did a lot of Sweeps. This ive been told was a big influence to what Actual Force And Paris City Breakers did. When they started using it as a concept to create moves n flow Thx Ness and Poe for helping me with that puzzel. I also talked to Karim n he said that they tried to mimic animal movements. In Karims case a cat.

When we saw this flow, wich was a very flowy style compared to what our inspirations at that time was doing, early 80´s NYC Breakers, RSC, Dynamic, Magnificent and Incredible who had more of a footwork Bronx feel to what they did. We was inspired because it was different. We got into it and started building. The term leg work i heard from Ness first time. We called it Sweep Combos and Storm called it Pretzels.

So a lot of whats being done has been done before Things evolve different in different places. Props and maad respect to the originators, creators and people who inspire to re: inspire.

Thx for the overstanding n help to dig deeper, Laos, Karim, Pascal, Poe, Ness, Wiggles, Atomic B-Boys, Storm, Swift, Maurizio, Ken Swift, Dyzze.

PZ

Freeze

Ghost Crew

Ness4 opinions

Question

8th November 2011

Edit: Dyzee can u expand a little bit about the whole canadian thread style. megus' origami, etc. what about gizmo from bag of trix? mr wigglez spiderman style influence?

18th November 2011

Dyzee:

Ok to expand on the Canadian Thread style, it first originated from the party hip hop dancers who would do simple threads like jumping over their foot while dancing on Top. All the bboys in Toronto in the early 90's were ALL hip hop dancers. So naturally, they brought the sme Threads to the floor. Bag of Trix members, had a concept of doing things 3 times in a row, ending up with the last one being the best version or transitioning into something cool. So they took the threads to the floor, but would repeat the same thread three times in a row. Original members of my crew also say they took threads to the floor but started from a standing up style. 

The first person that breaked with the COMPLEXED threading style was Lego of Supernaturalz. Its possible that Mr Wiggles did threads first too, but in the concept of being really original with it, was Bag of Trix, and in the concept of being really complexed, was Supernaturalz Crew.

Megas was originally in Supernaturalz from since 94 before leaving to join Boogie Brats. We both were inspired by the way that Lego was complexed in his style, however, we were way more flexible than he was since we were 16 at the time, and he was already 24 with kids and a full time job, so we were able to take the threads to a higher level.

Origami, actually isn't just about threading, it's a type of threading style. Its about folding and bending ones body to make shapes. 

So threads, is about:

#1 being original,

#2 being complexed so that nobody can bite it

#3, having a continuous flow.

When me and Megas used to do them, there were certain rules we made up like

#1 Not going in and out of the same hole.

#2 not breaking the thread (each thread must flow right into the next)

#3 each thread needs to flow into sometype of move, freeze, burn or gesture (to keep it in the bboy context)

Dyzee references

http://www.youtube.com/watch?v=oeuMN8ud_PA&feature=share

bboy dyzee explain about "Canadian Thread Style"

Question

8th November 2011

Edit: Dyzee can u expand a little bit about the whole canadian thread style. megus' origami, etc. what about gizmo from bag of trix? mr wigglez spiderman style influence?

18th November 2011

Dyzee:

Ok to expand on the Canadian Thread style, it first originated from the party hip hop dancers who would do simple threads like jumping over their foot while dancing on Top. All the bboys in Toronto in the early 90's were ALL hip hop dancers. So naturally, they brought the sme Threads to the floor. Bag of Trix members, had a concept of doing things 3 times in a row, ending up with the last one being the best version or transitioning into something cool. So they took the threads to the floor, but would repeat the same thread three times in a row. Original members of my crew also say they took threads to the floor but started from a standing up style. 

The first person that breaked with the COMPLEXED threading style was Lego of Supernaturalz. Its possible that Mr Wiggles did threads first too, but in the concept of being really original with it, was Bag of Trix, and in the concept of being really complexed, was Supernaturalz Crew.

Megas was originally in Supernaturalz from since 94 before leaving to join Boogie Brats. We both were inspired by the way that Lego was complexed in his style, however, we were way more flexible than he was since we were 16 at the time, and he was already 24 with kids and a full time job, so we were able to take the threads to a higher level.

Origami, actually isn't just about threading, it's a type of threading style. Its about folding and bending ones body to make shapes. 

So threads, is about:

#1 being original,

#2 being complexed so that nobody can bite it

#3, having a continuous flow.

When me and Megas used to do them, there were certain rules we made up like

#1 Not going in and out of the same hole.

#2 not breaking the thread (each thread must flow right into the next)

#3 each thread needs to flow into sometype of move, freeze, burn or gesture (to keep it in the bboy context)

Dyzee references

http://www.youtube.com/watch?v=oeuMN8ud_PA&feature=share

From bboy Ettiquette

I am writing this because I want to officially state something that has never been officially stated about Hip Hop and Bboy Culture. This is not an opinion, but knowledge and wisdom gained from experience, and self research.

In the culture of Bboying and Hip-hop, there is un-written codes that were lived by, which have helped to shape the culture into what it is today. However, these codes are now being lost, and it is my attempt to make them re-known so that bboying and hip hop culture can grow better for the future generations to come.

Firstly, you have to identify why are you bboying? Is it for the girls? Or if you are one of the few Bgirls, is it for the boys? Or are you just wanting to express yourselves? If so, why not choose modern dance? I would think that modern dance is more self expressive isnt it? Im not knockin on these possible motivations, but Id like to get to the bottom of why people choose Bboying and/or Hip hop?

We choose Bboying/ Hip hop, because it is a culture that allows you to take all that you are, and exactly who you are, to manifest it into your own craft or skill, and put it to the test against others, thus gaining yourself RESPECT!

And that is what Hip hop is all about.

R E S P E C T

Respect = Acknowledgement; of who one is, and what they have done, did or is doing.
It is about earning it, gaining it, taking it, learning it and using it.

Respect is a universal thing. Every nation in the world values respect.  Each country differs on how they deal with respect.
For example, in America, respect is not given until its earned, but in Asia, respect is given until it is lost. That is why Hiphop and Bboying is made for being a world united culture, because its about earning respect.

And with RESPECT, comes your name. Without a name, who is the respect going to be given to? And that is where (and why) it really matters about earning your name. Your NAME, is what people will identify and acknowledge you with, as either earning respect, or losing it. So choose your names wisely or wait until its respectively given to you. But it needs to be a name that is easily remembered or you will have a harder time getting your deserved respects.
For example, many japanese bboys choose to use their real names instead of making or earning a Bboy/ Hip hop name. There are so many really dope bboys in Japan but nobody remembers them because its hard to remember the names!

Now that we understand that bboying and Hip hop is all about gaining or losing RESPECT, we can now talk about
Bboy Etiquette

etiquette [ˈɛtɪˌkɛt ˌɛtɪˈkɛt]
n
1. (Sociology) the customs or rules governing behaviour regarded as correct or acceptable in social or official life
2. (Sociology) a conventional but unwritten code of practice followed by members of any of certain professions or groups

Bboys of today, mainly the younger generation, are unaware or ignorant to the fact that there are certain ways to do things in bboying and Hip hop in order to gain respect.

There are no easy ways to trying to gain respect to your name. It takes a lot of patience, persevering and straight up hard work.

Many bboys actually try taking short cuts and this in return actually causes them lose their respect, especially from the older generations who may have inspired, or paved the way for us to be enjoying this culture for what it is.

So the question is, how does one start from the bottom and properly gain respect through the bboy and hip hop way of life?

The answer is:

"BATTLES"

Below is the proper way about going on with Battles and how to do it in a way that you gain maximum respect for your own namesake.

STEP #1: Identify and differentiate  the three elements of where battles take place and respect is earned or taken away.
1. Exhibition battles
2. Competition battles
3. Cypher battles

STEP #2: Choose which element to prove yourself in

Cyphers> A good way to get a long lasting impression and respect from those who are in the cypher. Only problem is that cyphers are small, so maximum 20 people will be there for you to gain your respects. But the respect gained or earned will be long lasting. However, there is a lot of cypher etiquette involved.

Competitions>A good way to gain  respects a little faster but not as long lasting. Good for making noise or drawing attention to your name. A possibility of going up against bboys of higher status, recognition or respect, without you having to earn it.

Exhibitions> At this point, you must have already earned some type of status or recognition to have been asked to be set up in an exhibition. This means that people want to see you matched up against your opponent, or they want to see your opponent matched up against you. Either way, you deserve to be in this battle.


STEP #3: Identify the status of the person you are battling
The different status levels are:

"Wannabboys"- beginners who know nothing about the dance and are just getting started.

"Amateurs"- have already started but are mediocre in their skills and talents.

"Hometown Heroes"- Made a name in their own region, town or city but never fully proved himself outside of his region.

"World Contenders"- Have proven themselves worthy outside of their own territory, and proven they can hang with almost anyone.

"Superstars"- Has beaten the best in the game and wins battles constantly.

"Legends"- Long after he/she retires from battling, people will always remember. A timeless style or major contribution!

"Pioneers" and "O.G.'s"- Paved the way for bboying to be what it is today but may have never gotten the chance to enjoy what we currently do in todays bboy community worldwide.

STEP #4: Identify the generation of the person you are battling
Are you from the same generation of bboys? Or was he or she before your generation?

CIRCLES and CYPHERS

STEP #5  Identify; is it a Cypher? or a Circle?
Circles are about having fun, and a positive exchange. They begin naturally and unforced. It usually starts when people are having a good time, like in a party atmosphere. There are usually different types of dance styles involved, possibly even drunk people that are going in. The main purpose is to just have fun, and show off, adding excitement and energy to the party. Even if a battle starts, it is usually not taken it seriously.
Cyphers are serious. Its about finding out who is the best on that particular day, and in that particular circle. You and everyone who steps into the cypher is mandatory to put all your confidence into it, because it is your confidence that everyone in the cypher is going to try to take away from you. It is like an informal but respectful form/kind of battling everyone. Naturally, the two best in the cypher would end up battling eachother. Or two bboys who are alike would also end up battling, naturally and unforced. Or if two people have beef, they will eventually settle it on the dance floor.

STEP #6 Identify what kind of a Circle or Cypher
If its a Circle, than there is only one kind. Just have fun. Don't try to turn a fun circle into a cypher! You are completely killing the vibe.
Exception: if you see someone that you really have beef with. You can definitely handle it in the Circle in front of everyone. At least it is natural, you dont have to fake it.

If it is a Cypher, before going in, get a feel of, watch and determine what kind of a Cypher it is. Is it aggressive or chill? Is it an all powermoving or trick cypher? Or is it a Foundational? Is it a style cypher? Whatever it is, make sure you are adding to the conversation of the cypher.
Exception: Sometimes there is only one cypher, and especially if it just started, you might be determining what kind of a cypher it is going to become.

STEP #7 Throwing Down in the cypher
Everyone who throws down in your cypher is subliminally saying that they are the best. So it is natural for someone to watch what anyone in the cypher does, takes it and shows a better or different variation. This is part of a cypher mentality, and is the way of conversation to show who is the best.
Sometimes, two people in the cypher are masters of a certain style, technique or move. This is how a battle might start, by each person continually trying to top one another that their confidence starts getting affected.

Cypher Etiquette: TAKING TURNS
When two people dance at the same time, its called ROCKING. Bboying has evolved to where the people battling RESPECTFULLY take turns. One of the main reasons why bboying evolved this way was because there isnt enough room for two people to do floorwork at the same time!

- If you and another person enter the cypher at the same time, if he or she is at a higher status or generation than you, show some respect and let him go first! Don't worry, you can go in right after and smoke his/her round and show your better. Maybe he will then call you out, and more RESPECTS TO YOU!

- If you see someone keep trying to get into the cypher, let him go in, unless the person doesn't understand Step #6 or hesitates!

-If you and another person of equal status or generation enter at the same time, let whoever touches the ground first, go in.

- When you are done your set, the moment someone steps in, GET OUT OF THE WAY! By trying to stay or stand in the middle, it makes you look like a jerk, like you have no respect for the game.


Cypher Etiquette: CALL OUTS
If you are going to call out someone in the cypher, first identify the reason why you are calling them out.
A> Similar styles or moves being thrown down in the cypher (There can only be one!)
B> Out of Respect and Acknowledgment
C> Personal beef, grudge, or disrespect

Next you must identify the status and generation of the person you are calling out (as well as your own).

-Similar Styles or Moves being thrown down in the cypher is the most fairest and positive way to call someone out, or get called out. Its part of the game and nobody takes it personally unless you are trying to call out someone of a Legend status or older generation. You do not call them out, they are the ones to call you out! If they are the ones who call you out, then there is SO MUCH RESPECT and ACKNOWLEDGEMENT given to you in the fact that they called you out.

-Out of Respect and Acknowledgement, you can call someone out who is on equal status than you. Likewise, as you get older, you can call out someone that is from the same generation as you. Part of the reason is that older generation of bboys are not young anymore. They are prone to injury, they may even live off of their dancing. They may have even contributed a lot to the dance in some shape or form, and you need to acknowledge that the fact that bboying might not be where it is today without these contributers. These older generation bboys are not in their prime, and its not right to challenge someone, especially if they have been out of the game.

-Personal beef, grudge or disrespect, KNOWS NO STATUS OR GENERATION. If you have a real personal beef or grudge with someone at all, you are free to settle it in the cypher, anytime and anywhere. But if there really isn't any  REAL personal beef or grudge, then what it is, IS PURE DISRESPECT.

When you call someone out in a cypher, they are going to wonder why you are calling them out, especially if its someone of a higher respect status  or older generation.  They will think, do we have similar styles or moves? Does the person acknowledge who I am? Does he have a personal beef or grudge with me? And lastly, WHY IS HE DISRESPECTING ME?
You can then expect this person to be pissed off at you. He and almost all bboys who understand bboy etiquette will have lost all respect for you, except for the newbies that don't understand the way of the true bboy.

Cypher Etiquette: Don't do's

1. Don't touch anyone disrespectfully or bad intentionally. Exception is, if your willing to fight!

2. Don't talk trash. Exception is if there is personal beef, or disrespect involved.

3. Show respect after a battle (shaking hands, giving props). Exception is if you feel the battle isn't finished!


COMPETITIONS and TOURNAMENTS

STEP # 8 Identify the Rules and Judges
-When you decide to enter a bboy competition, you are bound by the organizers rules and regulations and your fate is in the hands of the judges. Competitions are very different from Cyphers, especially in the sense that you are expected to perform when its your turn to battle, whether or not you are ready, warmed up, or feel like dancing. Further more, you only have a few rounds to prove to yourself, your opponent, the audience and especially the judges that you won your battle and are the best on that particular day.
If you do not like the Rules, or the Judges, you can contact the organizer before the event and voice to him or her your concerns and opinion.


-If it remains the same and you still are not satisfied with the Rules or the Judges, do not enter the battle.

-If you enter the battle, do not expect to win.

-If you do not win, do not be upset, and do not complain. You knew what you were getting into.

After feeling robbed, you can easily refer back to the Cypher Etiquette for Call Outs!

Competition Etiquette:
1. Don't Touch
If you have to resort to touching, it means you can't handle it as a bboy.
Exception: If you don't care to get disqualified or lose all your respect, and your willing to fight after the competition!

2. Don't Steal Rounds
In a cypher, there is no time limit so its ok to steal rounds, it shows that you have more to give! But in a competition, there is a set amount of time or rounds which needs to be equal for both sides. Stealing rounds shows that you are desperate.
Exception: If the other team hesitates going in, you can steal the round.

3. Don't Interfere
The moment the other team starts dancing, MOVE OUT OF THE WAY! Getting in the way shows that you are afraid to see how your opponent will react to you and possibly burn your round.
Exception: If the other team starts stealing rounds and for some reason the host or organizers seem to be allowing it, you can interfere.

4. Don't Mock Moves When Its Not Your Turn
In a cypher, you can do what ever you want really, except cyphers are usually too small for two people to be doing the same crazy move at the same time. Just because in a competition, the floor space is much bigger, doesn't mean when someone is doing a move, to go and do it at the same time. It makes it really hard to judge and makes a big mess of the entire battle. If you can do the same move or better, wait till the person is done and go in right after! That is called burning or smoking someone! The crowd will go even crazier, and it will make it look like your winning the battle even more!
Exception: no exceptions

5. Trash Talking
In a cypher, trash talking begins when there is disrespect involved. However in a Competition, it is part of the game to keep it hype and have a lot of energy. You only have a few rounds to win so you need to do everything you can to take away your opponents confidence in a short period of time or rounds.
Exception: If you trash talk, do it tastefully. Don't talk personal things. Everything said should pertain to the current battle only.
Exception 2: If you and your opponent have a large mutual respect for each other and want to make it a clean battle on skills a lone, don't trash talk.


EXHIBITION and MATCH UPS
If you have been asked to do an exhibition battle, or get matched up against someone, it is because YOU HAVE EARNED this battle. It is an honor, not a right. It means that people want to see this battle and you have already gained respect and acknowledgement in some shape or form. At this point, depending on your respect status, you may ask for some type of compensation for putting your reputation on the line which you have worked so hard to build. Unless you are unknown in the place that you are battling, you might decide to choose this battle to further prove yourself to the world. Both of you are on equal grounds. You both should have ample time to train for the battle and should be in tip top form. You know what you are getting in to.


STEP #9 Identify the Reason for Battle
No matter what, your reputation is on the line. But what is the reason this battle is being set up?

A> Similarities in style, moves or technique

B> Beef

C> To make a spectacle or for crowd entertainment

Whatever the reason is, should affect the way you battle in an exhibition.
If you are matched up because of A, then you should concentrate on your battle response strategy.
If you are matched up because of B, forget about putting on a show. Its really between you and your opponent and as long as you are really attacking each other, everybody will love it. The energy will be REAL, natural and unforced.
If you are matched up because of C, then go in and do what you do best! If you are a powermover, don't try and footwork, and vice versa. People wanna see what you are known for!

STEP #10 Identify your Opponent
Firstly you must know what your opponents status is, as well as your own. This will help you determine if you should even accept the battle, and how much compensation you are entitled to.

Anytime that your are matched up against someone who is of a higher status than you, you should automatically accept, but you are definitely entitled to get something out of it! Also if you both have beef with eachother, why not settle it on even terms and get compensated?

A. If you are a WannaBboy or Amateur, you have to work your way up to become a Hometown Hero. Nobody wants to see an amateur or wannabboy in an exhibition battle... unless there is serious beef involved, they would want to see you get served, smoked and burned!

B. If you are a Hometown Hero, you should definitely accept any challenge from another hometown hero from your own area. Unless you are the number 1 Hometown Hero, the only one that has a right to challenge you is the number 2 Hometown Hero. Your goal should be to become the number one Hometown Hero, and in doing so, you now have the support of your region, and you can now represent where your from in foreign places. This is your journey to becoming a World Contender.

C. If you are a World Contender, you no longer have anything to prove against a Hometown Hero, except maybe that he/she is not a World Contender. The Hometown Hero has something to gain, and you have something to lose, so if you accept this battle, make sure you are compensated.
As a World Contender, you will have already proved yourself to be ready for an international level. Your goal is to be the best of the best in this current time and generation, through cyphers, competitions and especially exhibitions! When you do beat the best of the best, you now become a Superstar.

D. If you are a Superstar, you are the top, and have nowhere else to go but down. Right now you are shining, and promoters and organizers are inviting you because everyone wants to see you battle. World contenders will be challenging you for your spot and you have to accept, but you are entitled to good compensation. You can make your own rules and choose the amount of Rounds. You have earned this right and respect, but remember that stars fall. Your new goal will be to prove that you can stay at the top, and that you and your style can last through the continuous generations. Even after many bboys have watched and studied you, taking your moves and techniques to new levels. The truth will come out to see if your style is timeless, or if your contributions will forever be remembered, making you into a Legend.

E. If you are a Legend, you now have nothing left to prove. You have accomplished what everyone in Hip hop wants to do, which is to leave a legacy. Even if you lose a battle, you never really lose! You eventually will realize that your prime has long gone, but you should feel satisfied with all your accomplishments and how you have affected bboying forever. Nothing can take away your status, unless you do something wrong to lose your respect. If you choose to do an exhibition, you will only be giving a great honor to the person battling you, thus you are definitely entitled to be compensated! However, if any other Legend or even someone from your own generation challenges you, you should accept, of course with compensation. In time, Legends eventually become O.G's, especially when new legends are born, and known for a similar style or technique which you have contributed first. But even tho, your name lives on.

F. If you are an O.G or Pioneer, you do not have to lift a finger. Everyone should respect or Acknowledge that you had a major part or contribution in the "History of Bboying" and should show sincere gratitude. Even if you do something to lose your respect, you will always be an O.G or Pioneer of the dance. Some O.G's were never Legends or even Superstars, but the fact that they continued to be loyal to this artform and culture should always be acknowledged and appreciated from the future generations to come.


Bboy Etiquette Don't Do's
1. Don't call out someone, outside of a cypher, especially if:
- You don't have personal real beef with him/her
- If he isn't ready or has no idea he/she is going to be called out
- He/She is on a higher respect status than you! You did not earn this!
- If deep down you are seeking quick fame

Once anyone steps into a cypher, they are FAIR GAME. That is what cyphers are for! A cypher IS A BATTLE. If you are the best in a cypher, even if no battles went down, you inadvertently beat everyone there!


2. Don't try to turn what should be a Cypher battle into an Exhibition battle.
- Cypher battles are for free. It is raw. Only the people in the Cypher can see it. There are no rules or time limits. This is truly where a bboys style, technique and confidence is put to the ultimate test.
- Exhibition battles are for the audience. They pay to see good battles. So the Bboys performing must be compensated in some shape or form!

3. Don't stop learning about this culture. It is like knowledge, it never ends and keeps growing. Through this universal culture of Bboying and Hip hop, we will learn how to respect others, and how to gain respect in return.



Please feel free to copy this and share it with anyone you feel who has never heard of Bboy Etiquette.

Dyzee
Supernaturalz / 7 Commandoz

Taken from Getting Dyze