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The Nineties
A new generation took up the torch, Puma States and Kappa track-suits. They studied the culture and discovered groups like Brooklyn¹s Stetsasonic, Eric B. & Rakim, a duo from Queens who promoted a unity between Rap, Rock and Jazz. 'I hold the microphone like a grudge,' Rakim rapped, 'Eric B. hold the record so the needle don¹t budge.' They were out to put the Funk back in Hip-Hop.
And then there was Public Enemy. For the Brits, here was a breathtaking crew, who showed no mercy, took no prisoners. No wonder they were dubbed The Black Sex Pistols. Material by these groups was the kind of stuff that stirred the hearts of young rebels, but more was needed if the 90's were to see a return of the B-Boys in strength with their Breaking in the United Kingdom. Ironically it wasn't an explosion of Rap and Hip-Hop that was to do it.
It was sparked by the likes of Britain's Take That, Euro-Poppers, Dr. Alban and Germany's Snap who shot up the UK charts with 'The Power', a clear case of hijacking Chill Rob G¹s version. Snap¹s video though, along with those of the others, captured a lot of Breaking and so raised its appeal once again.
This 'new look' included new moves. 'The Wop' and '2-Hype' free-styles became part of the scene, popularized by the happy-go-luckly Kid-n-Play in their 'Getting Funky' video and the 'House Party' series of movies. True Hip-Hop headz, however, were still turning their backs on Breaking or, worse, abusing the dancers. At some jams they even poured beer on the floor to stop Breaking, claiming crews were taking up their space and looking ridiculous in their tracksuits. The breakers persevered.
Now, in the decaying 90's, B-Boys are back. There's massive interest in the dance form within the context of British Hip-Hop culture. The revival here is led by crews such as Born To Rock, U.K. Rocksteady, Second To None and others who have been featured regularly at Hip-Hop jams up and down the country. These days it's quite common to see B-Boys advertised on flyers promoting Rap and DJ acts.
Slowly the media has picked up these stories, asked the right questions and reminded readers, listeners and viewers how the scene used to be. Some of the original Breakers have been remembered and encouraged to re-emerge from the underground to resume their busting moves on Rap artists' videos.
Battles have resumed. The annual 'Battle of the Year', for example, is an international event held in Germany that is growing from strength to strength. Recent contests have had crews from several parts of Europe showing off their skills. Last years battle was videod and there are two versions on sale. In the 1996 Battle of the Year to be held September 6&7, Born to Rock expect to find a place in the finals, supported by DJ First Rate who works with them at the jams. He rocks the house with his cutting and Blemmer leads the 'Popping' routines.
After the wilderness years, Breaking is back, again growing in respect as an integral part of the Hip-Hop scene. Rap is no longer the only representative of the culture upon which the whole is judged. In south London, for instance, the Ghetto Grammar Workshop has introduced Breaking and Writing to its study courses, alongside the existing Rap and DJing classes.
What's strange is that while the majority of the best jams are held in London, the elite Breakers come from outside the capital. For example, at a battle recently stage d at the Subterrania, both crews were from out of town. Born To Rock was one, the other, Second To None from Bournemouth. But it's B-Boys like them who are taking the dance to new levels and becoming more and more in demand to perform at shows and Hip-Hop jams. Once again they're the focus of attention, making Hip-Hop more exciting and complete. How long will the latest trend last? Nobody knows, but we¹re gonna enjoy it while it does
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Amit
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