From there that grew into us starting Floor Lords 2 where we held community events, performances and volunteered so that we could give back as much as possible. We did that for many years just out of the love. Finally, the city caught on and funded a program to include hip-hop, breaking, emceeing and djing and really give these kids an alternative to going down the wrong paths and getting wrapped up in the evils that come with growing up in a tough neighbourhood.
Then, eventually, it became more about the love for dance. I wanted to do this for the rest of my life and keep passing it on to new generations.
I wanted to do positive things for my community with breaking and teach people about how hip-hop culture can uplift inner city kids and bring them together. My dream was to make everyone else around me believe in themselves and believe that they can make it as a dancer, in hip-hop and with breaking even when I didn't believe it for myself.
How has becoming a DJ influenced your breaking style? After building up a little vinyl collection of my own, my dad had me put the records I bought to use. Shortly after, I got offered my first opportunity to spin in at Ken Swift's "Raiders of the Lost Art" and have kept it going since.
I would say DJing gave me a better understanding of music. It's helped me connect to the music more. I only get down when I feel connected to the music, which I usually perform better when I feel the music is better. It's made me pickier about what I dance to and has also given me more of an appreciation for a good DJ.
What is your most memorable battle? That battle is the battle that launched my career long term. We took this concept from a theatrical play we created called "Floor Lore" for the battle, where I'd hide in a duffle bag. When he walked out everyone was still thinking he was about to battle in a "2 on 2" by himself.
Then suddenly, he pulls me out of the bag, I did my move, and we went on to win that battle. Lords of the Floor was the biggest battle there'd ever been! It was top of the line, best of the best. So I think I really made a big impression on people, especially kids who wanted to start breaking after that point. Before Lords of the Floor, we had to collect and trade VHS tapes to see what B-Boys around the world were doing and you rarely got your hands on ones from another country.
It went worldwide. All the B-Boys in Russia told me that it was some of the first footage they'd ever seen. At the time, there was never kids involved in these major battles. They'd were just built like this great duo. Their chemistry was just there. He was a little kid! When we got to Lords of the Floor in Seattle, that was definitely a crazy moment for me. I had been around famous dancers, but this was big. You had all the top-notch breakers, crews and DJ's from across the nation This competition was no joke.
How have you kept The Floor Lords evolving? In my era, you had to be inspired by everything or else you'd be approached as a biter. So I was always looking to be different. I took inspiration from films and cartoons, we worked with ballet dancers, modern, African dancers. I wanted to keep creating my movement in a unique way. Every time you danced, you had to show something that separated you from everyone and everywhere else. That was the atmosphere we were living in. When breaking died in '86, it wasn't hot anymore, you couldn't get a gig.
So we started doing hip-hop shows mixing in breaking and doing all-styles types of routines. If you look up The Floor Lords on YouTube there are tons of videos of us doing house, hip-hop and all different style mixing breaking in order to evolve the scene, keep dancing and keep booking shows.
I started teaching those routines the younger kids in my community and other neighbourhoods so we could all keep making money. As the younger generation started getting better, some of the older members in the crew stepped down to do other things. Because I had all this new blood ready to go and jump into their place, that's how the group kept its longevity.
Why do you think it's still important to be in a crew rather than carving out a solo breaking career? Coming up in the '90s, it was all about being in a crew. Breaking was about being a family and helping each other. You know, we helped each other pay bills, pay rent, get shows, put food on the table.
Also, I think a sense of pride shows in your breaking on the dancefloor when you're repping more than just yourself. I think it gives kids a purpose, a sense of belonging and confidence. I've taught kids in our crew now who were shy or were being bullied in school. But now, because of breaking, they've faced their fears and their enemies. They walk with their heads high. There's also a sense of guidance. The new generation in a crew has the older generation to teach them the foundations and proper form.
They show them how to practice without injuring themselves and share knowledge that can only come with having experience.
How have you contributed to the Floor Lords legacy and what does the future generation look like? His first film appearance was as himself in Charlie Ahearn 's independent release Wild Style , followed by his featuring in the early documentary on hip hop culture Style Wars PBS , Appearances in Hollywood films were another consequence: he was a street dancer and also a heavily disguised body double for Jennifer Beals ' final dance scenes in the movie Flashdance Paramount , and, as with Wild Style , played himself in the fiction film Beat Street Orion , In he danced in So!
What Happens Now? The "jubilantly hyperactive" and "astonishing" Jam on the Groove debuted in , and in Crazy Legs instructed dancers of the Urban Youth Theater for their show Minotaur. His connection to hip hop culture outside of theater remains strong, with hosting of b-boy contests, appearances at live events, and staging of Rock Steady Crew Anniversaries.
In he was invited by the Smithsonian Institution to contribute to a collection for the National Museum of American History.
Known for many years as "Kid Ness," a nickname passed down to him by "Mr. Ness" of Grandmaster Flash and the Furious Five back in , when he first started rockin' the dance floor with his fancy footwork and complex aerial moves, most notably, his unearthly elbow spins. Almost immediately, his skills attracted the attention of Dance System He began touring with them; and securing other shows in Japan, and for Carnival Cruise Lines.
Shortly thereafter, in , he was recruited as a member of the already established and world-renowned "New York City Breakers. Alien Ness is a multimedia performer with numerous credits. Inspired to give something back to his community, Ness has taught dance at community centers throughout New York, notably The Point C. He has also taught teens in after school program in NYC schools in Queens.
As well as in NYC's carnegie hall, and headlined three showcase benefits for the Blackout Children's Fund, both as dancer and rapper. Alien Ness' superb expertise and honed craft has led him to also choreograph the half time show for the WNBA's Phoenix Mercury Hip-Hop Squad and also participated as an instructor for a yearly dance camp which includes one week of intense training and choreography in Phoenix Az.
Ness has also had 2 succesful "Blueprint Workshop" tours throughout Australia, Asia and Europe, and continues to bring his unique teaching style which have honed some of the best b-boys, to dance schools all across the globe. Kamel Boogie Brats [ [9]. Kamel aka K-mel or Intrigue is credited as the pioneer who helped develop the dance to a whole new level.
By using original foundation and his own unique style combined with raw freestyle movements. He contributed flips, flow, dancing to the beat and other forms of movements to make this art form more of a dance. Megas Boogie Brats [ [10] ] Megas aka Vengence founder of Boogie Brats is credited as the pioneer who innovated footwork.
He also was known for combining power with footwork. He also introduced Origami Style, which is a threading style in bboying, that has greatly innovated footwork style what it is known as today. Innovator of threads, where he created future foundational moves known as wraps, loops, and weaves.
Right now, he doesnt bboy anymore, but he has been involved in the BMX scene now. Mr Wiggles started his career as a dancer by battling throughout the tuff streets of New York city, and eventually throughout the world. Wiggles built his reputation as a battler, and eventually took his skills to major stages all around the world including Europe, South America, Asia, Middle East, Canada, and on the great stages of Broadway.
Wiggles is still learning his crafts till this day, and will remain a true student of the culture till the day he dies. You will be hearing allot from this company in the near future.
Storm Battle Squad [ [12] ] 'Storm' started dancing as a little child, but seriously cought on to the dances Bboying, Popping and Locking at the age of His first tours he did for "Bravo Breakdancesensation 84". Soon after that, the big fashion 'Breakdance' died out. Nevertheless, he didn't stop studying styles, got connected with other Bboys and stayed creative and productive throughout the unfashionable ages until this date. By his group "the Battle Squad" was one of the leading bboygroups worldwide and thanx to them and others, the art of Bboying is so alive and strong these days.
In and him and his crew Battle Squad won the "international Balle of the year". Because of the struggle in times when Bboying was out of fashion, he decided to establish HipHopculture in the theatreworld. From on he danced with a New Yorker dance Company called 'Ghettoriginal'. So he started studying the dancestyles popping and locking.
Briefly after quitting the job in early , he decided to form a dancecompany in his hometown Berlin, which was called the 'Storm and Jazzy Project'. With two choreographies they toured many different theatres around the world. It was only published in german language.
Nowadays Storm also choreographs and directs for different theatres and institutions all over the world. He also choreographed for the opening ceremonies of the "Expo " in hannover and the "FIFA soccerworldcup in Germany".
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