freestyle dance
19 jul
Breaking 3 vs 3 profi, Breaking 3 vs 3 kids, Rap Freestyle, Beatmaking, Djing...
Today - 25 march 2018
16 feb
Great Performers of past. Romance of XXI century.
L.Ogonezov, M.Bek, M.Lukonin, L.Zhogoleva, A.Malikova, V.Sheverdin, L.Eremin
02 feb
Battle and Work-shop for Vocalists
Mario Diaz, Sergey Zaytsev
23 dec
Breaking 2 on 2, Rap Freestyle 1 on 1
25 nov
Breaking and Rap freestyle battle
Breaking, Rap Freestyle
Reveal, Victor, Wolt, Re Pac, Roa, Mars
27 oct
Literary-musical project
08 sep
Rap Freestyle Battle
Rap Freestyle 1 on 1 and 7toSmoke
Detsl, Rigos, Re Pac
06 jul
Hip Hop Festival
Graffiti, music day, Battle of the Gods, Breaking, Rap Battle, Funky Drummer.
X-Ecutioners, Freeze, Ivan...
27 may
Breaking and Rap Freestyle Battle
Breaking Master & Student, Rap Freestyle 2 vs 2, Predatorz vs Top 9.
Breaking: Storm, Ken Swift (Skype online), Crazy Legs (Skype online). Rap Freestyle: Re Pac, Timur Check, Moonstar.
19 may
Literary and musical project
07 apr
Music Cinema Battle
Professionals, Non-professionals
F.Model, N.Kachanova
12 mar
Rap freestyle battle
Rap Freestyle
Repak, Roa, Samorez
17 feb
Jazz Improvisation Battle
Battle of Jazz improvization for students and those who finished education
V. Feirtag, F. Model, K. Sineglazova
03 feb
Literary and musical project
24 dec
Rap Freestyle Battle
Freestyle Rap, Rap Contest
Dj 108, Sadman, Hamil
25 nov
Piano Battle
19 nov
Salsa Battle
Salsa non professionals, Salsa professionals
Yoandy Villarutia, Eneris Mulgado, Carlos Torres
11 nov
Song Battle
28 oct
Breaking and Beatmaking battle
Beatmakers battles, Crews 5X5 battles, Universal B-boy
Ken Swift, Lardge Professor
22 oct
Literary and musical project
Musical-literary project
Performers L.Zhogoleva and I.Sheverdin, V.Moiseeva and M.Bakalin, A.Malikova and E.Ageichik, S.Rusanov and A.Severinov
21 oct
Battle of Russian Romance
05 oct
Literary and musical project
15 jul
Folk groups Battle
Folk groups Battle
Yakubovskaya E, Kuznecova M, Pushkarev V.
30 jun
V1 Festival
Graffiti, Scratch, Beatmakers, Battle of Gods, 3vs3 Juniors, 7 toSmoke, Rap, Freestyle dance, Funky Drummer, Profi 3vs3
Crazy Legs, Storm, Frankie Flave, T-Rock, Bernard Purdie, Roa, DJ D-Styles, Mr. Wiggles, Lewis Parker
25 jun
Choirs Battle
Choirs Battle
Stanislav Gribkov, Ekaterina Andreyeva, Anton Maksimov
29 may
Break Battle
4vs4 battle of Saint Petersburg dance schools, 3vs3 routines, 1vs1 breaking, 10vs10 exhibition battle
Kup, Pluto, Fast Foot
19 nov
Breaking and Popping Battle
Popping, Top Rock City
Mr Wiggles
31 oct
V1 Battle
Bgirls 2 на 2, Good Foot, Seven2smoke, Routine
02 jul
Hip-Hop Festival
Wall Graffiti, Beatmakers, 3vs3 JUNIORS, Universal B-Boy, Rap Freestyle Battle, Freestyle dance, Funky Drummer, 3vs3 Profi, Contests
Crazy Legs, Sheff, Bernard Purdie
18 apr
Break Battle
2vs2 Popping, Teacher and Student (breaking), TopRock, Battle Routines, Contests
Mr Wiggles
14 feb
Hip-Hop Battle
7tusmok Juniors, Hip-Hop Bonnie & Clyde, 2vs2 Profi, contests (best outfit, Bonnie & Clyde Routine)
Fabrice, Sunni, FastFoot, Gimnast
11 oct
Break Battle
3vs3 Breaking, 1vs1 Popping, Footwork 7tuSmoke, contest (acrobatic jump)
Sweepy, Frankie Flave, Lil John, Topor
06 sep
Break Battle
3vs3 Juniors, 1vs1 SuperSolo Profi, Step and Charleston master classes, Airflare mini-contest.
Wolt, Tsipatron,100Ballov
20 jul
Piano Battle
Performers’ battle, Performing skill battle, Jazz improvisation battle
L.Eremin, M.Benediktov, F.Model, E.Shvarts.
05 jul
Salsa Battle
Bachata, Salsa (Amateurs, Professionals), kizomba, Break vs. Salsa
Johnny Vazquez,Chiquito, Juan Matos, Nelson Flores
19 jun
Hip-Hop Festival
Graffiti, caricatures, DJ battle, beatmakers, beatbox, breakdance (3vs3 Juniors, 3vs3 Profi, univ. b-boy, freestyle dance), moonwalk contest, funky drummer, rap battle
Qbert,Alien Ness, T-Rock, Exile, Decl, Venum, Yan the Shrimp, Flaco, Calle
26 apr
Break Battle
2vs2 Teacher vs Student, 2vs2 Breaking Routine, contests (6step, squat, munch mills)
Xisco, AT, Nord Diamond
19 apr
Piano Battle
Performers (from 2 to 6 years of training), Performers (from 7 to 10 years of training), Performing skill battle, Jazz improvisation battle, Improvisations on popular music melodies
V.Sheverdin, E.Shvarts, I.Lebedev, L.Eremin
12 apr
Song Battle
Soviet songs, folk songs, mini-contest: Songs about Space, Foreign songs
M.Lukonin, E.Yaskunova, L.Eremin
14 mar
Salsa Battle
Bachata, Cha-cha-cha, Jive, Salsa, Tres Muchachos concert
Israel Gutierrez, Maja Cukovic, Yoandy Villaurrutia
25 feb
Scratch Battle
Break Battle, 7toSmoke, Scratch battle, Jam by DJ ShortKUT
ShortKUT (USA), Top9
01 feb
Break Battle
Beatmakers, 2vs2 Juniors (up to 2 years of training), 2vs2 Freestyle dance, CREW vs CREW, Backspin, windmill
Maurizio, BMB akaSpaceKid, Scotch
28 sep
Break Battle
2vs2 Juniors, Bonnie and Clyde, 1vs1 beatmakers, universal b-boy, beatboxers, 1vs1 Michael Jackson style, drummers, 1vs1 freestyle dance, crew vs crew.
Phantom, Focus, Mouse, P.Talapaev, BMB Spacekid
13 sep
Bards Tournament
Authors, Performers
S.Sinelnikov, M.Semenenko, V.Levi
24 aug
Break Jam
Well B, Killa Kolya, Tony Rock
13 jul
Break Battle
2vs2 Juniors mix, Drummers’ Battle, 1vs1 Freestyle Dance, 1vs1 Footwork, Break vs Salsa Battle
Well, Disco-T, Nadya
11 jul
Salsa Battle
Salsa pairs (professionals, amateurs), salsa solo (men, women), reggaeton solo, Break vs Salsa battle
Maykel Fonts, Inaki Fernandez, Henry Knowles
16 may
Hip-hop Festival
Wall and board graffiti, calligraphy, caricatures, scratch battle, rap battle, Juniors up to 2 years of training, Juniors more than 2 years of training, TopRock selection Profi 3vs3, Russia vs World battle
Phantom, Qbert, Killafornia, T-Rock, Ata, Massa, Mister Мaloy, Sasha Trun, Victor Splash
27 apr
2vs2 Teacher-Student, 10vs10 Moscow-St Petersburg Battle
Gormon, Simpson, Freeze
11 apr
Karaoke Battle
Amateurs – Men, Amateurs – Women, Professionals – Men, Professionals – Women
16 mar
Salsa Battle
Amateurs, Pro-Am, Professionals
About the project Events calendar Workshop References


+ suggest a news
23 mar Джамалски  - пионер Хип Хоп Рагамафин, бибой, Зулу Эмси, член всемирно известной группы Boogie Down Productions, дал уже тысячу выступлений по всему миру и остаётся в полном действии.



21 mar Новый микс от Dj Reactive 98 (Top 9 Crew)



20 mar Баттлы Top 9 Crew с фестиваля Tricka и Зрелищ



20 mar H&M versus Revok

 In its "New Routine" advertising campaign for activewear, the fast-fashion retailer recently included the Brooklyn graffiti of Jason Williams, also known as Revok. After Williams sent H&M a cease-and-desist letter, H&M fired back with a suit against Williams.

In a tweet on Thursday, H&M said it was withdrawing its suit against the artist Jason Williams. 

H&M is under social media fire for suing a street artist over the use of his work in a campaign, and the suit could have greater implications for advertising by paving the way to a decision on copyright protections for graffiti art. 

In its "New Routine" advertising campaign for activewear, the fast-fashion retailer recently included the Brooklyn graffiti of Jason Williams, also known as Revok. After Williams sent H&M a cease-and-desist letter, H&M fired back with a suit against Williams. In the complaint, filed earlier this month, the Swedish retailer is asking the court to decide whether graffiti counts as artwork that can be protected under the constitution, or illegal vandalism. 

"Plaintiffs seek a declaration that their use of images with the graffiti in the background, in connection with the H&M New Routine advertising campaign, does not constitute copyright infringement and that any claim by defendant therefore is barred under the defenses of illegality and/or unclean hands," read the lawsuit, which was filed in the Eastern District Court of New York. The suit alleges that Williams' threats to sue for infringement have "placed a cloud over H&M's rights to use in the future its New Routine advertising campaign." The work is currently accessible on H&M's website with both video and images of the Williamsburg, Brooklyn-located work. 

Legal experts say the case could have big implications for the graffiti debate, especially because H&M is not the first retailer to fight back on copyright infringement cases rather than simply paying out for use after receiving cease-and-desist letters. Earlier this year, Forever 21 filed a similar motion against Gucci regarding a trademark on stripes, while Steve Madden sued designer Cult Gaia over a bamboo bag. 

"It depends on if you think of graffiti artists as street artists or as vandals," explains Susan Scafidi, academic director of the Fashion Law Institute at Fordham Law School. "There is nothing in the copyright act that says art that is illegally created can't be subject to copyright, so technically, yes it should be, but if you take the vandalism perspective, then it's understandable why this would rub some the wrong way." She adds that it's a question with "constitutional implications." 

A spokeswoman for H&M, which has more than 4,100 global locations, did not return a call requesting further comment. 

Williams' attorney, Jeff Gluck, says that the current generation will not tolerate H&M's actions. 

"H&M sees value in using graffiti in their advertisements to draw in their target demographic and increase revenues, but they also appear to simultaneously seek to undermine and discredit graffiti and the culture via this legal action," he says. "That is the reason why so many people are upset."

16 mar RIP Craig Mack

Craig Mack was apparently suffering from heart failure, having developed shortness of breath, from as early as about 6 months before his death when according to rapper Erick Sermon he called his friends to bid farewell. Following his death, Erick Sermon wrote on Twitter that he was finishing work on Craig Mack's new album.

Although his first single was released under the name MC EZ in 1988.

 Mack is best known for his 1994 hit single "Flava In Ya Ear", which was released under his real name.

The remix of the single was the breakout appearance of The Notorious B.I.G., as well as one of the first solo appearances by Busta Rhymes.

The success of The Notorious B.I.G.'s debut album Ready to Die overshadowed Mack's early success on the Bad Boy label. However, B.I.G. himself namedropped Mack in his breakout hit "Big Poppa" with the line "I got more Mack than Craig".

Although Puff Daddy mentioned in a 1994 interview on MTV's Yo! MTV Raps that he was working with Mack on his second album, which was to be released sometime in January the following year, this proved to not be the case. Present at that interview (which also included The Notorious B.I.G.), Mack himself appeared puzzled by the statement. Mack did release a second album in 1997, but none of the singles charted and Mack was unable to repeat his success.

In an interview, Biggie Smalls says he appeared on the remix of "Flava In Ya Ear" for political reasons for Puffy. In 2002, Mack would appear in the music video for Puffy's single "I Need a Girl (Part One)".

After a few attempts to return to success in the early-2000s, it was said that Mack was working on his third studio album in 2002, which was set to be released in 2007. The single "Mack Tonight" was released for the album in 2006. Mack then disappeared from the hip-hop industry until in 2012 a video was leaked on YouTube, saying he had joined a Christian ministry, surprising family members and fans. From 2012 until his death, Mack resided in the Overcomer Ministry located in Walterboro, South Carolina. The Overcomer Ministry's YouTube channel released a video titled "Craig Mack Testimony" on May 22, 2016, although recorded the previous day, in which Mack appears in the middle of the church to rap about conspiracy and Christianity through a remix of "When God Comes". The last part of the video entails a full version of the song with better production quality and a beat. The song expresses his personal beliefs.

Mack planned to stay in the ministry and said that he had no intentions to come back to mainstream rap. The song also mentions that he "moved [his] family to South Carolina", which did not align with other reports expressing the family's concerns for his choices. According to the video, Mack felt he was doing "wickedness" in New York, and "righteousness" in South Carolina.

On November 26, 2012, Beazylife Distribution released a new Craig Mack mixtape, Operation Why2K? – Hosted by B-Eazy, through

In 2017, The Mack World Sessions was released, containing 18 tracks recorded between 2000 and 2006.

Mack died on March 12, 2018 from heart failure at a hospital near his home at Walterboro, South Carolina. According to DJ Scratch he was ill for some time before his passing and was prepared for a grim outcome. Craig Mack was apparently suffering from heart failure, having developed shortness of breath, from as early as about 6 months before his death when according to rapper Erick Sermon he called his friends to bid farewell. Following his death, Erick Sermon wrote on Twitter that he was finishing work on Craig Mack's new album. Multiple sources said he was either 46 or 47, but his passport used the birthyear 1970.

14 mar Тони Рок - судейство в Испании



13 mar Versus: Гуф против Птахи



13 mar Норд Даймонд против Кузи



13 mar Свежий баттл Top 9 Crew



13 mar Норд Даймонд против Ами



13 mar Календарь мероприятий. Полные видео отчёты.



07 mar Десятый юбилей Yalta Summer Jam



06 mar Paris' Oldschool

Paris is rightfully called the centre of hip hop culture in Europe. Starting from the introduction of Breaking, MCing, Graffiti, DJing on the European continent this city played the most valuable part in hip hop evolution.

Paris is rightfully called the centre of hip hop culture in Europe. Starting from the introduction of Breaking, MCing, Graffiti, DJing on the European continent this city played the most valuable part in hip hop evolution. Sometimes this contribution is left underestimated, especially by the younger generation of hip hop dancers, musicians and artists. In order to dispel the doubts about the importance of the French old school in the distribution of this culture around the world we have prepared a short outline for you. This article involves several most considerable names of French bboying of the early and mid 80's. 


This is a video of a jam in Italy in the mid 80's. Everyone in town learned that Niko, the famous bboy from Paris City Breakers would be attending the jam and they came over to have a look. Maurizio, now a legendary bboy, was also at the jam but he didn't go out in the cypher. No one saw this for 25 years since the video was kept by Maurizio in Italy and it was not distributed. Niko was very popular not only in France but in Italy as well. Even the Swipes element in Italy was called by his name, Niko. 

In this rare film, which was made public only two years ago, Niko dances with famous rapper Joey Star, member of legendary band Supreme NTM. A lot of pioneer rappers used to be bboys and boogie boys. Niko's style, and incidentally the whole Paris school, was primarily influenced by Crazy Legs and Icy Ice. Niko was a celebrity in the 80's and one of the founding father of French breaking. His influence extended far beyond Paris. When those who knew Niko's style look at Maurizio they see Niko. 

The French are of the opinion that Maurizio took the style from Niko from Paris City Breakers. Niko lived in Italy for one year, whereas Maurizio himself resided five years in Paris. 
Maurizio was a good friend of Niko's, he respects him and pays obeisance to him. One at some jam in Paris the MC said the names of Paris old-schoolers from Aktuel Force, Paris City Breakers and Quintessence Crew giving props to their contribution to bboying, but he did not mention Niko. At that moment Maurizio took over the mic and paid respect to Niko, the person whose style influenced the style of Maurizio. 

MC Solo 

The black guy in the beginning of the next video is MC Solo from Paris, who in '84 already had been a member of Zulu nation and had visited New York. Despite the language barrier he was close with Paris City Breakers, which means that these guys were the first ones to get the latest info directly from the Mecca of hip hop. This is a scene from the film La Hine of 1995. On the dance floor are Xavier, Nabil, Pascal Blaise and other Paris OG. 
MC Solo was the host of the first ever hip hop TV show: 


Hasan's style is a graphic example of Paris school. The French always had the language barrier, so they had difficulties receiving the information from America. This is the reason why the French school was evolving independently starting from New York City Rap Tour in '82 featuring Rock Steady and Afrika Bambaataa. 



The style which Hichem represents is exactly what the French bboying looks like. Hats, sweatbands, elbow pieces, knee pieces and Powermove - this is what the French associate bboying with. The French style is more about the footwork and the flow: 



Pascal Blaise, or just Blaise, is probably the only French bboy of the first generation who is still in shape. In the video Gaban, Buddha, Xavier and Pascal, Pascal is in the hat with the blue net. 


This is a famous television documentary about the French hip hop of mid 90's and other youth movements. At 4:05 starts the theatrical performance of Actuel Force. It is worth mentioning that the bboys from Aktuel Force always remained bboys even when they did theatre. They represent hip-hop through this movement and this music:

05 mar Начало сезона больших Брейкинг баттлов



22 feb KRS One: "The beginning of Hip Hop"

Kool Herc came from Jamaica in 1967 and brought with him the notion of the Jamaican DJ with such terms as pull up, weel up, come down slecta.

  • Hip Hop started with the women whose name is Cindy. Never, never forget this name. Whenever you talk about hip hop, the first woman in this culture is Cindy Campbell. She lives at 1520 Sedgwick Avenue in Bronx. Some time ago her birthday was coming. She said to his younger brother, - Why don't you play some music at my birthday party? 

  • Her younger brother, the guy going by the name Kook DJ Herc, was done writing graffiti since initially he was a graffiti writer. Later on he became a bboy, that is when his sister asked him to play at her party. His answer was, - Alright! And at this party in the community center of the residential building at 1520 Sedgwick Avenue in Bronx on the 11th of August 1973 he started to play James Brown and he played only breaks. 
    Kool Herc was born in Jamaica. In 1967 he and his parents moved to New York. His father was a mechanic and his mother was a nurse. On one hand there is wellness, on the other - technology. He brought with him Jamaican dance traditions - street parties in parks with huge loud speakers and three, four, or five turntables. As matter of fact, in Jamaica one turntable was usually enough, however some sound systems operated with four turntables at once. Thus, the sound was produced through each turntable separately, by switching on one the sound would go on another. 

  • Jamaican DJ is spelled as deejay. However, regular DJ (disk jockey) is spelled differently. An actual disk jockey just played records. He put one a song, said a couple of words about it and the track kept playing. At the end of the song disk jockey (DJ) returned on air and added some more details about the song. 
    However, Kool Herc came from the deejay tradition, where you not only put on a record, but you put it on and also play with it. While the track is playing you are playing with the track and manipulating how the song presents itself to the public. Jamaican DJ was not exclusively a disk jockey, he was an MC. In the early days DJ and MC were the same thing. There was no separate MC and separate DJ - it was a deejay. A deejay had a microphone and turntables. He said into the mic some verses, which was a representation of himself. Kook Herc mixed this verses with the breaks from James Brown songs. When the break was over Kook Herc lifted the needle and put it on the beginning of the break. It could go on for hours, hours and hours. Down the line Kool Herc was not the only one doing this. 

  • One has to mention the first female MC who probably was the first MC in general. Her name is Pably Poo. Never forget this name. She was together with Kool Herc then, in 1973. 

  • So, Kool Herc came from Jamaica in 1967 and brought with him the notion of the Jamaican DJ with such terms as pull up, weel up, come down slecta. All of these concepts he brought to New York, to Bronx. At that first party everybody saw it, the huge sound system was explosive. He played all different James Brown beats. 

  • On 11 August 1973 the party was so successful, that the house management asked Kool Herc to play in the community centre for free every week. But Kool Herc doesn't work for free, so the entrance fee at his parties was 25 cents. However, many people couldn't afford even that, since hip hop was born under the specter of poverty. 

  • That evening Kool Herc did such an amazing job that now he plays in this community centre all the time. But community centre is too small, maybe it will host 100 people, 110 people max. It is important to remember that hip hop started as a small movement among very, very poor people. Community centers were too cramped for parties and Kool Herc wanted to move them outside to parks. 

    Now, let's go back to 1974, when an advertisement about a city contest got in the hands of the leader of one of the gangs, which there was a great number of at the time. He was a member of Black Spades gang - the biggest and most dangerous of them. He makes up his mind to take part in this contest, which is promoted by the organization called UNICEF. The winner gets to travel to Africa - these are the rules. So, the leader of the

  • band enters the test. He wrote an in-depth essay about Africa, won the contest and flew to Africa. There he met with Zulu chief, who told him, - What you do in America and call gangs, out here we call tribes. It is because of the tribal wars Africa was colonized by Europeans. All of you, Afro-Americans just play this game of "my district, your district". 

  • The this leader of Black Spades returned to America and took the name of Afrika Bambaataa. His consciousness was changed. Afrika Bambaataa addressed all gangs of New York, - There will be no more gangs in New York. From now it is only Zulu Nation and everything that is happening in the streets of New York is Zulu Nation. All the gangs said, - Alright, no more gangs. Thus starting from 1974 to the mid 90's there was not a single gang in New York until the gang-related activities were resumed on the West Coast. Following Bambaataa's instruction all gangs laid their weapons and dropped criminal activities and started practicing what is called self-consciousness. 

  • Let's get back to Kool Herc. His DJ novelties with the dropping of the needle made his parties and himself well-known not only in New York, but in the whole country. Everybody knew Kool Herc. Herc was the greatest DJ, greatest bboy, greatest graffiti writer and greatest MC. That is where the four elements are coming from. They started with Kool Herc. 

  • Afrika Bambaataa used these four elements (breaking, deejaying, graffiti art, emceeng) and said, - Now these elements would be supported by another four elements - Peace, Love, Unity, Havin Fun. It was documented in 1981 when Afrika Bambaataa produced a record with James Brown. In reality, James Brown is one of the founding fathers of hip hop. He recorded the track “Peace, Unity, Lovin and Havin Fun” together with another hip hop founding father Afrika Bambaataa to establish the ground principles of hip hop. What do we have as a culture? Peace, Love, Unity and Joy. Afrika Bambaataa founded it in 1974. 
    In 1973, on August 11th, Kool Herc presented hip hop to the world. After his return in 1974 Afrika Bambaataa cleared New York of gangs and established the hip hop culture and everybody agreed to it. This is the genius of Afrika Bambaataa: you can say whatever you want, but when the community agrees, it means that it accepted your seniority. 

  • Further in 1975 the man named Busy Bee Starski, previously known as Lovebug Starski, played in the club called Disco Fever. He was a gread DJ, he could drop the needle and possessed good skills. This is a very significant figure in the history of hip-hop. He created the term "Hip-Hop". Actually, he was the first one who said, - This is hip-hop. He was a member of Zulu Nation. Back then Afrika Bambaataa was giving lectures in various districts on the future of what we do. However, then it was not called "Hip Hop", it was called "Jam". In 1975 the term "Hip Hop" was introduced. At the time there were such concepts as Doo Wop, Bee Bop and now there was Hip Hop. 

  • So, in 1975 the term Hip Hop started to be used because of the fact that MCs began to explain the Culture. In 1976 a revolution happened. Its creator was another prominent person Grand Master Flash. He was known as DJ Flash. He was an electrician by trade. It is inaccurate to call him a DJ because it is not who he is. 

  • In the earlier days all the Bronx districts laid in ruins. Only building fronts were standing and there was a garbage waste around them. One could stand on the avenue and see miles of ruins in both directions. There were no whole buildings, all of them were burned down or ruined. 
    This young electrician was coming home from work. He was walking around Bronx and thinking about the ways to improve Kool Herc's needle drop technique. This technique was already used by such DJs as Deejay Jazzy Jay, Africa Bambaataa, Zulu Nation, Deejay Hollywood. All of them practiced the needle drop back to the break. Flash was thinking, - What should I do for music to play without interruption and needle drop? How brilliant was he?! What an outstanding person?! He, electrician,

  • walked home from work and thought of the way to make jams better. Accidentally he kicked a small switcher, which was lying among other garbage. He picked it up, the switcher looked like a small lever. So, given that he was an electrician he used this switcher for switching the sound from one turntable to the other. It was an on/off switcher, however Grand Master Flash modified it to on/on. That is how he came up with the crossfader. 
    Grand Master Flash is not a DJ, he is an inventor, an innovator. Today such big companies as Panasonic don't show respect. Now when you come to an electronics store you will see a mixer with a crossfader. Respect should be shown for this. It was taken from hip hop. This is how Grand Master Flash invented the crossfader in 1976. 

  • Herc gave us hip hop, Bambaataa promoted it and Grand Master Flash produced the greatest invention of hip hop. 
    Some DJs performed in Manhattan clubs, where the entrance fee was two dollars, which was a large sum. However, many people from the ghetto, even those who had money, simply didn't pass the dress code. At the entrance they were told, - Get out of here, go listen to Kool Herc, he plays for the people, it is free. Thus clubs went bankrupt since hundreds and thousands of people went to listen Kool Herc play. His free of charge parties in parks gathered around ten thousand people. 

  • Let's get back to Flash. Grand Master Flash was not a DJ in the Jamaican sense of the word, he was not a DJ from the hip hop perspective. He just played the record without doing the needle drop or anything else. But thanks to his invention he became a hip hop DJ. Possessing his switcher he became the fastest DJ. He started to use the cut & scratch. He caused a revolution, now the music would never stop. He also used other different tricks. He span the vinyl, used the scratch (what is called baby scratch) and the audience was very pleased by it. However, Grand Master Flash said, - We don't have to do it anymore, now the music can play constantly, from one turntable to another. 

  • Just imagine what it was like when people saw it for the first time. When for the first time in their lives they heard a live looped break. They simply could not understand what was happening and what made it possible. 

  • This is how Grand Master Flash introduced cutin & scratchin. In 1976 there was a revolution of DJ potential realization. 
    Grand Master Flash did not take the microphone in his hands. He concentrated on the cuts and that was it. 

    Later on, in 1977 two people named Keith Couboy and Melle Mel from Furious Five band, which was composed from other bands, crossed their paths with Grand Master Flash. Incidentally, previously they were bboys. Since Flash was doing cuts and didn't use the microphone they were the ones who rhymed. Up until that moment no one heard anything like this. 

  • Imagine that from 1973 to 1977 only short rhymes and slogans could be heard at parties, they were meant to exhilarate the audience on the dance floor and that's it. Keith Couboy was one of these MCs, who encouraged the active movement on the dance floor. When he heard the Flash's cuts he addressed the DJ directly. Why MCs go on stage in the first place? Because DJ is unable to talk. This is the reason and purpose of MCing. The first thing MC sais is, - Hi, here's my DJ. Whoever he was. And then he did the rhyming. 

  • Keith Couboy and Melle Mel are ones of the greatest MCs ever existed. There was and had been no one who could outdo them. You just have to accept it, because all basic rap styles were formed by them. It also goes for all basic slogans, like “say hooo; throw your hands in the air” – this is Keith Couboy. “Broken glass everywhere, people pissing on the stairs, you know they just don't care” – this is Melle Mel. People could hear some sort of explanation for the first time. These MCs were the first ones to do it. They are the greatest MCs. Rappers still use their rhymes and they actually do not even know that they use somebody else's style. 

  • These are the first years of the hip hop culture. This is how the culture evolved and for us each day of hip hop history is of great importance. By learning it, you realize that what we do for many years and what we devote our lives to did not appear out of nothing by accident. Hip hop was created by great people and due to their genius it expanded all around the world.

20 feb Lovebug Starski passed away

It was Lovebug Starski who introduced the term "Hip-Hop" at Bronx parties in the 70's. He was one of the first DJs who could rap while playing the turntables.

Lovebug Starski is one of hip-hop pioneers, whose name Biggie Smalls mentions in the first verse of "Juicy". It was Lovebug Starski who introduced the term "Hip-Hop" at Bronx parties in the 70's. He was one of the first DJs who could rap while playing the turntables. He also branded the phrase "Hip-Hop-you-don't-stop". For almost 50 years Kevin Smith (Lovebug Starski), along with his partners DJ Hollywood and Brucie B, have been tied to the music and the culture. On February 8, 2018 the sources close to Starski confirmed that he died in Las Vegas, Nevada, he was 57 years old. 

Just like Grandmaster Flash, Afrika Bambaataa and Grandmaster Caz, Lovebug Starski was a talented artist who managed to use his contribution to the culture in the 70's to sign up contracts in the 80's. Starski was number choice of Sugar Hill Records before they signed up with Sugarhill Gang in late 70's. At the time Lovebug was already signed and it prevented him from working with a label from New Jersey owned by former disco performer. Due to the fame he gained through Beat Street he became a residence of Disco Fever night club. Later on it will become the foundation for Harlem World - another prominent hip-hop spot in New York. 

Kurtis Blow said about Lovebug's talent, He was an amazing DJ, but he also was an incredible rapper. Starski was a universal DJ, meaning that he could play various beats in any genre. He was very talented and he was the first person I had seen who could spin vinyl and rap at the same time. After releasing several singles and working on Rappin soundtrack and partnership with Kurtis Blow as well as with deceased Larry Smith Starski signed a contract with CBS / Epic Records. That is when he released House Rocker, which includes Amityville Horror Show, which became a popular single for Halloween playlists. 

After recording the 1986 album Starski struggled with legal problems, which lead to deprivation of his creative freedom. In the 90's he reunited with his partner from Fever nightclub, DJ Hollywood, and returned to parties. He had always been famous for his work as a club DJ and hip-hop ambassador in New York. In 1998 his single with Brucie B called "How Ya Like Us Now" with Chuck Brown's sample was included in "Flik Squad DJ" compilation from Funkmaster Flex, Biz Markie, deceased Big Kap, Mark Ronson, Doo Wop, DJ Enuff, Cipha Sounds and Mr. Cee

15 feb Musical Festival Puerto Rock Steady 2018

Puerto Rock Steady (PRS) – is an annual multinational festival of music, dance and art in Isabela, Puerto Rico. 

Puerto Rock Steady (PRS) – is an annual multinational festival of music, dance and art in Isabela, Puerto Rico. Promoted by the pioneer of hip-hop Richard Colon aka Crazy Legs from legendary Rock Steady Crew, the unique three-day recreation is held on the marvelous north-west coast of Puerto Rico, which comprises night-time concerts and live performances, everyday beach parties, dancing and wellness seminars, dance competition, educational and mentoring programs – all of these happening in the midst of scenic tropical nature.

Today, in its 6th year, PRS still pushes for the economic development of Puerto Rico, creating a tourist flow, promoting local events and enhancing the awareness of the island current conditions. The event actively supports the Boys’ and Girls’ Club of Puerto Rico enabling volunteer activities, i.e. special-purpose programs, which give kids the opportunity to be involved, to learn to dance, to do fitness and take part in health promoting seminars.

After Hurricane Maria Colon established a non-commercial fund aimed at helping people who suffered from Maria’s destructive forces as well as at framing a long-term help and stability provision for the island’s communities. 

PRS 2018 will continue supporting the initiatives to help the hurricane victims, assisting guest volunteers and non-commercial organizations by arranging discussion groups, demonstrations and providing study materials in the course of the festival.

This year Puerto Rock Steady will be held on 15-17 of June. The preliminary list of artists is already made public, it includes: Rich Medina, Thirstin Howl the 3rd and Nitty Scott. Such famous bboys as Lil G and Roxrite have been invited. The festival is expected to be eventful and spectacular as usual. Every year Puerto Rock Steady attracts all the more music and dance enthusiasts.
Follow the event on the official web-pages of PRS:

09 feb Winter European Breaking tour 2108

Floor Wars, Lille Battle Pro, Hip Opsession, Legits Blast - winter marathon of European battles 2018.

Over recent years the tradition to go on summer battle tours among bboys has been growing strong. Generally the marathon goes as follows: V1 Festival (Saint Petersburg), Yalta Summer Jam (Yalta), Outbreak (Slovakia), IBE (the Netherlands). The battles take place either every week or every other week from early July to late August. If one manages to attend all of these battles, then one had a first-rate vacation. 
The year has just begun, however the time is already getting close to big events. Floor Wars (Denmark – 17.02), Lille Battle Pro (France – 24.02), Hip Opsession (France – 1.03), Legits Blast (the Czech Republic – 9.03) – four jams which comprise the winter European tour of 2018. For more go on our website in the event calendar section at:

08 feb Ptakha vs Guf

The titans of Moscow rap scene, the dinosaurs of the 2000's, those, who created the rap revolution locked horns on the last weekend.

Ptakha and Guf are two famous rappers from Moscow who used to perform in the same band called Tsentr (Centre). As members of the band they made names for themselves, became popular, however after the band's breakup they have become at least rivals, if not enemies. In 2007-2008 Tsentr was at the height of its popularity. In 2009 Guf left the group and in 2013 the project was placed on hold. In 2014 Guf, Slim and Ptakha reunited but not for long, for the disagreements and controversy followed shortly after.

The news of possible forthcoming battle between Guf and Ptakha has been the cause of agitation among the rap community for the last couple of months. Even so, given the fact that both of them have absolutely non-aggressive styles, chances are this battle will become the most disappointing battle in the history of rap battling. Moreover, none of them has every performed on such media outlets as Versus and Slovo and they have never been fond of battles of this kind. Such battle evokes interest as an intrigue, a show, but from the technical perspective there is no point in expecting this event to be spectacular.

The titans of Moscow rap scene, the dinosaurs of the 2000's, those, who created the rap revolution locked horns on the last weekend. As it usually happens, the video from the sensational battle was not uploaded right away, but is to be made public in the near future. There is a lot of talk around this battle. A great number of people had the following question on their minds: How two people who have never been in a battle before can show a hot fight? The guys from Slovo SPB and 140 BPM is a different story, that is where respect, recognition and millions of views are at. They grew up on battle rap and have mastered the art of the punch. Versus scene is notable for the fact, that the amount of punches and the quality of rhymes do not play as important role as the quality of the person, what lies underneath of him/her. On this very platform under Restorator's promotion the battle between Guf and Ptakha went down.
The conflict between Guf and Ptakha has been going on for several years now. The mutual attacks take place online on rappers' social network profiles as well as in interviews to various media. In one of these interviews Ptakha said that he doesn't mind battling Guf and finally settling all differences. He also mentioned that he would agree to a royalty half the size of Guf's fee. By this he meant 200 or 300 thousand rubles. Clearly, such statement was a challenge. Shortly after Guf's gave his response by laughing at Ptakha's words and saying that he would battle for 2 million. His intention was that nobody would pay him such an amount. However, Restorator, the creator of Versus Battle, called his terms and arranged their meeting .

Guf and Ptakha are well-known outside the rap community, a whole generation grew up on their music and they still manage to cause a lot of noise online just via a single post or interview. Basta himself commented on the matter, saying that he would be happy to attend such an exciting event. According to him, the intrigue of this skirmish is in the fact that it would not be a clash of battle rappers, but of regular people who have a thing or two to say to each other. Basta was judging this battle along with Nigativ from Triada and Dj 108.

The attendance of the event, which took place in 1703 club, Versus platform, was by invitation only. Filming, broadcasting and disclosure of information prior to uploading of the battle are strictly prohibited, however there are certain leakages. All Youtube rap channels issued their review videos, where one can find out what happened during the battle between Guf and Ptakha on the sixth of February. Some of the news are not confirmed, some are just false stories - some are true, some are not. Never the less, until the official video from the battle comes out, there will not be any definite details.

01 feb Musicality or skill? 

When it comes down to battling on concrete where is no music and your opponent is aggressive, is there a question of the bboy's musicality?

When it comes down to battling on concrete where there is no music and your opponent is aggressive, is there a question of the bboy's musicality? When bboys are getting into a heated rumble and the DJ cannot be heard, will the sense of rhythm help the bboy? The answer is the video of the old battle between Kings and Massive Monkeys. 
Bboys always say, that musicality is the most important thing for a bboy. However, who is going to need musicality when it's a callout, beef and concrete? When it's a challenge to a showdown on the concrete. The knowledge of tracks and the sense of rhythm will not help you, if you face hardcore bboys in a dark cypher without music, judges or time limits. 

B-boy skills - skills in footwork - that's what matters. Whoever possesses them has the advantage. In this circumstances nobody cares about musicality and groove. 

This is what fundamentally differentiates bboying from the traditional image of a dance. That is why we don't say, I dance breaking. We say, I break. If you look at bboying from the traditional dance perspective, you will hardly call it an art form. However, there is no doubt that bboying is a dance form, underground creative work, understood only by those who is into it. 

The perfect example would be the battle of the best line-ups of Zulu Kings and Massive Monkeys. Concrete, the noise of the jam, faint musical sounds, bboy, his crew and downrock skills. Such clashes is the crème de la crème for the savvies. Here art is created, evolution is taking place. That is how it was, is and forever will be despite what is going on outside the cypher.

01 feb Victor - twice times Undisputed

B-boy Victor - first b-boy, who got title Undisputed twice. After big pause he come back on world scene and became world champion again. 

The new era of bboying is the time of world championships. If 10-20 years ago there were much fewer competitions and almost all of them were crew-based, then now the championships are held just about every month and all of them are 1 on 1. The people need a superhero who single-handedly wipes out all the rest. Red Bull BC One, Outbreak, Unbreakable, Freestyle session, Silverback Open, UK Bboy Championships, Battle Pro, Notorious IBE, Battle of the Year, Taipei Bboy City - these are all the biggest world 1 on 1 championships. Each championships produces its own champion. So, how can one really find out who is the best? The need to figure out who is the best of the best is the bedrock of bboying, for this very reason the dance is still around. Year to year, during decades bboys have been trying to show who is the most technical, enduring, complete, diverse and musical dancer. They are doing it in cyphers and on the big stage, in clubs and out on the streets and sometimes even in the media. "Show me the bboy who doesn't think that he is the greatest" - exactly this attitude is part or the reason why the art form still exists and keeps evolving. 

In order to find out who is the champion of all champions the Undisputed project was initiated back in 2014. Undisputed is the championship of all championships where the champion of all champions is found. At the end of the year or in the beginning of the next one the winners of all the most significant world 1 on 1 competitions meet in the final battle. This battle is held not like all of the rest Olympic system competitions. The system of Undisputed resembles the football world cup, where the contestants are divided into groups and each one goes out against the other. 

In 2014 the winner was Lilu from France, in 2015 it was Victor from the USA, in 2016 - Thesis, also from the USA. The next Undisputed will take place on 27-28 of January in San Diego (USA). The program also includes 1 on 1 battle among bgirls and 3 on 3 battles open for everyone wishing to participate. Undisputed could be called the most expected event of the global bboying scene, since it is the place where the undisputed champion of the previous year is selected. 

2017 Undisputed contestants: 

Lussy Sky (Ukraine) – Champion of Touluse Battle Pro 
Victor (USA) – Champion of Outbreak Europe 
Kuzya (Ukraine) – Champion of Notorious IBE 
Thesis (USA) – Champion of Freestyle Session 
Issei (Japan) – Champion of Silverback Open 
Onel (Greece) – Champion of Battle of the Year 
Vero (Korea) – Champion of Taipei Bboy City 
Spin (UK) – Holder of the highest score in UDEF battle. 
Dr. Hill(Mexico) – Holder of the second highest score in UDEF battle 
Sunny (UK) – Champion of UK Bboy Championship, will not be able to participate. 

Kill (South Korea) – Champion of Unbreakable, will not be able to participate due to active military service. 


Storm - Battle Squad (Germany) 
Flo Master - Footwork Fanatics (USA) 
Roxrite - Renegade Rockers/The Squadron (Mexico/USA) 
Moy - Monster/Break Free/Havikoro (USA) 
Bojin - Bboyworld Asia (Taiwan) 

29 jan Rakim's 50-th Anniversary

On Sunday, January 28th , iconic rap artist Rakim turned 50. Many tracks from this rapper became the anthems of bboying and hip-hop culture. 

The last weekend was marked by various events in the world of hip-hop. On Sunday, January 28th , iconic rap artist Rakim turned 50. Many tracks from this rapper became the anthems of bboying and hip-hop culture. Generation grew up on his songs, his records are the symbols of the golden age of hip-hop culture.

In the mid 80's Rakim was known as Kid Wizard, he and DJ Teddy Tuff were in the band called Almighty Force. Rakim grew up in Wyandatch, Long Island, New York. His aunt, Ruth Brown was an R&B singer and actress. In 1986 Rakim became a member of the religious social organization the Nation of Islam. Everybody in his family sung and played musical instruments. Rakim's mother, Cynthia, in her younger days was enthusiastic about opera and jazz, but she abandoned the singer career after getting married to Rakim's future father, William, who was a car mechanic and later on became an airline technical service manager. Both of his older brothers, Ronnie and Stevie, played keyboard and Rakim once tried to join a school band as a sax player, however afterwards he got involved with hip-hop. 

In 1985 one of Rakim's close friends introduced him to Eric Barrier, a DJ at the New York radio station WBLS and the roommate of the young producer and DJ at the same radio station Marley Marl. I had a couple of demos of my own, Raim recalls - and played Eric My Melody. He felt it through, as if it wasn't him but myself. Inspired by this we headed out to Marl's home to make a proper record. It turned out to be something incredible for that time, it was long (6 minutes) and slow. Their first single "Eric B. Is President/My Melody" came out in 1986 on the independent label Zakia, following which the band switches to 4th & Broadway. Equally monumental singles "I Ain’t No Joke" and "I Know You Got Soul" sampled with songs of James Brown and Bobby Byrd immediately became popular and respected, since their extreme funkiness reconstructed the sound of hip-hop. Rakim refined his rhymes like poetry, filling the lines with complex metaphors and internal rhymes, earning the reputation of the most smooth-sounding MC. He had clear articulation and his considerable influence on multiple MCs of today is undisputed. In 1987 the duo releases a full-length debut album called "Paid In Full". With the accompaniment of the powerful underground sound the record hit the top 10 charts. Shortly down the line the band signs up with Uni Records, the branch of MCA Records and continues to rise with the release of another prominent hip-hop album titled "Follow the Leader" in 1988. In 1990 follows "Let The Rhythm Hit’em", which is considered not as successful from the artistic perspective. In 1992 "Don’t Sweat The Technique" comes out, a somewhat jazzy record, which turned to be more consistent in terms of their legacy. By that time the contract with MCA Records is about to expire, so they start to discuss possible work on solo projects, which resulted in the band's dissolution. 

For man hip-hop fans the sensible explanation of Islamiс ideological basics in Rakim's lyrics was a big revelation and the first introduction to the doctrines of the Islamic organization Five Percent whose influence through hip-hop is evident today. Already in senior school Rakim invested his soul in Islam. This was the period, when I looked for my place in this world and I needed an experienced teacher, Rakim explains, - Back then I got constantly arrested for carrying unregistered arms and theft. I was afraid that my mother wouldn't take any more news of me being in trouble. That is when Rakim turned to Allah and became a mentor for many others. The first released record was titled "Heat It Up" and it became a soundtrack to the movie "Gunmen" in 1993. The debut solo album "The 18th Letter" came out in 1997. Two years later Rakim released his second solo record "The Master" under Universal Records label. The album was not as highly acclaimed as its predecessor. In 2000 he signed up with Aftermath Entertainment and planned the album " Oh My God". The record was not released due to the fact
that Rakim walked away from the label in 2003. In November of 2003 "The Seventh Seal" comes out.

Rakim's rhymes deviated from the traditions of simple hip-hop versification of early 80's. At the time when many rappers showed their mastery with improvisation, Rakim was one of the first who demonstrated the perks of signature style, for example his innovative use of multiple complex internal rhymes. By contrast with such rappers as LL Cool J , KRS-One and Run D.M.C, who delivered their vocals with high amount of energy, Rakim leaned towards more relaxed and clear flow. MTV said, we got used to such MCs as Run DMC, Chuck D and KRS-One, who jump around and shout into the mic. However Rakim had his own approach to the microphone. He had a slow style and his every line was hypnotic. He delivered his lyrics to the listener in a relaxed fashion due to his jazzy sound; he played sax and was a fan of John Coltrane. The editor of Allmusic noted, that most of his lyrics refer to his skills and Islam. He also recognized Rakim for his complex internal rhymes, intelligent images, smooth vocal sound and unexpected and untimed rhythms. The writer at Pitchfork Media Jess Harwell described his rapping as high-powered, polished and possessing an inexplicable sense of rhythm. 

Eric B. & Rakim:


Paid in Full (1987)


Follow the Leader (1988)


Let the Rhythm Hit’ Em (1990)

Don’t Sweat the Technique (1992)















Solo albums:


The 18th Letter (1997)


The Master (1999)


The Seventh Seal (2009)




26 jan Undisputed 2017



25 jan Jam Staraya Shkola 2018

The next Staraya Shkola Jam takes place in Moscow on 3 March 2018. The frameworks is the same: cyphers and the crowd on crowd battle. 

The roots of Staraya Shkola Jam go back to Chernihiv of 2013. It was then and there that the first event of this series was promoted by bboy Robin. Already then, 5 years ago, the Ukrainian, Russian and global breaking scenes were overfilled with various contests. Bboys and bgirls began to evaluate jams by their presented contests and prize funds. It is a part of the global trend. The events where one can make some cash attract more contestants than non-competition cypher jams. Some don't find it necessary to change anything in this situation whereas others see it as their duty to show how it is really supposed to be. For bboy Robin from the worldwide renowned Top 9 Crew it became a point of honor to respond to this problem. 

There is a good reason for the name of the jam. Staraya Shkola means old fashioned bboy generation of the 1990's and 2000's, when the jams were organized primarily for bboys to exchange experience and information. Then the jams gathered a huge number of people, although there were no money prizes. No one even thought about cash rewards for a battle because more valuable notions were at stake, i.e. esteem, respect, recognition. Bboys and bgirls were hungry for cyphers and battles and battled for the sake of the battle, jammed for the sake of the jam. The atmosphere of these old school jams is distinguished by virtual absence of the commercial element. It was an era when hip-hoppers recreated everything out of nothing on the ruins of the 90's wasteland. 

In the spring of 2013 almost all of the bboys and bgirls from Ukraine got together in the city of Chernihiv near Kiev to rock the floor the way it is supposed to be. The jam was also attended by the representatives of the Russian bboy community. The jam took place in an old high school building which influenced the creation of the jam's name. The inherent tradition of old school parties were crowd battles. The division into crews could be absolutely different by age, geography or affiliation with certain communities. In the case of the first Staraya Shkola Jam the 20 people crews were formed by division into the old and the new generation. The young bboys went out against those older than 25. This battle became the high point of the jam. 

Three years later Robin's jam came back, only with the different name - the Bitva Shkol, different location - Moscow and different main battle. Now the crews were formed by special generals, who walked through the cyphers and handpicked the worthy into their ranks. It is important to understand that Robin's jams are jams for real. Bboys and bgirls come over there above all to rock in the cyphers whereas the massive battle is left for dessert. The big cypher event, where the cyphers last for hours on end - this is the key of Staraya Shkola and Bitva Shkol jams. At the 2016 event the young generation of breakers, the kids, was emphasized as well. Many children from various schools of Moscow and the country in general as well as their parents were involved. Also a 10 on 10 battle was arranged for the little bboys. 

Jumping from cypher to cypher, setting battles, arranging crew jams bboys and bgirls spend at Robin's events hours on end. However there is one special contest - 1 on 1 Feel the Rhythm battles. The judges are present at these battles and the music is performed by well-known bucket drummer Super Ed. 

Since 2016 Robin's jams have been taking place annually. In 2017 Old School was delivered with the support of the Kiev brand Funk and Furious. The representatives of the best crews of the country and various regions participated in the cyphers. Many videos from this event became very popular online. 

The next Staraya Shkola Jam takes place in Moscow on 3 March 2018. The frameworks is the same: cyphers and the crowd on crowd battle. 

Follow the latest news on VK: 

Link to the video Old Shool Jam 2017:

24 jan Next V1 Festival

V1 festival will be held not in early July as usual, but in the end of the momth. The next V1 Festival is scheduled for 19-22 July 2018.

  • The history of V1 Festival begins with small jams focused on breaking battles for kids. The first jam at Vosstaniya 1 took place in April of 2013. That is when the 2 on 2 "Teacher-student" qualification was introduced which later on became a tradition. Also there was a showcase battle Moscow against Saint-Petersburg. The event became memorable because of this very battle, which involved such prominent Russian bboys as Fastfoot, Beatmaster, Bochok, Mark, Ian, Vlad, Artschool, Gormon, Sasha P, Jamal from Moscow team and Kosto, Disco T, Wag, Toy, Glazov, Fila, Gladky, Well Be, Kuvalda and Fin from Saint Petersburg team. This was a unique battle since the representative teams were combined and invited by the promoters. The event was a great success. The "Teacher-student" battle attracted many duos from other cities since the qualification of this kind was quite a rarity at the time. Thus the foundation for the V1 battle, jams and festivals was laid. No later than in May of the same year the first four-day V1 Festival took place. What made V1 Festival unique was the fact that each day of the festival was dedicated to either graffiti, music or dance. Dj Q-Bert, bboy Floor Phantom and Killafornia crew were the first foreign guests at V1. The program also included workshops. The rap freestyle battle set the stage for the new rise of the freestyle MCing scene in Saint Petersburg. During this first festival certain canons of V1 battle were established which are being followed to this day. 
    After the festival, in 2013, another three V1 battles were held. It means that from the very beginning V1 battles took place approximately every two months. 

  • In 2014 5 V1 battles were held. The summer festival involved even more guests and participants. Also The beatmaking and beatboxing battles were organized. The battles of beat makers and beatboxers were held, famous hip-hop musicians Q-Bert, Exile and Reeps One were invited. Detsl gave his performance as well. In October of 2014 at yet another V1 Battle aside from contests, performance of trickers, popping battles, the qualifying Freestyle Session for Los Angeles went down. The event lasted for two days. US guests Sweepy, who judged the popping battles, and Frankie Flave together with Lil John as judges of the breaking were invited. Moreover, Lil John took part in the Footwork 7toSmoke. 

  • In 2015 the unspoken tradition to host five battles a year continued. The summer festival became the event, which a lot of people are very excited about. Crazy Legs and Bernard Purdie came to V1 for the first time. Legendary Bad Balance played their show and the battle of music bands was presented for the first time. The Rap Freestayle battle and Beat Sections Battle began to attract even more contestants. The end of the year was marked by the signature V1 battle when Top Rock City took place. Top Rock City is a toprock battle, however it is focused on the fact that toprock is not a separate dance, but is a part of a unified dance called Breaking or Bboying. That is why the preliminary selection into top 8 was conducted not only according to the toprock performance, but also to the full breaking solo from each contestant. In the actual one-on-one battles it was allowed and encouraged to go down. The author of the concept Mr. Wiggles (Rock Steady Crew) was judging this qualification. 

  • The following year was the year when the whole world learned about V1. During the summer festival the famous Battle of Gods between Crazy Legs and Storm went down. Six months before the event the showcase skirmish between the two old school breaking giants was already well-known. At last, 1 July 2016, the first Battle of Gods in V1 history took place. This event captured the attention of all breaking enthusiasts from all over the globe. Thousands of people watched the live stream of the battle. The platforms in the inner yard at Vosstaniya 1 were fully packed. The notion of Battle of Gods left its' mark in the minds of the masses, new offers for future Battle of Gods started to flow in from all over. Aside from the Battle of Gods the festival also stood out because of the fact that foreign graffiti artists were invited to decorate the inner yard. Distinguished Boogie, Nilko and Sweat infused the signature features and the atmosphere of V1, which remain iconic to this day. In October of 2016 V1 Battle was attended by Large Professor and Ken Swift. This V1 Battle is best remembered for the extrinsic beat sections battle, when the beats are not played live, but are compiled for several hours from the samples selected by the judge. What is more, the competition for breaking crews under the Battle of the Year system was organized, which is also not typical for V1. At the conclusion of the event Ken Swift gave an insightful interview and it is available with Russian subtitles on V1 channel. 

  • V1 Festival 2017 went down as an event that everybody is waiting for and includes in their plans for the summer. New graffiti decoration, the record number of contestants in the rap freestyle battle and the beat section battle, X-ecutioners, breathtaking Battles of the Gods and Mos Def concert. It is said by the numerous regular attendants that V1 Battle does not cease to amaze. Now live interviews directly from the venue were added to the online stream. It enabled everybody to get to know the guests and the battle prizewinners a little better. The year of 2017 was concluded with the New Year V1 Battle where along with the traditional Breaking competitions in powermove elements a contest in the best dance in a bear costume as well as the hip-hop quiz were held. That year V1 Battles increased the focus on rap freestyle, which considerably promoted the development of freestyle MCing in Saint Petersburg as well as in the whole country. 

  • Due to the FIFA World Cup in Russia the next V1 Festival will be held not in early July as usual, but in the end of the month. In the middle of July the World Cup will be over and the city will not be overcrowded with tourists and football fans. V1 Festival 2018 will present the unique Vosstaniya 1 atmosphere, new graffiti pieces, new Battle of Gods, guests, surprises and even more. 

  • The next V1 Festival is scheduled for 19-22 July 2018.

19 jan КОСТО против ШИГЕКИКС. Баттл в Индии.



03 jan Итоги года от Касты и Google



29 dec Хип хоп в Индии. Начало года с Косто (Top 9 Crew)



26 dec Новый альбом Pete Rock "Lost Sessions"



12 dec Кен Свифт - архитектор и мастер уникального стиля.



07 dec Poe One и Next One о том, что такое "байт"



30 nov Первый эмси в истории Хип хопа



14 nov "Top 9 Crew" - лучший футворк в Азии



09 nov "Top 9" вечеринки ""Hip Hop Evolution"
С первой пятницы ноября стартовала серия Хип хоп вечеринок, посвящённых месяцу Хип хоп истории. Каждый из джемов будет посвящён одному из четырёх основных элементов Хип хоп культуры

С первой пятницы ноября стартовала серия Хип хоп вечеринок, посвящённых месяцу Хип хоп истории.  Каждый из джемов будет посвящён одному из четырёх основных элементов Хип хоп культуры и приурочен к официальному показу четырёх серийного документального фильма “Hip Hop Evolution” в переводе от Papalam Recordings.  

Первая вечеринка представляла элемент B-boying или Брейкинг. На показ первой серии фильма “Hip Hop Evolution” пришло около 80 человек. Просмотр начался после вступительного слова самого переводчика Дмитрия, представляющего Papalam Recordings. После фильма, вдохновлённые бибои, устроили на танцполе джем. Вскоре действие подошло к батлам 1 на 1. В этом состязании приняли участие только 16 приглашённых заранее танцоров:  Юзрок, Велби, Тимур Айти, Кап, Джери, Гадкий, Ганста Карлос, Вортекс, Шатил, Линкофф, Фин, Раджик, Слав, Пекарь. В финале встретились бибои, представляющие команду Фанк Фанатикс Велби и Юзрок. По мнению судей (Косто, Тони Рок и Кувалда) победу одержал Юзрок. Он был награждён призом от компании уличной одежды “Circle” и Книгой Хип хоп файлы в авторском переводе В1. 

Джем прошёл в лучших традициях питерских клубных вечеринок в пространстве Голицын холл на Фонтанке 20. Организаторам “Top 9 Crew”  удалось создать настроение андеграундной Хип хоп вечеринки, так как это должно быть.  

Следующий джем запланирован на пятницу 11 ноября и представит элемент эмсиинг. С подробной информацией о вечеринках "Hip hop Evolution" можно ознакомиться на официальной странице ВК:

07 nov Диджей Вольт "Мы остаёмся верными стилю"
Этой осенью Санкт-Петербургский андеграунд Хип хоп диджей и продюссер Вольт (Wolt) из именитой би-бой команды Топ найн (Top 9) порадовал брейкеров и остальных любителей традиционного бум-бэп звучания своим новым альбомом “We Stay True to the Style”

Этой осенью Санкт-Петербургский андеграунд  Хип хоп диджей и продюссер Вольт (Wolt) из именитой би-бой команды Топ найн (Top 9) порадовал брейкеров и остальных любителей традиционного бум-бэп звучания своим новым альбомом “We Stay True to the Style” (Мы остаёмся верны стилю). Шестнадцать свежих треков отвечают лучшим традициям стиля ”Top 9 Crew”,  это фанк и джаз сэмплы положенные на жёсткие биты из коллекций лучших времён рэпа восточного побережья. Мелодичность и грубость композиций создаёт гармоничное звучание старой школы девяностых, что на современной битмейкинг сцене России редкость. Скретч и вставки рэп четверостиший создают правильную атмосферу, объединяющую все музыкальные Хип хоп элементы.

Большинство битов с этого альбома медленные, что делает его более актуальным для практик эмси нежели бибоев, хотя такие биты станут отличным саундтреком к лёгкому брейк джему. Также “We Stay True to the Style” - не заменимое дополнение к плейлистам истинного ценителя Хип хоп музыки, звуковая дорожка для будней и выходных, машины и путешествия.

Из всех композиций особенно выделяется “Inspired by Serena E”, трек отличается быстрым темпом и лёгкостью. Бит как-бы заставляет танцевать, а воздушные сэмплы как буд-то снимают усталость и придают бодрости. Идеальная тема для финального бибой батла. В том числе трек “Inspired by Sweet Cow” можно включить в плейлист для джемов и батлов. Жёсткий, насыщенный сэмплами и скретчем, с атакующей басс линией.

“We Stay True to the Style” это четвёртый полноценный инструментальный альбом Вольта. Предыдущие релизы “On the Way”, “It Makes My Day” и “Make Noise B-boys” выполнены в том же неизменном стиле лучших времён бум-бэп звучания, что объясняет название “We Stay True to the Style”.  

Чтобы понять истоки стилистических предпочтений Вольта, следует обратиться к его биографии. Вольт вырос в Санкт-Петербурге на Ржевке с старшим братом, который является первым в СССР Хип хоп диджеем. С ранних лет Вольт наблюдал за процессом сведения музыки, скретчем, рэпом. В его комнате буквально на его глазах создавались первые шедевры русского Хип хопа. Брат Вольта, Вольф был участником одной из первых рэп групп Ленинграда Имя защищено, от него он перенял базовые навыки обращения с пластинками, а главное вдохновение.

Вольт не называет себя битмейкером, так как процесс создания битов для него это сэмплинг. Вольт – диджей. Он, как правило, не пишет мелодии сам, а опирается на базовый способ создания Хип хоп музыки. Сэмплирование – это то с чего возник данный музыкальный жанр. Заимствование звуков, мелодий, барабанной секции и так далее из старых фанк, джаз, рок композиций – это основа, доступная фактически каждому. Именно по этому, говоря о зарождении Хип хоп музыки говорят, что пионеры Хип хопа создали всё из ничего. Их путь повторяли все последующие поколения вплоть до настоящего дня.

Послушать и приобрести альбом “We Stay True to the Style” и другие можно на  сайте


02 nov "Бибоинг, Рокинг, Хип Хоп" - интервью с би-боем первого поколения из бронкса Trac 2
Я периодически видел этот танец в начале 1974 года, но не в том контексте и не в той манере, в которой он исполняется сегодня.



Я периодически видел этот танец в начале 1974 года, но не в том контексте и не в той манере, в которой он исполняется сегодня.

В раннем 1974 году я впервые пришел на джем в парке рядом со школой, где учился мой брат. Ди-джеем был DJ Whitehead. Он играл во дворе среднеобразовательной школы №82. И первый батл, который я видел, произошел с участием испанской, пуэрториканской команды под названием "Salsoul". У них был феноменальный би-бой, который был просто фантастическим рокером. Он вышел против парочки ребят из Zulu. Zulu Kings были первой сформировавшейся би-бойской командой. Их лучшего би-боя звали Beaver. Он был первой гетто-знаменитостью в контексте этой танцевальной формы. В 1975 году я ходил в бассейн в Кратона-парк. Он находился на 174 улице в Бронксе прямо рядом с Третьей авеню. И я видел этот батл вживую. Это несколько забавно, но годом позже, когда я сам начал танцевать в 1976 году, меня привели на пробы к этому парню. Я даже не знал, что он является уважаемым би-боем из Salsoul.

Если вы посмотрите на эволюцию танца, то вы увидите, что Zulu Kings были первой официальной би-бой командой. Salsoul были первой пуэрториканской командой. И я считаю, что черные и пуэрториканцы вместе создали ту танцевальную форму, которую мы видим сегодня. Две разные культуры, которые живут в одной среде и разделяют эту энергию. Это позволило нам объединиться и создать эту танцевальную форму, которая сейчас считается формой искусства.

В своей начальной форме первое поколение би-боев появилось в конце 1975 года, в начале 1976-го. Именно тогда танцевальная форма превратилась в ту форму искусства, которая существует сегодня. Она включает в себя топ-рок, дроп и переход в футворк. В 1976 году это стало дополняться всем остальным.

Я был первый, кто внедрил в танец гимнастику, и это помогло мне делать переходы. Это позволило мне реализовать мою страсть к гимнастике. Уровень креативности заметно поднялся. Появилось больше страсти и творческой батл-ментальности. Появилась потребность оставаться на вершине.

У многих есть ложное представление, заключающиеся в том, что все зародилось в 1973 году. Но до 1973 года были две культуры, каждая из которых, по сути, создавала свою собственную среду. Был Herc и много черных, которые ходили на домашние вечеринки. У них был свой собственный стиль музыки, которую они слушали. Пуэрториканцы слушали много рок-музыки, сальса и румба. У нас была своя небольшая среда. Мы ходили на танцы в клубы. Мы устраивали танцевальные вечеринки в заброшенных зданиях. Таким образом мы создали целую новую среду. Тогда джемы еще не устраивали на улице.

В 1974 году все действо перенеслось на улицы. Танцоры продолжили то дело, которое начал Herc. Джемы на улице создали для нас среду, которая смогла нас объединить. Среди моих школьных друзей было много афроамериканцев. Но когда школьный год заканчивался, мы расходились в разные стороны и больше не общались. Эти джемы стали происходить все чаще и чаще, джемы в парках, на школьных площадках... Это позволило нам собираться вместе, как мы делали это в школе. Это смешало наши культуры. Мы смогли узнать, как они двигаются и что движет ими. Также мы делились своими навыками и тем, что нами движет и что нас вдохновляет. Просто круто, что это объединило нас. Таким образом, мы создали новую танцевальную форму из ничего.


Бронкс-рокинг был частью моей среды с самого начала. Существовало два стиля танца, который тогда в Нью-Йорке назывался Бронкс-рокингом или рокингом в широком смысле. Изначально он назывался "кислотный фристайл рокинг" (Acid Freestyle Rocking). Он появился во время войны во Вьетнаме, а главным наркотиком этой эры хиппи была кислота. Это подходило всякого рода бандитам. У нас была эта боевая танцевальная форма. Она помогала выражать агрессию людям, которые были несколько вне закона. Также были ребята, которых мы называли "диско-денди". Эти ребята хорошо одевались и ходили в клубы. Их танец был с ярко выраженным латиноамериканским оттенком. У многих есть ложное представление о том, что этот танец был популярен исключительно среди бандитов. Однако правда заключается в том, что стиль рокинга, который предпочитали люди моего поколения, был кислотный фристайл рокинг. В 1970-1971 году слово "кислотный" было утрачено, потому что тебе больше не нужно было находиться под кайфом, чтобы получать от этого удовольствие.

Фристайл, на самом деле, является стержнем всех танцевальных стилей, потому что все движения являются индивидуальными и уникальными. Во фристайле отсутствует определенная танцевальная структура. Внутри твоего сообщества эта структура начинает развиваться. То же самое с локингом. Дон Кэмпбел танцевал "funky chicken" (фанки-чикен), резко останавливался и начинал делать движения локинга. Он создал основу этого танца, и это повлияло на большое количество людей. Теперь у нас есть такие движения, как Skeeter Rabbit. Это движение появилось благодаря человеку, которого звали Skeeter Rabbit. Он просто придумал свою версию этого движения, и это многим понравилось. Сейчас это является неотъемлемой частью танца. Теперь у танца есть структура и свой словарь. На ранних этапах развития рокинга не было никакого словаря. Не было определенной структуры, потому что каждый человек интерпретировал этот танец по-своему.

Если рассматривать десятилетие с 65-го по 75-й, то мы в первую очередь говорим о войне во Вьетнаме и о том, какие последствия она за собой повлекла. Испанские и латиноамериканские движения стали более популярны. В 1967, 1968, 1969 году многие европейские исполнители начали внедрять латиноамериканские мотивы в свою музыку. Иронично, что когда ты берешь что-то настолько депрессивное... Ведь, в конечном итоге, это вопрос политический, экономический и социальный. Это не должно быть вдохновляющим, но дело в том, как мы адаптируемся к тем ситуациям, в которых мы вынуждены находиться.


Из своего детства мне хорошо запомнились две вещи: ребята постарше искали дешевого кайфа, например, дешевый клей. Они нюхали его через бумажный пакет. Одни би-бои занимались этим, другие - нет. Мы же предпочитали купить полторашку пива. Или могли покурить косяк за один доллар. Однако это никак не влияло на наше творчество. Мы постоянно занимались этим на наших точках в заброшенных зданиях.

Мы ходили на вечеринки и джемы, которые проходили на школьных площадках.
Необходимо помнить, что в моем поколении у тебя был какой-то статус внутри этой среды. Например, художник граффити. Я был граффитчиком еще до того, как стал танцором. Был также преступный и гангстерский сегмент. Мой брат был членом местной банды.

Он присутствовал при заключении перемирия между бандами. Один из членов его команды, который объединил все эти банды, погиб. Мы просто убивали друг друга.


Забавно, что когда люди говорят о нашем культурном движении и о том, что сделало это хип-хопом, они утверждают, что все это придумал Herc. Это просто наглая ложь. Нет, Herc должен получить свою порцию признания за то, что он сделал. Ведь он был первый промоутер в Бронксе. Но человеком, который сформировал это движение в его сегодняшнем виде, является Bambaataa. Когда люди говорят о том, что хип-хоп культура появилась сама по себе в 1973 году, то это кажется мне смешным, ведь именно тогда появились Zulu Kings. Мне говорят: "Trac, ты был частью хип-хопа с 1975 или с 1976 года". Я действительно являюсь би-боем, рокером и би-боем. Мне не нужно слово "хип-хоп", чтобы объяснить, какое сообщество я представляю. Потому что в действительно хип-хоп - это всего лишь концепция. Это маркетинговый инструмент для рекламы. Это было создано ими в 1982 году. Они это так назвали. В 1982 году они называли это "хип-хопом". Поэтому нельзя относить хип-хоп к 1973 году, ведь когда ты придумываешь какое-то называние, это становится моментом зарождения этого явления. В связи с этим существует ложное представление о том, кто является отцом хип-хопа. На самом деле это Bambaataa.


Утверждение о том, что Nigga Twins были первыми би-боями это самая большая и наглая ложь. За всю историю. Потому что они ничего такого не сделали и не были частью ничего существенного. Их танцевальный стиль не оказал никакого влияния на то, что мы имеем сегодня. Они не создали никаких основ для моего поколения, чтобы это способствовало эволюции танца до его сегодняшнего состояния. Они не играли в этом никакой роли.

У меня на странице есть ссылка на Coke La Rock, который считается первым эм-си. Он выступал на вечеринках у Herc. И он открыто говорит, что первым би-боем был парень по имени Sau Sau. Он утверждает, что этот парень появился гораздо раньше Nigga Twins и именно его нужно считать первым би-боем. Coke La Rock описывает джемы у Kool Herc. И он говорит о том, что Sau Sau был на самом первом джеме у Kool Herc. Обратите внимание, что Sau Sau - пуэрториканец. Поэтому здесь что-то не так, ведь Nigga Twins появились позднее этого и даже позднее формирования Zulu Kings.

Его танец был скорее в пуэрториканском стиле. Вы когда-нибудь видели, как танцует Frosty Freeze? У Frosty Freeze есть движение Zulu King Around the World Spin. Итак, в фильме Freshest Kids был парень по имени Kieth.
Его танец напоминает чечетку. Если вы заметили, у него нет переходов между топ-роком, дропами и его стилем футворка. Он просто падал на пол и исполнял танец, очень похожий на стиль линди-хоп. Итак, берем это движение и Around the world Frosty Freeze и получаем основополагающий футворк Zulu Kings.

Несмотря на это, если бы пуэрториканцы не вовлеклись в этот танцевальный стиль, то он бы прекратил свое существование в 1974 году. Потому что в нем не было того, из чего можно было строить его дальше. Даже в то время танец все еще не был окончательно сформирован.


В Бруклине многие рассказывают просто безумные вещи о Rubber Band. На самом деле, там никто не знает, кто такой Rubber Band. Для них Rubber Band является просто городской легендой. И это вполне справедливо. Многие рокеры из Бронкса и Бруклина подтвердят, что он оказал большое влияние на латиноамериканских или пуэрториканских танцоров. Его стиль вместе с тем стилем, который основали Zulu Kings, способствовал формированию этой танцевальной формы. Это заслуживает большого уважения. У них было тридцать лет, чтобы исправить историю. И вплоть до сегодняшнего дня они не знают, откуда они появились. Я узнал больше после двухчасового телефонного разговора. Я единственный знаю, чем Rubber Band зарабатывал на жизнь, где он брал свою одежду, какое его настоящее имя, как он ушел из жизни, кто его убил. Я знаю его девушку, с которой он встречался три года и которая находилась рядом с ним, когда его убили.

То, что им удалось разузнать за тридцать лет, я получил после одного телефонного звонка. Я вам расскажу самую ироничную часть всего этого. Многие рокеры моего поколения... Вы должны помнить, что я являюсь продуктом поколения, которое было до меня. Такие ребята, как Joe, Chuck, Little Dave, Clarkie, Marine Boy. Я являюсь продуктом их деятельности. Мое поколение интегрировало эволюцию этого танца и превратило его в то, чем он является сегодня. И мы все с этим соглашаемся. Но тот стиль танца, который сейчас можно встретить в Бруклине, тот "криминальный" (outlaw) стиль, убил этот танец в 1974 году. Если ты скажешь мне, что в 1972 или 1973 году ты исполнял этот "бандитский" стиль танца... Проходят годы и следующие поколение становится частью эволюции танца. И данную эволюцию можно проследить с самых первых аспектов танца до той формы, в которой он находится сегодня. Этот стиль не демонстрирует никакой эволюции. Они попытались взять танец 70-х годов и... Они взяли его суть и попробовали заново его изобрести. Они взяли уличный "бандитский" танец 70-х годов и полностью его переделали, после чего он вновь появился в 90-х. Но они даже не знали, что танцевальный стиль Бронкса является настоящей эволюцией рокинга.

Не забывайте, Рокинг является частью Нью-Йорка. Он развивался параллельно в Бруклине, Бронксе, Куинс и Манхэттене. Когда я говорю о Манхэттене, я имею в виду Испанский Гарлем. А так же не стоит забывать о нижней восточной стороне Манхэттена. Вот в этих пяти точках зародился данный танец. Некоторые говорят, что он появился в Бруклине. Если ты говоришь мне, что он появился в Бруклине, можешь ли ты мне описать эволюцию танца с тех времен и до сегодняшнего дня? В каждую настоящую танцевальную форму очередное поколение добавляет что-то новое, что способствует дальнейшему развитию танца. Итак, если мы возьмем рокера из Бруклина и рокера, танцующего в стиле Бронкса, и сделаем так, чтобы они танцевали под одну песню, я гарантирую вам, что Бруклин и рядом не стоит с Бронксовским стилем рокинга. Рокеру из Бронкса не нужен оппонент, чтобы танцевать. Этот стиль танца с разными артистичными движениями, как хватания за член, удары ножом, джерк и так далее, был приемлем только в главных клубах Манхэттена. Такой стиль танца никогда бы не смог существовать в клубе, который держали итальянцы. Этот танец был типичен для районных тусовок. Данная танцевальная форма была запрещена в любом заведении. Поэтому вы должны задать этот вопрос. Если вы посмотрите на таких би-боев, как Mr. Wiggles и Ynot, то это и есть Бронксовский стиль рокинга. Ты можешь танцевать на протяжении всей песни, не имея перед собой противника.

Это забавно, но в Бронксовском стиле рокинга есть свой особый джерк, но джерк, который использовали мы, больше похож на ту манеру переходов, которая характерна для би-боев. Даже те рокеры, которые были до меня, у них был свой джерк, но это была  форма переходов, чтобы создать свою собственную среду. Не забывайте: танец - это танец. Точка. Рокер должен продемонстрировать разные уровни танца и быть способным охватить весь танцпол. Когда я говорю про разницу между стилем Бронкса и стилем Бруклина, то я имею в виду, что у Бронкса есть этот аспект переходов. Если меняется музыка, это позволяет нам контролировать весь танцпол.

В современном бруклинском стиле этого нет. Если сегодня посмотреть на тех би-боев, которые вдохновлялись пионерами рокинга, то просто поразительно, как сильно эволюционировал этот танец. Когда эти би-бои выходят на танцпол, каждый из них демонстрирует свою интерпретацию того, что им движет. В этом и есть суть настоящего танца. На сегодняшний день, рокинг, который появился в Бруклине, выглядит чересчур механическим. Если подумать, это не является настоящей танцевальной формой, потому что в ней отсутствует эволюция.

Джемы, на которых танцевали рокинг в его оригинальной форме, проходили с 1969 по 1974 годы. И у этого есть два аспекта: "бандитский" стиль танца и, как я его называю, "диско-дэнди" стиль танца. И разница между этим "диско-дэнди" и фристайлом, который создало мое поколение... Это то же самое поколение, что придумало лэтин хастл, воугинг, лофтинг, уэбо... Только в этом кислотном стиле танца рок-стиля диско-дэни вы можете видеть эволюцию того, как люди интерпретировали этот танец. Сегодняшний стиль рокинга, который я называю бандитским, не предоставляет перспектив для эволюции, если реалистично посмотреть на вещи.


Интересно то, что чечетка была феноменально популярна с 40-х по 60-е. И если рассмотреть Nigga Twins, то одним из самых больших вдохновений для них были Братья Николас.

Давайте рассмотрим тот стиль чечетки, который они исполняли в эпоху черно-белого телевиденья. Черные были единственными, кто делали горизонтальные движения. Хотя танец изначально должен исполняться вертикально. Это продолжалось определенный период времени. А теперь скажите мне: допустим ли сейчас этот стиль чечетки, который исполняли братья Николас и Сэми Дейвис младший? Сегодня мы не видим таких танцоров чечетки. Переход в горизонталь изменил суть этого танца. Теперь его больше никто не исполняет. Изначально чечетка является ирландским танцем. Но он эволюционировал в нечто совсем другое. Он был использован, как и все остальное. Ты используешь танец, получаешь с этого выгоду и забываешь о нем. И это несмотря на то, что они были очень влиятельны. Они забрали у танца его суть. В этом и заключается красота перехода от рокинга к би-боингу. Неважно откуда ты, у тебя есть возможность интерпретировать суть этого танца по-своему, поэтому каждый раз танец выглядит по-новому.

У основ футворка есть три аспекта. Все началось со стиля футворка Zulu Kings. Он изменился, когда появились Salsoul. У них был ритмичный стиль танца, когда они танцевали топ-рок. Они взяли стиль Zulu и сделали его более ритмичным. Танец стал более комплексным и, одновременно с этим, более плавным и гармоничным. Это изменилось, когда команда СС Crew, которая называлась "Crazy Comandos", внесла свой новый стиль в то, что создали Zulu Kings и что улучшили Salsoul. Теперь сиксстеп и стиль футворка СС Crew позволяли делать переходы без остановки танца. Теперь ты мог делать переходы, не нарушая целостность и контекст танца. Изначально Zulu не делали переходов, чтобы сохранить целостность танца. Ты должен был остановиться, чтобы сделать фриз. Salsoul взяли эту концепцию и сделали так, чтобы ты мог делать больше переходов. Теперь заходы во фризы стали более плавными, без изменения контекста танца. И в 1976 году команда СС Crew представила более фанковый тип футворка. Это позволило осуществлять переходы между эирмувами, топ-роком и даун-роком. Это позволило делать целые комбинации движений. Если посмотреть на танцевальный стиль Кенни, которого я считаю величайшим би-боем своего поколения, то мы увидим, что он является сосредоточением эволюции от рокинга, до би-боинга, до того состояния, в котором танец находится сегодня. Больше не нужно ничего искать. Просто посмотрите на Кенни и на его танцевальный стиль.

В этом заключается суть стиля, который придумали Zulu, затем развили Salso, а после этого трансформировали СС Crew. Итак, сиксстеп, на самом деле, не является танцевальным шагом. Это то, что придумали я и Fabel, когда мы записывали первое обучающее видео для DMC. Оно называется "DMC Original Bboy Foundation".

В нем мы использовали хореографический счет, чтобы зрителю было понятно, как делается этот шаг. Это показалось нам  более удобным, чем если бы нам пришлось объяснять каждое движение. Итак, мы придумали эту концепцию, в которой мы вели себя, как хореографы, чтобы зрители смогли понять эти основы. Это позволило создать структуру для того, что ты хочешь делать, но, в то же время, это не нарушало целостность танца. В этом заключается вся суть того, чем занимались танцоры моего поколения.

На самом деле, его придумал Fabel. В то время он больше увлекался театральным аспектом танца и развивался в этом направлении. Он занимался развитием этой уличной культуры, чтобы другие люди могли лучше понять ее и стать ее частью. За это я люблю Fabel, ведь он вновь вдохновил меня. Он не только позволил мне стать частью этого и открыл для меня много дверей, он также вдохновил меня заниматься исследованиями в этой области. Он сам стал для меня существенным источником информации на протяжении нескольких лет.

У меня есть как замечательные ученики, так и замечательные друзья, которые меня вдохновляют. Fabel вдохновил меня на то, чем я занимаюсь сегодня. Но у меня также есть такие ученики, как Mr. Wiggles, которого я начал обучать одним из первых. Или Alien Ness, один из моих первых учеников, я обучал его с 1984 года. Возможно, в Штатах его не так сильно уважают из-за агрессивного поведения. Однако за пределами Штатов с ним никто не может сравниться. Он настолько важен для нашей культуры и для нашего культурного движения. Дело не только в том, как он обучает этому танцу и что он в него привносит, но и в том, какой информацией и какими знаниями он обладает. Когда ты приходишь на его мастер-классы, ты получаешь полный пакет. Крайне немногие ребята могут такое предложить. И он является одним из первых. Еще один из них - Poe One. Это все мои ученики. Когда они о чем-то говорят... Когда Mr. Wiggles, Aliennes или Poe One о чем-то говорят, с их словами очень сложно спорить, потому что источником этих слов являюсь я.


То что бибоинг – батловый танец, это просто ложное представление. Я хочу, чтобы все поняли, как это есть на самом деле. Во-первых, полное название би-боя - это "бит-бой". Мы были танцорами в полном смысле этого слова. Самым важным для нас был танец. Это значит, что мы могли быть частью любой танцевальной сцены того времени. Если это была испанская община, то мы танцевали мамбу, румбу и сальсу. Если мы оказывались в черной общине, то мы танцевали хаус-пати. Какой бы танец ни был актуален на тот момент, мы его танцевали. Мы танцевали бамп, мы танцевали тустеп... Разница между моим поколением и сегодняшним поколением заключается в том, что мы были танцорами в полном смысле этого слова, а они - нет. Сходите на джем или поместите их в клуб и вы увидите, что они не танцуют с девушками. Они не станут танцевать под любую музыку. Среди моего поколения это просто немыслимо. Если играет хастл-песня, то би-бой будет танцевать хастл. Если играет фанк, то би-бой будет танцевать бамп. Мы адаптировались под постоянно изменяющуюся среду. Вот каким был настоящий би-бой моего поколения.

Ты тренировался в коридорах и заброшенных зданиях, чтобы физически и морально подготовиться к батлу, если он состоится. Поэтому когда они говорят о джемах в парках и на школьных площадках... Правда заключается в том, что наши батлы там не проходили. Мы ходили на вечеринки. Но если кто-то в круге начинал заходить вниз, это диктовало остальным би-боям, что нужно делать.

Я был частью этого еще на стадии формирования этого танца, когда движения еще только появлялись. И в то время танцевальная форма и сами танцоры никуда не исчезали. Мы были одним целым, "полным пакетом". В 80-х СМИ стремились осветить лишь один аспект этого танца, например, хэдспин, свеча, бэкспин и так далее. Этого хотели медиа, именно это брейкдансеры им и дали. Чем больше они втягивались в то, чего хотели медиа, тем более ощутимо утрачивалась концепция танца. Именно в этот момент вновь появилось некое ложное восприятие. Когда кто-то говорит, что би-бои перестали существовать в 1978 или 1979 году, то мне кажется это бредом, потому что именно в это время о себе заявило следующее поколение би-боев. Именно тогда появились Legs и Кенни. В Куинс появилась команда Dynamic Rockers. Необходимо помнить, что би-бой всегда создает свою собственную среду, независимо от тех изменений, которые происходят вокруг него. Только лишь потому, что мое поколение танцевало рокинг в 70-х и позднее диско-дэнди, не означает, что мы не были частью той среды, которая царила на улицах.


Большие соревнования являются частью эволюции. В 1978 году мне выпала честь участвовать в первых в истории би-бой соревнованиях. В нашей среде в 1978 году мы рассматривали это с точки зрения танцевальной формы. Я участвовал в джеме, где проводились соревнования по сальсе, соревнования по хастлу и соревнования по би-боингу одновременно. Би-боинг находился как бы ниже сальсы и хастла, ведь они были устоявшимися и сформировавшимися танцами. Однако би-боинг начали рассматривать как самостоятельную танцевальную форму, что привело к появлению отдельных соревнований в этом стиле. В этот момент произошел значимый виток в эволюции танца. В том же самом году был организован первый батл между би-бой командами в таком же формате, в котором команды участвуют в батлах сегодня.

Массы людей открыли их для себя после батла в Линкольн-центре. В 1978 году мы установили стандарт того, как должен проходить крутой батл. Dynamic и Rocksteady привнесли эту идею в массы в 1981 году. В Бронксе у нас не было того, что было у ребят на Манхэттене и в Куинс, то есть доступа к СМИ. Это позволило батлу как танцевальной форме выйти за пределы ее социальной среды, что привлекло людей, которые не были знакомы с этим движением. Есть много вещей, за которые би-боям не отдают должное.

Би-бои были первыми, кто сами начали записывать кассеты с миксами. Например, был парень, у которого была запись Bongo Rock Band или Джимми Кастера. Или был парень, у которого была пластинка Джеймса Брауна или Mexican. Мы приходили в клубы и приносили из дома свои магнитофоны. Пластинка включалась на вертушках, мы ставили на паузу те моменты, которые нам нравились и записывали их на пленку. Так записывалась кассета с миксами. Когда мы слышали момент песни, который заставлял нас двигаться, мы отпускали кнопку паузы, записывали этот фрагмент и вновь жали на паузу. И так мы делали много раз подряд. Мы включали эти кассеты на своих бум-боксах, когда устраивали батлы в коридорах. Вот, что из себя представлял настоящий би-бой батл. Он проходил не на джемах, а в коридорах.

Что я действительно не люблю и не понимаю, это то, что на современных соревнованиях можно выиграть пятнадцать, двадцать, двадцать пять тысяч долларов и би-бои руководствуются только этим. Они начинают тренироваться за две недели и смотрят, кто будет их соперниками. Они тренируются и думают: "Когда выйдет этот парень, я сделаю вот так. Если они сделают так, то мы начнем делать вот такую комбинацию". Это становится заранее спланированным.

Это лишает би-боинг своей сути. На некоторых соревнованиях есть круги. Именно в этом и заключается вся идея би-боинга, в кругах. Тогда вся эта преждевременная подготовка заканчивается.

Танцоры моего поколения тренировались часами, чтобы внедрить в свой танец определенный новый аспект. Ты работаешь над тем, чтобы сделать свой репертуар еще более феноменальным. Когда ты выходишь с тренировки и окунаешься в ту атмосферу, которую создали ди-джеи с помощью своей музыки, этот процесс выходит на духовный уровень. Все те движения, которые ты тренировал, становятся естественными в соответствии с музыкой. Ты не можешь подготовиться к этому заранее. 90 процентов движений, которые ты тренировал, позволяют тебе творчески проявить себя на танцполе. Теперь это становится признанной формой искусства, ведь у нее есть своя структура и свой словарь. И это позволяет понять тебе эволюцию этой вещи, которая была создана из ничего. Теперь этому проще научить других.

Когда ты придумываешь такие названия, как сиксстеп, чеирфриз, свеча и так далее, это всего лишь словарь, который является частью танца. Если рассмотреть движение, которое называется хип-хопом, то выясняется, что танец является единственной его частью, которая считается формой искусства. Если посмотреть на все танцевальные шоу, то в них участвуют ребята, которые не имеют ни малейшего представления о нашей культуре. Им нужно пойти и поучить этот словарный набор, чтобы они могли адекватно оценивать этот танец. Они должны изучить этот танец. Только тогда они смогут судить и решать, кто победил. В этом заключается основная идея данной культуры.


Среда устанавливает то, кем ты становишься. Либо ты становишься участником, либо ты становишься притворщиком. Раньше побеждал не тот, кто забирал больше раундов, а тот, кто последний оставался стоять на ногах. Во времена моего поколения, если ты повторил движение, то ты проиграл. Если ты не вышел через три секунды после того, как твой соперник закончил, ты проиграл. Поэтому побеждал тот, кто буквально последний продолжал стоять на ногах. Ведь в кругах это несколько отличается от тех соревнований, которые проводятся на сцене. Разница между тем, что мы делали раньше, и тем, что делают сегодня заключается в том, что раньше это было самобытным процессом, а сегодня это стало мероприятием. Чистота состоит в том, чтобы быть частью этого или наблюдать за этим вживую. Это является самым прекрасным в нашей танцевальной форме. Ты можешь быть на сцене и судить мероприятие... И я знаю, что это такое. Я судил Фристайл сейшн с участием девяноста восьми команд. Из всех этих би-боев нашлось где-то четыре человека, которые понимали суть настоящего би-боинга. Несмотря на то, что они выступали на соревнованиях, их ментальность была такой же, как в круге. И это очень тяжело. Очень тяжело понять, что это из себя представляет на самом деле. Я это вижу. Когда они входят в помещение, я могу сразу сказать, кто из них является би-боем, а кто является просто частью этой культуры. Все дело в эмоциональном настрое в данный конкретный момент.

Например Кенни. Кенни с возрастом стал только лучше. Кенни является наглядным примером превосходного би-боя, ведь несмотря на то, что со временем физический аспект танца становился более сложным, Кенни все равно остается актуальным в силу простоты своего стиля. Он интегрировал в свой стиль то, что делали следующие поколения, но при этом он сохранил суть танца. Он не только оказывает большое влияние, но и вдохновляет многих других. Это яркий пример того, какой вклад должен вносить настоящий би-бой. Он должен быть способен адаптироваться под перемены, но при этом оставаться влиятельным и быть вдохновителем для следующего поколения танцоров. В этом заключается разница между би-боем и брейкдансером. Брейкдансер не пытается познать сердце и душу танца. Сегодня он здесь, завтра его уже нет.

Я хочу, чтобы вы прямо сейчас мне сказали, какая из брейкерских команд 80-х до сих пор существует? Их больше не существует. Они не умели адаптироваться, они не умели развиваться. Они не умели вдохновлять других.


Я представляю забытое поколение. Если открыть учебник истории, то мы увидим, что в нем охватывается период от Nigga Twins до Rock Steady. Но на самом деле есть пять команд, которые заложили основы того, что мы имеем сегодня. Но они просто стерты из истории. Вот эти пять команд. Zulu Kings были первой состоявшейся командой. Они заложили основы футворка. Salsoul была первой пуэрториканской командой, которая внедрила переходы с топ-рока и изменила стиль футворка так, что он стал завершенным. СС Crew взяли то, что придумали Zulu Kings и Salsoul, и сделали танец более гармоничным и плавным. Это позволило изменять разные движения без ущерба для самого танца. Bronx Boys Rocking Crew были первыми, кто начали организовывать свои представительства. Имеется в виду то, что би-бои выходили за пределы своей зоны комфорта и организовывали свои сообщества в тех местах, где эта культура не была представлена. Это называется "распространять любовь" (spreading the love). Star Child La Rock - первая команда, которая внедрила в танец гимнастику. Это изменило то, как исполняется этот танец сегодня. Это особенно заметно среди команд из Азии и Бразилии. Мы были первой командой, которая выиграла первые в истории би-бой соревнования, что закрепило за этим танцем статус настоящей танцевальной формы. Star Child La Rock были первыми победителями на би-бойском командном батле в том формате, в котором батлы проводятся сегодня. Star Child La Rock также стала первой командой, которая победила на первых в истории соревнованиях, показанных на телевидении. Они назывались "Танцевальная лихорадка" (Dance Fever). Вот эти пять команд заложили основу моего культурного движения, благодаря чему этот танец стал таким, каким мы его знаем сегодня.

Rocksteady, 1981 год. Представительство на Манхэттене, второе поколение Rocksteady. Это самая легендарная команда из всех, что когда-либо существовали. Самая влиятельная и самая вдохновляющая. Они полностью заслужили этот титул. Эта команда остается крайне актуальной и по сей день. Это состоявшийся факт. Они продолжают обучать и популяризировать танцевальный стиль моего поколения. Они вдохновляют разных би-боев на то, чтобы они стали состоявшимися танцорами.


Лучшим является тот, у кого есть статус гетто-знаменитости. Под этим я подразумеваю то, что твое имя становится больше, чем ты сам.  Это значит, что, например, люди слышали про парня по имени Spy или Beaver. Основоположником этого стал Beaver из Zulu Kings. Его имя стало широко известно, и его опасались за пределами его мест тусовки. Его начинали бояться еще до того, как видели вживую. Все постоянно слышали про Spy, Mongo, Trace и Rubberband. Возможно, что и моё имя так же распространялось.  Наше сообщество позволило мне создать для себя этот статус гетто-знаменитости. И это является главной целью любого би-боя. Ты можешь иметь всевозможные награды и выигрывать кучу денег, но если ты не уважаемый би-бой и тебя не опасаются, то сегодня ты есть, а завтра тебя нет. Ты не будешь иметь никакого значения.


Уровень моей креативности. У меня в жизни было три страсти, еще до того как я увлекся этой формой искусства. Первой страстью была гимнастика. Вторая - карате. Также у меня хорошо получалось выразить себя через артистизм. Я объединил все три свои страсти вместе и создал стиль, который позволил мне проявить их в танце. Моя способность проявить себя в танце помогла мне реализовать себя как творца. Благодаря моим навыкам в гимнастике я стал несколько лучше в этом, чем все остальные. И дисциплина, которой я обучился через боевые искусства, позволила мне участвовать в батлах, когда мне это было нужно. Я был би-боем, похожим на Брюса Ли. Я владел искусством боя, но при этом не устраивал настоящих драк. Имеется в виду, что каждый раз, когда мне бросали вызов, я не реагировал на это сразу. Я ждал пока этот би-бой организует круг, стоял три минуты, затем шел в круг, уделывал его и уходил. Я не оставлял ему шансов выйти после меня. Мне было все равно. Я знал, что мои движения повергнут его в шок. Итак, это был батл, но без боя. Я сам выбирал, когда мне участвовать в батле, потому что настоящий би-бой должен это чувствовать. Если ты этого не чувствуешь, то ты никогда не поймешь нашу натуру. Первое - ты би-бой, второе - танцор, который пропускает музыку через свою душу.

Именно поэтому, например, Ivan нельзя сказать: "Ivan, покажи мне вот это". Он посмотрит на тебя, как на тупого. Но через десять минут ты увидишь, что он залетает в круг и начинает делать нечто безумное. Вот наглядный пример настоящего би-боя.

Би-бой не станет танцевать под музыку рэгги, когда ему следует тереться телами с девушкой. Вот этого не хватает современным би-боям. Они не являются полноценными танцорами. Что мне нравится в шоу "Ты думаешь, что умеешь танцевать?.." (You Think You Can Dance?) Там можно увидеть, что настоящий би-бой может адаптироваться под любой танцевальный стиль. Он также может адаптировать любой танцевальный стиль под себя. Могут уйти месяцы и годы на то, чтобы понять духовную сторону нашего культурного движения. Нам гораздо проще освоить какой-то танцевальный стиль, чтобы победить в соревнованиях.


Я расскажу вам одну историю, из которой станет понятно, что такое статус гетто-знаменитости.

Как-то раз в 1977 году я играл с друзьями в гандбол. Обычно мы этим занимались до того, как ди-джеи начали играть на школьных площадках. Итак, я играю в гандбол...  Би-бой имеет особенный внешний вид: кепка набок, закатанная штанина на брюках. Весь этот стиль, как у LL Cool J, и есть би-бойский внешний вид. Мы закатывали одну штанину, потому что мы ездили на велосипедах без щитка на цепи. Одна штанина постоянно затягивалась в цепь, если ее не закатывать. Таким образом это стало частью би-бойского стиля одежды. Итак, мы, несколько ребят из Star Child La Rock, играем в гандбол. Ну, понимаете, мы попиваем пивко и покуриваем травку. Тут на площадку пришли какие-то ребята и начали странно на нас смотреть. Они спросили: "Йоу, вы что, рокеры?" (потому что именно так это тогда и называлось). Мы ответили: "Да". Они: "Давайте выясним, кто танцует рокинг лучше". Я повернулся и ответил: "Нет проблем, только у нас нет музыки. Никто не взял с собой бум-бокс. Но мой друг Little Angel прямо сейчас устраивает джем у себя на заднем дворе. Мы можем пойти к нему и потанцевать рокинг прямо там". Когда мы шли от школы до дома моего друга на Crotona, эти ребята начали с нами разговаривать. Я был вместе со своим братом и моими учителями Blue Eyes и Buzz. Итак, по дороге на джем один из них спрашивает нас: "Как давно вы танцуете рокинг?" - Да не так давно. - Вы когда-нибудь уделывали Trac? Я такой: "Кого?" И он спрашивает еще раз: "Ты батлил против Trac?". На что я ответил: "Да Trac просто лох". Он говорит: "Да ты просто рехнулся. Ты никогда его не уделаешь. Я слышал, что никто не может его победить". Мои друзья хотели им все рассказать, но я попросил их этого не делать. Я говорю этим парням: "Тебе стоило прийти сюда на прошлой неделе. Я уделал Trac как лоха".
Они такие: "Да ладно тебе. Ты не можешь быть настолько хорош". Я начинаю смеяться. Мои друзья тоже начинают угорать, потому что те ребята реально не понимали, с кем они разговаривают.

Итак, мы заходим в дом. Мы должны пройти через дом, чтобы попасть на задний двор. Мы заходим внутрь, они идут прямо перед нами. Они слышат музыку и начинают пританцовывать и делать апроковые движения. И я говорю: "Ну что, давайте начнем прямо сейчас". Тут я вижу парня по имени Эрик, который сидел у себя дома на третьем этаже, потому что у него была сломана рука, и смотрел из окна. Итак, музыка играет, и мой кореш Little Angel уже знает, что сейчас произойдет. Я кивнул ему и показал на этих парней. Соответственно, он понял, что сейчас произойдет. И этот мелкий парень Эрик кричит мне: "Trac, сделай что-нибудь крутое для меня!". Я смотрю вверх в его сторону и говорю: "Хорошо, приятель, не беспокойся". Однако когда я повернулся к тем парням, они просто исчезли. Они как сквозь землю провалились.

Вот с такими вещами нам приходилось иметь дело. Я все время тусовался вместе со Spy и Mongo. Нам приходилось на некоторых джемах прикрывать наши имена куртками, потому что тебе могли бросить вызов где угодно.
Как-то раз я был на джеме, который проходил на 193 улице. Там были некоторые би-бои, которые несли какую-то фигню. Некоторые из них были из Star Child. Мой друг и учитель Buzz переехал в тот район и основал там представительство Star Child.

Итак, я пришел туда вместе с Jimmy D, Spy и Mongo. Мы пришли на задний двор... Это происходило в новом отремонтированном доме. Повторю, что когда мы появлялись в таких районах, нам приходилось скрывать свои имена.
Mongo предложил выйти и поделать немного футворка и просто подурачиться, чтобы привлечь внимание остальных. Тогда нам бы бросили вызов. Mongo вышел и начал делать несложный базовый футворк, который мог повторить любой би-бой среднего уровня. Таким образом, мы заманили местных би-боев в баттл, а у них даже не было представления, кто мы такие. У этих ребят был статус местных знаменитостей, но они никогда не покидали пределы своего района. Мы называли таких парней "дворовыми старожилами". Им хватало того, что среди би-боев в своем дворе они считаются героями. Как раз с такими би-боями нам нравилось устраивать батлы. Итак, Mongo выходил на танцпол, какой-нибудь чувак выходил за ним и тоже начинал танцевать. Он понимает, что его уделывают и зовет своего друга. Тот запрыгивает в круг. Тогда выходит Jimmy D и начинает делать то, что делал Mongo. И так мы ждали, чтобы в баттл втянулись лучшие местные танцоры. Получилось, что мы вчетвером оказались против семерых.

Я решил, что в первом раунде мы специально будем делать всякую лажу, чтобы эти чуваки почувствовали себя уверенно. Во втором раунде мы уже были несколько лучше. В третьем раунде каждый из нас при выходе должен был снять куртку. Итак, наступил третий раунд и заиграл бит-даун. Такая музыка давала нам нужный настрой. Тогда включили песню Джеймса Брауна "Get up, turn it loose". Mongo первым снял куртку. Когда наши соперники увидели, что написано на футболке, в их глазах появился страх. Я и Spy выходили в конце, хотя мы понимали, что Mango и Jimmy D могут вдвоем вынести всю их команду. Затем вышел Jimmy D и снял свою футболку. Он был невысокого роста, поэтому его стиль отличался от остальных. Во время выхода Джимми эти ребята поняли, что он был гораздо круче их. Они начали сомневаться, стоит ли им выходить в круг. Когда Spy начал танцевать, двое ребят из команды просто развернулись и ушли. Итак, из семи парней осталось пятеро, пятеро против четырех. Как только я снял куртку и вышел в круг, те два парня, которые начали весь батл, просто исчезли.

Весь двор ополчился против них: "Зачем вы позволили им сюда прийти? Что за дела?". "Кто они вообще такие? Почему вы им позволяете так с собой поступать?" Но те ребята не произнесли ни слова. Но самое крутое заключалось в том, что мы не только их опозорили... Мы делали это для того, чтобы узнать, на каком уровне находятся наши конкуренты. Благодаря этому мы становились еще более креативными. Если у тебя нет конкуренции, то ты не развиваешься. Это позволяло нам быть агрессивными, но при этом мы оставались дисциплинированными.

Наша цель заключалась не только в том, чтобы опозорить этих ребят на их собственной территории, но и в том, чтобы увести их девчонок. Теперь эти девчонки отдыхают с нами. Теперь они уходят с нами на наше место тусовки. Вот какого рода удовлетворение мы  получали.


На выходных мы прыгали в метро и ездили в Бруклин, на Манхэттен и во все остальные места, про которые говорили, что там есть би-бои, но на самом деле они не были настоящими би-боями. Единственная нормальная команда, которую я видел, особенно в 1978 году, были Floormaster Tops... Ребята были из Восточного Гарлема. Также там были Floorlords. И была еще одна команда, которая оказала большое влияние на Кенни. Я забыл их название. Тем не менее, мы знали только эти три команды, и они находились за пределами Бронкса. В 1979 году начали появляться другие новые команды, особенно на Манхэттене, в Куинс и Ист-Сайде. Я знаю очень мало команд из Бруклина. Я ничего не слышал про би-боинг в Бруклине до середины 80-х.

Когда мне говорят про би-боев в 1978 году, в 1979 году. Извините, но такого не существовало. Это просто безумно, что некоторые ребята или команды присваивают себе крутые названия, а также рассказывают о своей деятельности в те годы, когда их просто не было. Например, Dynasty утверждают, что они были основаны в 1973 году. Как-то странно, что они появились в том же году, что и Zulu Kings. Все знают, что когда речь заходит о рокинге, первой сформировавшейся рокинг командой была Touch of Rock. И она появилась в конце 76-го года или в начале 77-го. Тогда каким образом Dynasty могли появиться в 1973 году? Почему именно в этом году, когда в Бронксе появились первые би-бои? Очень странно, что вы хотите использовать именно этот год. Почему бы вам не использовать 1970 или 1971 год. Используйте ранние стадии би-боинга, а не тот год, когда он был окончательно сформирован. Поэтому у меня возникает этот вопрос: "Почему вы утверждаете, что появились именно в 1973 году?". Например, есть Rocksteady. Rocksteady были продуктом моего поколения. Интересно, как Rocksteady могли появиться в тот же год, что и Star Child. Star Child сформировались в 1977 году. Rocksteady никак не заявляли о себе до конца 79-го или даже до 80-го года. И я говорю про Jojo, Jimmy D, Jimmy Lee, Rubber Band, Ski, Theodor, Брат JoJo Майк... Эти ребята основали Rocksteady. Rocksteady являются детищем Bronx Boys Rocking Crew. Bronx Boys Rocking Crew распались в 1979 году. Члены этой команды сформировали Rocksteady Crew. Изначально они назывались TBB Rocksteady. Они даже не назывались Rocksteady Crew. Они назывались TBB Rocksteady.

Только в 1981 году появилось их представительство на Манхэттене с участием Legs и Кенни. Так появились Rocksteady Crew. А теперь у них в самом названии написано: "Rocksteady, 1977 год". Зачем они так делают? У многих команд есть эта дурная привычка указывать год своего основания. И многие люди, которые не понимают историю, эволюцию и другие аспекты этого танца, позволяют этому происходить. Дело в том, что никто особенно не пытается оспорить это.

Дело в том, что такие вещи говорят люди, которые являются лицом этой культуры. Я люблю Legs. Мне кажется то, что он сделал и продолжает делать, просто феноменальным. Тем не менее, Legs должен признать, что он является продуктом моего поколения. Так и есть. В этом нет никаких сомнений. Я никогда не стану оспаривать то, в каком году, как он говорит, он сам начал танцевать. Но я ставлю под сомнение именно 1977 год, потому что никто из ребят моего поколения не подтверждает этого. Если сказать кому-нибудь из моего поколения, что Legs появился на би-бой сцене в 1977 году, то тебе ответят, что ты рехнулся. Если сказать им, что Rocksteady появились в 1977 году, то они скажут, что ты рехнулся, ведь тогда их еще не было. Просто забавно, что люди присваивают себе определенные года и даже не знают, что сейчас есть такие ребята, как я, Trace, Aby которые выкладывают всю информацию в интернет. Теперь им приходятся отвечать за это. Потом они говорят, что мы просто хейтеры. Мы не хейтим тех, кто сделал из нашей культуры мировой феномен. Нам не нравится, что все считают, что культура ограничивается Nigga Twins с одной стороны и Rocksteady - с другой. Многие ключевые этапы развития этой культуры как формы искусства просто вычеркнуты из истории. Это нас очень сильно расстраивает, потому что современные передовые би-бои не отдают должное, тому что мы делали.


Эго би-боя характеризует его личную эволюцию. Но вы должны помнить, что эго би-боя ограничивается определенной средой. Эти две вещи тесно взаимосвязаны. У меня и у ребят, с которыми я тусуюсь целый день, есть злоба и агрессия. Когда начинает играть музыка и создается определенная среда, мое эго побуждает меня доминировать в данной среде. Но когда музыка замолкает, мы все идем домой и ведем себя как лучшие друзья. Мы обсуждаем, чем нам заняться завтра днем. Агрессия нужна в данном танце. Музыка создает специальную атмосферу, благодаря которой наша креативность выходит на новый уровень. Тем не менее, агрессия должна ограничиваться той средой, в которой мы находимся в конкретный момент.
Это не должно провоцировать агрессию в интернете или за его пределами. Когда такое происходит, эго выходит за пределы дозволенного. Тогда это уже становится политикой. Когда сегодня кто-то говорит, кто является настоящим би-боем или рокером, а кто - нет, то это противоречит истории развития данного танца. Если ты танцуешь топ-рок, то я не говорю тебе, что ты должен танцевать мой стиль топ-рока, я тебе не говорю, что ты должен быть похож на Кенни, Ynot или Mr. Wiggles. Если музыка побуждает тебя танцевать так, как тебе комфортно, то никто не должен осуждать тебя и заставлять тебя танцевать, как кто-то другой.

Ты можешь быть фристайл танцором, как Remind. Многие не принимают Remind таким, каким он является. Они говорят, что он не знает, каким должен быть рокинг. Знаете что, именно поэтому это называется "фристайл-рокинг".
Суть этого заключается в той индивидуальной взаимосвязи, которую человек выстраивает с музыкой. Главное, чтобы контекст танца не менялся, а именно: топ-рок, дропы, футворк. На самом деле, необязательно придерживаться именно такой последовательности. Но данные элементы должны присутствовать в твоем танцевальном репертуаре. Ты можешь сделать свайп в воздухе, дроп, футоворк, а только потом подняться и перейти к топ-року.
При этом концепция танца не нарушается. Однако если ты сделал хэдспин, встал в стойку би-боя и ушел, то, извини, но ты не би-бой.


Бибой может прокачивать только топрок и оставаться бибоем. Потому что этот человек считается уважаемым би-боем в своем сообществе. Давайте рассмотрим Ynot, Aliennes, Ivan, Float, Chino или Brian. Когда они танцуют топ-рок, то это выглядит настолько фанково, что ты ждешь не дождешься, чтобы они перешли к футворку. То есть у них невозможно этого отнять. Ты просто видишь их связь с музыкой и их интерпретацию музыки на танцполе, и у тебя просто захватывает дух.


Я очень рад и благодарен за то, что являюсь частью нашего сообщества. Если бы не данная культура и не сообщество, которое продолжает развиваться, я бы никогда не смог заново пережить свою молодость внутри данной культуры. Продолжайте так же круто работать. Продолжайте ломать двери. Не позволяйте никому диктовать вам, кем вы должны быть и как вам стоит развиваться. Разница между мной и многими современными би-боями заключается в том, что я придерживаюсь именно такой жизненной философии.
Именно поэтому меня еще помнят, именно поэтому я продолжаю делиться этим с сообществом. Я хочу, чтобы все би-бои понимали, что данная культура должна быть больше, чем вы. Вы играете в ней маленькую роль. Даже когда вы достигли больших успехов, вам стоит быть благодарными за то, что вы являетесь частью данной культуры. И вы также должны передать это следующим поколениям.

Для меня это большое счастье. Я не знаю, сколько я могу отдать культуре, которая дала мне столь многое. Это остается с тобой на всю жизнь. Я надеюсь, что другие участники нашей культуры тоже осознают, как сильно им повезло.

Январь 2011, интервью для The Super B-Beat Show


23 oct Oxxximiron против Dizaster
15 октября в Лос Анджелесе прошёл долгожданный Рэп батл между Оксимироном и Дизастером. Для ценителей современного батлового рэпа эта битва стала главным событием года. Ссылка:

15 октября в Лос Анджелесе прошёл долгожданный Рэп батл между Оксимироном и Дизастером. Для ценителей современного батлового рэпа эта битва стала главным событием года. Уникальность этому батлу придает то, что его участники являются одними из лучших если не самыми лучшими представителями батл-рэп сцен своих стран.


02 oct Самый молодой чемпион мира DMC
Конкурс диджеев номер 1 в мире вернулся! Чемпионат DMC World DJ является самым престижным и самым старым в мире. Посетители и участники мирового финала DMC увидели, как сильнейшие ди-джеи со всего мира собрались в Лондоне, чтобы соревноваться за высшую награду. Событие состоялось 1 октября 2017 и включало в себя «Мировые элиминации», «Битву за мировое превосходство» и DMC World DJ Final, а также семинары! Двери были открыты с 3 до 11 часов.

Конкурс диджеев номер 1 в мире вернулся! Чемпионат DMC World DJ является самым престижным и самым старым в мире. Посетители и участники мирового финала DMC увидели, как сильнейшие ди-джеи со всего мира собрались в Лондоне, чтобы соревноваться за высшую награду. Событие состоялось 1 октября 2017 и включало в себя «Мировые элиминации», «Битву за мировое превосходство» и DMC World DJ Final, а также семинары! Двери были открыты с 3 до 11 часов.

Победителем мирового финала DMC в этом году стал 12-летний диджеей из Японии  DJ RENA. Он стал самым молодым чемпионом мира DMC. DJ Yukichi также из Японии  победил в битве за мировое превосходство (The Battle For World Supremacy).

Гостем DMC стала проложившая путь многим сегодняшним британским хип-хоп-звездам, рэп-группа Лондон-Поссе. Их выступление стало продолжением 30-летних юбилейных торжеств. Лондон-Поссе впервые воссоединились после раскола в 1996 году. Сформировавшись в 1986 году, London Posse - в составе Bionic, DJ Biznizz, Sipho и Rodney P - резко изменили лицо британского хип-хопа, отчётливо представив британское преимущество в жанре, где доминируют американцы. Говоря о состоянии британского хип-хопа в то время, Родни Пи сказал: «Не было рэп-сцены. Была сцена хип-хопа. Это было больше о других элементах, о хип-хопе и стиле жизни ».

Помимо героев хип-хопа, некоторые из лучших гитаристов Великобритании и выпускники DMC отдали дань лондонскому ди-джею Бену Смиту, известному как DJ Daredevil, который трагически скончался после битвы с раком в начале года. Почтить память о Дардевиле на сцену поднялись его брат Матман, Prime Cuts из Scratch Perverts, чемпион мира DMC в 1989 году Катмастер Свифт, 4-кратный чемпион DMC Mr. Switch, DJ Blakey, который гастролировал с Nas, Jay Z и Jurassic 5, DJ Muzzell, чемпион мира по версии Supremacy Ritchie Ruftone и DJ Woody, который вернулся после потрясающего концерта в 2016 году.

На мировой финал DMC в Лондоне собрались лучшие ди-джеи со всего мира, чтобы посоревноваться за высшие награды и грандиозные титулы. Пройдя отборы в своих странах, они получили возможность участвовать в мировом финале и сражаться за титул чемпиона мира.

На конкурсе 2017 года диджеи бились за два титула: DMC World Champion и DMC Battle Champion.

В этом году DMC отмечал 33 года. DMC прошел долгий путь с 1985 года и укрепил свое место в основе культуры диджеев. Сначала победил молодой лондонец Роджер Джонсон, с тех пор победителями становились многие сильнейшие мировые диджеи, такие как 15-летний A-Track, Q-Bert, Mixmaster Mike, DJ Craze, Cutmaster Swift, Roc Raida и DJ Noize. На протяжении многих лет в этом мероприятии принимали участие некоторые значимые артисты, от Run DMC и Джанет Джексон до Джеймса Брауна и Public Enemy.

Ранее DMC проходил в таких местах, как Wembley Arena, Академия Brixton, Королевский Альберт-Холл и Millennium Dome. Теперь не менее престижное место, пропитанное историей, KOKO Camden было удостоено этой привилегии. В KOKO проходили некоторые из самых легендарных концертов в памяти Лондона, от The Rolling Stones и Prince до Эми Уайнхаус и Kanye West. Более высокий стандарт художественной формы не найти ни под одной другой крышей.

Следите за обновлением информации на официальной странце Facebook DMC:

29 sep Dj 108 and Sadman about V1 Battle

Interview with judges at V1 Battle 2016: DJ 108 and Sadman (Nevsky Beat) on the results of the battle. 

  • Interview with judges at V1 Battle 2016: DJ 108 and Sadman (Nevsky Beat) on the results of the battle. 

    DJ 108 

    1) They say you are a photographer now. How come you are judging V1 battle? 

    I started doing professional photography back in my school years. So it is just that my old skills have resurfaced and now I have a parallel hobby. The two aren't mutually exclusive, all the more so art in its pure for has no limits. If you have the desire you can do whatever you want, you can bake pies for that matter. Moreover, there are multiple cases in history when music and visual art was combined very closely in people. 
    If somebody still remembers, a long time ago I was not only a DJ but also an MC, so my presence at various battles as a judge makes perfect sense. 

    2) Is it just to compare V1 Battle with Rap Music Festival? 

    V1 and Rap Music are quite similar in certain ways. The purpose is the same, but the formats, event styles and the dynamic are a bit different. In my opinion, V1 is somewhat more dynamic and more fun. Just take the freestyle alone. So much drive and so many punches! And of course the organizational level is very high. Respect to Top 9 guys! I haven't seen this level of organization at one festival for a long time! 

    3) That said, which one is more closer to your heart, rap or DJing? 
    It's hard to say what is closer. Doing production is the closest to my heart. I'm a studio man, however DJing is enthralling and I like to rap to my product. So I won't say for sure. 

    4) Did you hear much good quality production from the rap contestants at V1? 

    In terms of music there was good production at V1. I can't remember all of them now... well, for example, Ash. He had a nice instrumental sound! Very groovy! Of course, there was a lot of sad old school, but this is a matter of taste. Some rappers don't care much about the 90's music. They compiled a couple of sad samples to a beat and that's it! There's no groove! One needs to have more ideas! You got to work harder on production, so the music would touch your nerve and not make you go tripping. 

    Sad (Nevsky Beat) 

    1) What does being a battle judge means to you? 

    For me, first and foremost, it is experience. To determine, to see one of several talented MCs. It's quite hard, because someone's technique is better, someone plays interesting and meaningful music. It's very important for me to see the emotions of people who experience this moment of life together with the contestants, thus becoming the participants in the contest themselves. Hip-hop battle is a unified energy of all the people present, people engage in what's happening mentally and emotionally, they feel with contestants and compete together with the ones they root for. It is a very exciting thing to see. So, for me being in the judging panel, especially in the battle of this level, means being in the centre of the competition which promotes the idea of love and peace, self expression through words. It means to be in the heart of hip-hop and to beat along with it in the same rhythm. 

    2) Has Russian rap moved to a new level? 
    Russian rap is going through hard times. I mean that with all these new rap subgenres there are more and more new artists coming up and they consider rap to be something that is "cool". Like rapper is some cool guy who merks everybody who has money, girls, cars. He's saying like, "You are all losers and I'm the coolest, and there's nobody cooler than me, so suck a d*ck and f*ck all of you, because you are not good enough to even stand on the same ground with me, because I'm unbelievably cool and I smoke the dopest shit". And when they see it like that these guys look past the fact, that... I mean most of them don't even know, that rap - is a part of the Hip-Hop culture which includes: work with microphone and rhythm, artistic part (graffiti), body control (breakdance) and musical part (DJing) as well as such element as beat-box. It all came out from the slums, from poverty. It's not just a culture, it's a philosophy. It has great history which needs to be studied
  • if you are or want to be a part of this. Not everybody remembers that it is a long way that has been covered so that the whole world would show respect for this culture. Without a doubt, Russian rap has pushed onto a new level in terms of coverage, but it is becoming something else for ordinary people, who see only the glamorous aspect of what's going on. In all this glamour, undoubtedly, there are a couple of respectable names, but there is too few of them. Talents stay underground, but I think there's a revolution coming and rap will be their music. And the experimental music with the elements of hip-hop would be what is described as mainstream and people will call everything for what it really is, because in the golden era of hip-hop and rap it was exactly like that. Respect to those who started this movement and peace to the whole hip-hop nation! Honor the roots and aspire to be original, this is worth the respect, promote Russian rap. Peace. 

    3) Was it easy to work with Khamil and 108 in the same team? 

    It was very interesting to work with them. While judging we agreed on certain issues without saying a word. We had almost the same preferences in terms of contestants selection. Everything was heartful and welcoming. These guys are professionals and everything went well. 

    4) Was it hard to judge at this V1 Battle? 

    It wasn't hard to judge, it was exciting. The contestants were very diverse, someone showed a higher technique level, someone played with meaning a little better, closer to the end things were getting even more interesting. Towards the end of the battle the intensity of emotions was at its peak. Without a doubt, the winner deserved the victory. All of the finalists showed a great level. Also there are couple of contestants who didn't manage to get to the finals were quite impressive and respectworthy. When all was over and me and Khamil had to go out, my head was boiling with rhymes, techniques, and style. It was exciting to judge this battle but we got a bit tired, not to mention the contestants, but it was a satisfying exhaustion. Everything was very soulful and I want to say thank you once again to all contestants, promoters and those contributing to this event. Thank you. Peace. 


19 sep Hip-Hop Evolution Documentary

Hip-Hop Evolution is a four-part Canadian music documentary series, which aired on HBO Canada in 2016.

Hosted by Canadian rapper and broadcaster Shad, the series profiles the history of hip-hop music through interviews with many of the genre's leading cultural figures.

The series was screened at the 2016 Hot Docs Canadian International Documentary Festival[2] before being picked up for broadcast by HBO. In December 2016, it was added to Netflix for international distribution

Hip-Hop Evolution features in-depth, personal interviews with the progenitors of DJing, rapping, and production, culminating in what is now taken to be Hip hop music and rap, adding to the existing understanding of hip-hip's earliest decades. Such original artists, producers, DJs, and promoters include DJ Kool Herc, Coke La Rock, Grandmaster Flash and The Furious Five, Fab Five Freddy, Marley Marl, Afrika Bambaataa, Kool Moe Dee, Kurtis Blow, Doug E. Fresh, Whodini, Warp 9, DJ Hollywood, Spoonie Gee, The Sugarhill Gang, and Russell Simmons.

The first episode documents the history of the inceptive hip-hop party at 1520 Sedgewick Ave in The Bronx where DJ Kool Herc, who thus emerged as a godfather of the tradition, DJed his sister's birthday party.

The series went on to feature some of the most influential artists of the genre, without whom its current form would not exist, such as Public Enemy, Beastie Boys, N.W.A, Ice-T, Rakim, Big Daddy Kane and LL Cool J, as well as documenting Schooly D, from Philadelphia, as the influence for Gangster Rap on the West Coast, as told by the words of Ice T. It limits it telling of the history at that point, as it documents that was the turning point in which Hip Hop had turned from an underground movement within music to a mainstream genre, that ripples its influence throughout contemporary culture.

The series garnered three Canadian Screen Award nominations at the 5th Canadian Screen Awards in 2017, for Best Biography or Arts Documentary Program or Series, Best Editing in a Documentary Program or Series (Steve Taylor and Mark Staunton) and Best Direction in a Documentary or Factual Series (Darby Wheeler). It won the awards for Best Biography or Arts Documentary and Best Editing.


10 sep "How We Create B-boying" by B-boy Batch
My story regarding The Bronx Boys always remains the same. I tell the same thing now as I told it twenty years ago.

My story regarding The Bronx Boys always remains the same. I tell the same thing now as I told it twenty years ago.

The Bronx Boys was a graffiti crew and we also danced Uprock. One time when my little bro TT Rock danced he went around and then turned 360 degrees in the air around his axis and losing his balance fell on the floor. It was like gravitation was discovered thanks to the falling apple. It is almost impossible to believe. When TT Rock fell we started falling after him imitating this motion.
The first thing you do when you fall is try doing some moves to save yourself from the fall. When he fell we thought he had done it on purpose but it wasn't so. He did a certain move so he wouldn't hurt himself and that was breathtaking. Joking and laughing at little TT we started falling on the floor and began doing some crazy things which we didn't even know what they were, but it caught everybody's attention. All of us were attracted by the fact that this something could be further developed. When I tell this story people ask me: "Where did you get it from?". But this is how it was, just like in the story with an apple and gravitation.
There are a lot of unbelievable thing happening in life and I'm trying to explain it to people but most of them are just not ready to understand it because now it has grown in something global. I couldn't even imagine that it would lead to anything after all The Bronx Boys were just wild dancing youngsters with guns doing crazy stuff. And it is amazing how it all transformed into something so beautiful and positive. After this particular fall we renamed "The Bronx Boys Graffiti Crew" into "The Bronx Boys Rocking Crew" because now we experimented with all these crazy moves, trying to understand how people can make some sort of dance out of this. As strange as it was by 1976 it began spreading all over Bronx. At that time many crews started to pop up. It wasn't "Break Dance", no, it was called "Rock". Why? Because this dance came out from "Uprock" which was popular at that time: we danced it against one another, used it in cyphers, pretending to be shooting a shotgun. It was almost like a fight without violence.
If you ask me about the history of Uprock or Toprock, I wouldn't give you much information. We have people my senior, they can tell how it all developed. I'm just telling the story of the Bronx Boys Rocking Crew. When crews started to appear, they weren't called "Breaking" or "Break Dancing". Every t-shirt said "Rock", Starchild La Rock - one of the first crews. Actually this is the second b-boy crew, I don't know whether Trac 2 realizes it or not. I never heard anything about Salsoul, don't know where they came from like I always said, but I respect all the brothers. I'm not going to monopolize this culture because it is neither about me nor about the Bronx Boys Rocking Crew.
If anything, all the credit should go to the founders of Hip-Hop culture, Afrika Bambaataa and Kool Herc. Both of them are the founding fathers. But I'm not hiding anything, just telling our story about the Bronx Boys Rocking Crew. We smoked weed, did crazy stuff, went to jail. This is what was happening in Bronx back then: burned down buildings, poverty and widespread degradation. Most of my friends left this world or ended up in jail - and it all has transformed into something so amazingly beautiful. Some people praise me, they want to make me a king, but all respect goes to you, the new generation. You took it and turned it into something complete which helps the society through community centers and so on. I want to say "Thank you for this".
Afrika Bambaataa and Zulu Nation are the ones who fascinated me and had the most influence on me, since they were even before the TBB. Back then I used to go to Zulu jams organized by the Zulu Nation, a massive organization of people. There we danced Freak and some other stuff. It was 1973, the time when cuts and mixing were being only introduced
to DJing, the time when Afrika Bambaataa and DJ Kool Herc gave birth to this culture. We became the ones who supported the foundation of the culture, we came to jams and rocked. It was Afrika Bambaata thanks to whom I and the TBB came into picture. He fascinated me by the scale of his movement and by the fact that he had the name of the founding father. He turned Black Spades into Zulu Nation. He got tired of the shit, excuse my vulgar language, he got tired of all the negativity. He had a purpose, he did it for the community, for the people. To a certain extent I was trying to do the same, but I wasn't so organized as this brother since he was much older than me and had much more experience. We were just little kids, we smoked, danced and looked for someone to con. I just want to give people the idea of how it really is, so that everyone would know that this culture which started with bad intentions has turned into a phenomenal positive energy.
It makes me sad that Afrika Bambaataa has forgotten one story which is important to me and which I remember perfectly. It was a historic moment for me and I mentioned it in my commentary several times. It was a meeting with a person who was a big inspiration to me. In 1977 Afrika Bambaataa invited me for a talk in Webster Projects. I arrived together with my people, I was pointed towards Afrika Bambaataa and I came over to him and asked, "Excuse me, are you Afrika Bambaataa?". "Yeah, what do you want", he asked in return. He just saw us as kids, since he was much older. I said that he invited us to talk. "Wait a minute. Who are you?", Bambaataa asked. I answered, "I am Batch, president of the TBB Rocking Crew". Bambaataa started laughing and said pointing at my guys, "Is this your crew?". I said, "Yeah, you called for us". Then he stood up and said, "Listen, do you think it's possible that your crew and my people can unite for the survival and safety of the kids in the streets?". I froze and just kept staring at him, because I had seen him before but never met in person. I looked at my two vice-presidents and said, "No problem, what do you want me to do?". "Just let your people know that from the moment of this meeting we are together", answered Bambaataa.
I just want to show my utmost respect not only to TBB, not only to Zulu Nation and not only to all those crews who make so many positive things for the world. I want to show my utmost respect on a global scale to everyone who is involved in this amazing culture, to those who are involved and help the community trough this dance art form called "Rocking". Each one of you can do something different for the community. I want people to change the minds of young guys for the better through this culture, wherever they go, help one another, live with each other, live in diversity, peace, love, unity and respect. Not one of us is perfect, even gods are not perfect, even mighty Lord Jesus Christ gave in to temptation once.
Because of my lifestyle I can relate practically to everything. I know what it's like to live behind bars, I know what it's like to lose dear friends, I know what it's like to be beaten up by the police because police brutality was crazy back in those days. I'm not justifying this, all of it was wrong. All I want to say is that we can do something different, conscious and positive in relation to everything around us in a beautiful way.

TBB is very important because it contains a powerful energy. But if it wasn't for Aby TBB would not survive. The same goes for Crazy Legs. I love Crazy Legs because if he didn't bring this culture back in the 80's, then TBB wouldn't probably be existent now. He was the one who gave life to it.

I just want people all over the world to know the most important thing: the name of this dance is not "Break Dance", it is called "Rocking". Learn your history, I have already given dozens of comments on this subject. I put all of my energy so that the world would know what
this dance is all about. Some people get confused when they find out that Rock Steady Crew is one of the most prominent crews which came out from TBB. Rock Steady Crew is the most popular, even more popular than TBB, since Crazy Legs protected for so long.

I will always tell only the truth. If there is anyone who can tell me about the birth of this dance, please let's sit together and you will tell me about the foundation of this dance. I'm saying this in a very respectable way. But if you have another story about the way this dance appeared, I would really like to know it.
Peace and love.


04 sep The Genius B-boy Ivan
Me and Ivan are very close friends. We used to go to the clubs where bboys hung out, music was being played and no one paid attention to us. Ivan said that in this atmosphere he feels himself at ease.

Me and Ivan are very close friends. We used to go to the clubs where bboys hung out, music was being played and no one paid attention to us. Ivan said that in this atmosphere he feels himself at ease.

 In my opinion, which I shared with him before, Ivan is so brilliant in his personality and in the way he understands music, so much higher above everyone else, that he is just lonely at his level. His level is so high, that I think he cannot even have a relationship with people so he has to sink to the level of others to communicate. That is why sometimes he is considered crazy, when in reality he is very, very smart. I thinks it's a pity that I know what he is capable of but he never shows it. For example, everybody knows how good Ynot is at Toprock, but I think that Ivan is better. Not that their levels are about the same, but Ivan is much better. I have many videos where you can see that, but it's better to see it live. He doesn't like it when people film him dancing. It is weird because most of us want to be on camera. We want respect, acknowledgment whereas he doesn't worry about it at all. He doesn't mind if you think that all that he does is just acrobatics.

The first time Ivan and Kmel battled, Ivan had not danced for about six months. When Kmel called him out Ivan wasn't in a good shape.
One time Ivan met one of my friends who was a churchgoer. He invited him to church and they went. I don't know what happened there but they started to believe that Hip-Hop is a sin. This friend, who was a graffiti artist, said that he wouldn't write anymore, because God doesn't want us to be involved in Hip-Hop, since it is a very egoistic activity. After Ivan went to church he also started to believe it. This was in 1998 right before Bboy Summit which took place in February of 1999. Ivan sold everything, all of his b-boy clothes... The turntables he sold to me. He dropped everything related to Hip-Hop. He went to church and stopped his Hip-Hop training. Just before Bboy Summit he began to come back and dance a little bit. In my opinion it was an unfair battle, because it would be the same if he had called out Ivan when he was sick. But Kmel didn't know this, so it's not his fault. I think that Kmel could not smoke Ivan in any way, because I know what Ivan is capable of.

I don't know why, but Ivan didn't show himself off. A few months before the battle he was in Los Angeles. I saw and I know that he could still do everything he had done before. Back then he was teaching workshops and he just blew my mind. I think he realized that he had to do a show.

Speaking of changing clothes during the battle I think that Kmel has a certain character for that. He is “brat”, “boogie brat”. In my opinion, in terms of strategy Kmel won because he dictated the rules. Battle is a psychological thing. Ivan should have done something which would make Kmel feel stupid. Strategy and psychology are very important in the battle. Ivan understands that but he is so advanced that all these things are just toys to him. He doesn't want to play with them, he doesn't care whether people understand it or not.

We all talk about music. Of course, we all love music, but Ivan's love to music is just at another level. One time before another of his tours he came to my home to compile a mix for his performance. He had a box of CDs, he also could utilize all my vinyl, he could use turntables, CD turntables (it was before Serato). In order to make a 10-minute mix he closed himself in my room for a whole day. He worked with music in such a way as if he has a real connection with it. He definitely has a really close connection with music. Kmel is great, but what he did in the battle was just a trick. Ivan didn't want to waste time on this, he didn't care about it.

If you were to watch Ivan's old videos, you would see that he is so high above everybody else that when he comes out nobody reacts since nobody understood him. Toprock and dancetivity weren't in style back then. I think it is Ynot who made Toprock popular. It is strange that so many people talk about musicality but they themselves don't understand it. They are just repeating after somebody else.

Ivan is my most powerful inspiration, first of all because he really does it for himself. Sometimes it makes me sad, since I want to see him show his full potential against someone like Kmel.

If you watch Ivan's DVD and see the way it's done, you would realize that there is history in it. It contains his powermoves, his tricks, acrobatics and in the end credits there are clips where he really rocks. There he shows the truth. He said that in the beginning of the DVD you get something you already know whereas in the end of the DVD he shows you something you need to know. He produced this DVD himself and the way it is done is already genius.
He learned to dance from his brothers. Ivan grew up in the atmosphere of party rocking. He said that before he found out about Breaking there was party rocking. That's why he dances everything: popping, locking... His main inspiration are his brothers since he is the youngest of them.

24 aug Ken Swift About Big Corporations and Respect in Bboying

I think that breaking will evolve but more within the framework of sports. They already want it to be a sport. Remember my words. I said it five years ago and I tell it in my every class - breaking is not a sport, it is a dance.

I think that breaking will evolve but more within the framework of sports. They already want it to be a sport. Remember my words. I said it five years ago and I tell it in my every class - breaking is not a sport, it is a dance.

Breaking requires music, in sports music is unessential, athletes don't dance to rhythm of the music. We have founded a culture built on music, this is an art form which brings everybody together. So how can you take a dance, an art form, and call it sport?! This is not a sport. But most corporations need a market, they look for potential clientele. The age between 8 and 30 is a huge age gap. Just think about it. Sometimes up to 40 years! This is unique. A regular dancing period takes from 6 to 20 years and that's it. The career of the most ballet and other dancers is very short, whereas breaking is so fresh and raw that b-boys keep dancing until the age of 50 and even longer. It might not make sense but this is the way it is. So these corporations just do their thing, they take these opportunities. One thing when these are kids of the age from 8 to 15, they don't have much money, their parents buy them everything. But in our case we have parents with their children as well as adults. This is a very big gap. So this is just a market. The corporations sell their damn t-shirts, drinks, phones. They all want a piece of this market. They don't think about nurturing this culture or giving the kids an understanding of this culture. They only think about the ways to sell the phones to the kids, the ways to foist the Nikes: "Let's make them think about our products". 

This is simply business. Я understand it, I'm not angry with them. But I just want everybody from our community to realize it. Most people don't even care about it. Everyone thanks Silverback. But for what? It's them who should be thanking us. We are the ones who help them do things. They are nothing without us. Every billionaire is nothing without a talent. We don't need them, we have been doing it all this time without anybody. I just want the dancers and people in Hip-Hop to be aware of this. I'm not saying: "Don't take money from these corporations!" If you won 20 000$, great, take it, buy yourself a house. I'm not saying: "Don't work with them". I'm just saying: "Understand they way this machine works". In this culture we take care of each other, but the corporations don't care about us. This is not their job. Their job is to sell the product. Ten years ago I was pissed-off but now I understand everything. Okay, you want to sell Red Bull? Go ahead, sell it! 

Our community needs not only to be talented but smart as well. We need to see what's going on and stop blindly going on a leash of corporations. They know what I'm talking about. The know that I know. I'm older. I faced all of this back in the 80's. I'm the one who has burned himself on this and I understand that other will burn themselves as well. When you burn yourself you learn. I see this situation, but when I tell about this to our community they think I'm just an old man who is angry with the whole world. Yes, I'm an older person who doesn't want you young people to make mistakes. This is why I can't be heard. Yet I try to tell this to the people every chance I get. Sometimes in my classes I say that we need each other, there is no need to think, that if we don't have these rich people then we won't have Hip-Hop. We will have Hip-Hop. It has been with us all this time, out of nothing. We started out of nothing and kept it going. However, they don't support us, they are interested only in money. That's why they want to be part of us. If you want to help us moneywise pay for the sound, thanks. Don't tell us to wear some shirt and play some produced music instead of vinyl or that the judges have to be the winners of the previous contest. Little by little this rules change everything. If we don't speak up we are going to lose our culture. 

Gradually they take little details at every event. Silverback takes place in a non-Hip-Hop venue, this is not Hip-Hop environment, this is the environment of computer technology, Uber etc. There is no graffiti, there is no art and culture. Yet everybody
is happy. Girls in bikini come out, Oh, nice tits! I can understand this, but the fact that girls in bikini come out between battles may not appeal to the most of the women at the jam. This is goddamn disrespectful! There are also lots of gay people who are going to be upset that gays don't come out instead of this girls. There is a gay community out there in the world, this is a fact, we can't deny it. Gay people live on our planet and they are everywhere. So the fact that they display half-naked women means something. This is not a good message for the young generation. Just imagine kids watching a battle and afterwards seeing big boobs. Women come out to shake their fat asses and big boobs - what is the message behind it? But if one girl were to say that she doesn't like how they exploit a woman's body at the event, the whole community will call her a hater who doesn't want to help. This way she would understand that it's better not to voice your opinion. Renegade, Cross, everybody simply attacks you. "Why don't you just support it? Why are you hating all the time?" No, you are not hating, you are just expressing your opinion. This is how they try to make you afraid. If you speak up you will be attacked. This is not only the problem of Hip-Hop history but of the life itself. The people who usually tell the truth get attacked and silenced by others. They need silence. This is what happens in our community. Only recently I saw how some girl expressed her ideas about Silverback saying that it had certain flaws. And these people replied: "Screw all haters, people can't appreciate the help which is given to us". This makes me feel disappointed inside. In the next few years we are going to see further changes. 

I like it when people sit down and think: "Can we do something that is interesting, thrilling, artistic?" - this is our community. "What can we do in a new way, what new contest can we organize, what dancer can we invite?" - this is Hip-Hop. When good ideas come true the dancers come with their families and kids - this is the community. 

The main reason why I judged at Silverbak was that I was paid for the flight to the East Coast so I could see my son. They offered very little money for my judging, this wasn't my price. But we have a saying "Cutting off the nose to spite the face", which means I wouldn't act like I deserved something since they offered me a chance to see my son. I wanted to see my son. The plane ticket was the only reason why I agreed to be a judge at Silverback. I don't lie their business model. My manager asked them for my contract but they didn't want to acknowledge me as a professional. Under the contract they would have to pay me as a consultant who would advise what is what every month of the quarter which means three cheques a year. Hire me as a professional, don't ask me on the phone how you should deal with your problems. Yet they couldn't even clearly explain what it was they wanted from me. All they want to do is to mess with your head, like they did to Lino, Cross, Speedy Legs and other promoters in the country, so we would agree to answer their questions for a plane ticket and a small fee. I have been doing this for almost forty years and I'm not going to just sit down and tell you what and how you should do. You need to pay if you want my advice. This is consulting. So my manager told me not to get involved but I decided against "cutting of my nose" and agreed to a small fee and asked to book me a return flight a week later. This way I would spend the week with my son and then come back. I just wanted to see my son and I saved some money on the plane ticket. You can trust me this is the only reason I did that twice. Last year I said that I didn't like Silverback and they didn't invite me this year. 

The same goes for Red Bull BC One. After that incident involving bottles I told my manager that if Red Bull people contact me again he should tell them that I want 20 000 for the judging. The incident took place in Paris when Lilou threw a hat at his opponent and then cocked the judges and his friends started throwing the water bottles at us. The security didn't do anything about this. Red Bull didn't punish Lilou for such disrespectful behavior. I was one of those people who brought Hip-Hop in this country in 1981. Is this acceptable to act so disrespectfully? It is the same thing as saying «fuck you» to your own granddad. Nobody punished him, nobody told him that he was wrong, that he couldn't do such things. He just walked away and when the contest was over I immediately went upstairs, took a knife and put it in my pocket. This French pricks could simply jump on you anytime. They were angry with the judges because Lilou had lost. I didn't feel safe that's why I took the knife. I didn't have anybody with me back there even some sort of security. If one of those freaks came up to me I would have stabbed him. We judges walked there by ourselves, there wasn't anybody who would have walked us out. We got up from our chairs and found ourselves alone in this huge crowd. I felt the danger and I didn't like it at all. I never had this feeling before as a judge. I always feel love from my community. But over there I felt that I was in danger. I found my buddy from New-York and we left the place.
After this nobody from Red Bull contacted me and nobody did anything about what had happened. He cocked while being on the air. Millions of people saw a b-boy flipping off a pioneer or pioneers. This is not acceptable in the Hip-Hop culture, but nobody stopped it. So I am ready to work with them, but they will have to pay me 20 000. I know that they won't pay me this kind of money. If Thomas calls my manager will just tell him this sum and that's it. I don't really care and I'm not going to get involved in this. I wasn't concerned with Lilou but with the company. The responsibility of the company is your protection. Yet we were in danger. When those people threw bottles at us they should have been escorted out of the venue. They were really close. Around twenty bottles were thrown at the judges. If one of these bottles got in my face I would have sued this goddamn Red Bull company and become rich. The Security people let it slide: "All is fine, don't worry about it". In Hip-Hop culture we have to have respect for seniors. We need to show respect the same way we show respect to our fathers and grandfathers. Even if your granddad is a prick you have to show respect. There are different levels of respect. If I am your granddad and my opinion is stupid I am still your granddad, the father of your mother. So you have to show respect. This is what I'm talking about, these corporations have no rules. They do not accept the laws of our community. The law of my community says: "Dude, I understand that you are upset but you need to take it easy, you can't disrespect the people who help this community grow. Please, understand this". When I was growing up and encountered problems with people, seniors like Fable always took care of it: "You can't act like that, bro. Don't do it again. It is unacceptable in our culture. You will have to apologize". But now there is no order.

16 aug Bboy News at YouTube
The new YouTube channel Bboy News has been increasingly gaining in popularity. The channel has been started under the initiative of famous bboys from California Casper and Smurf. The first video was posted in the spring of 2017 and since then three or four videos have been uploaded each month.

The new YouTube channel Bboy News has been increasingly gaining in popularity. The channel has been started under the initiative of famous bboys from California Casper and Smurf. The first video was posted in the spring of 2017 and since then three or four videos have been uploaded each month. 

Bboy News could be regarded as a comedy show where bboy Smurf characteristically makes fun of amusing moments which has recently taken place in the world breaking scene as well as talks about bboy news and takes interviews. Smurf is assisted by his old friend Casper. Kid David is also a frequent guest on this show. 
The show is still fresh and it has not yet stood the test of time, but it has already proven to be a respected alternative to similar popularized channels. In truth Bboy News is a unique project of its kind. It is oriented towards the underground segment of the global breaking community and gives a mature take on the objective processes within the modern breaking scene. 

Link to YouTube channel Bboy News:

14 aug Hip Hop is 44



14 aug Hip Hop is 44
On August 11, 1973 in South Bronx, New-York a party took place which is considered to be the first Hip-Hop jam in History. The venue, recreation room of an apartment building at 1520 Sedgwick Avenue , is now regarded as the birthplace of Hip-Hop and the person who organized the party - the godfather of this culture.
  • On August 11, 1973 in South Bronx, New-York a party took place which is considered to be the first Hip-Hop jam in History. The venue, recreation room of an apartment building at 1520 Sedgwick Avenue , is now regarded as the birthplace of Hip-Hop and the person who organized the party - the godfather of this culture. 

  • Well-known DJ Kool Herc was a Jamaican immigrant who settled with his family in South Bronx in early 70's. He became famous for being the first person to mix popular music among Afro and Latino communities in such a way that the most noticeable and energetic parts were played whereas less energetic moments simply got cut out. On top of that, he put certain parts, such as breaks, on repeat by putting the needles from the end to the beginning. He called this trick "Merry Go Round". Back then such style was an absolute revolution and it became the origin of a new musical genre. 

  • Kool Herc is also one of the first MCs in Hip-Hop. In his sets he used the mic and encouraged the audience to raise their voices by making jokes and fooling around. It was especially well-timed when he put the needle from the end of the vinyl to the beginning. 

  • Kool Herc's parties were gaining in popularity and proved to be the coolest jams in Bronx. As a result there was not enough room in the recreation room, so Herc started throwing jams in the street. It started bringing together the Latino and Afro-American communities which were not exactly on friendly terms at that time. 

  • DJ is the person who lays the foundation for everything in Hip-Hop. Music has always been the main inspiring force of any youth subculture. When music changes the dance changes with it. This was the case with Herc. His mixes of break parts, i.e. song portions where the vocals and all the instruments except for the drums and possibly bass are silent, laid the ground for the birth of a new dance. The break means "pause", i.e. the moment of the song without the actual song. In pop music the break is an instrumental or a percussion section with a song. Such a break is usually placed within the sections of the song to provide the feeling of anticipation and signal the beginning of a new section or create diversity in the song structure. In that way the thing which was considered the most unimportant part of the music was used by the founding fathers of Hip-Hop as the primary source for creation of a whole new genre in music. 

  • The "Merry Go Round" style of playing or as it later was called Break-Beat was defined by growing vitality and called for a separate dance. In the most energetic moments of the song the moves of the dancers become more energetic as well. Almost in every dance, especially in the community kinds of dance, there is a moment of the explosion of energy when the dancer goes down, gets on his hands and starts doing acrobatic tricks. Usually this moments do not take long since they demand certain level of sportsmanship and they are limited by the music. But now the music part is longer, so the energy explosion moment becomes longer as well. When Herc played his breaks on repeat on the dance floor the cyphers were formed by b-boys (break boys) who were waiting for this exact moment. Thus a new dance movement started its development. 

  • The term b-boy (break-boy) was introduced by Kool Herc himself and it means a guy who is doing something out of the ordinary. This is the way this new dance could be described - out of the ordinary. 

    Therefore at Kool Herc's parties the groundwork was laid for the future Hip-Hop culture, and the starting point of all this was that first party on August 11, 1973. It was the root, the origin but it is still not entirely valid to regard this date as the birthday of Hip-Hop. At that time such trends could be seen all over Bronx as well as beyond it. People threw parties, experimented with vinyl, made rhymes in the mic - such trends could be noticed anywhere , they were flowing in the air as well as in people's

  • minds. However, Kool Herc's parties were the most crowded and revolutionary but it still was not called Hip-Hop. It did not even look like a new subculture, it was just a discotheque. The people who spent time there could not even imagine that someday this would evolve into something this massive and colossal. 

    More defining features, cultural form and organized nature of this movement were introduced by the organization called "Zulu Nation" headed by another godfather of Hip-Hop Afrika Bambaataa. Their goal was to bring together the communities of South Bronx and other poor districts of New-York which were divided by crime and drug addiction. They tried to redirect the energy of the young generation from the negative to the positive and transform their urge to destroy into the urge to create. The Zulu organization attempted to form a general trend of development of this organized subculture using the most popular trends of the time, namely DJing, MCing, B-boying and Graffiti. In truth, Zulu Nation was massive and mature enough in comparison with other youth cultures. Zulu had a plan and resources. Their jams became the most crowded and their motto was "Peace, unity, love and having fun". They called the new movement "Hip-Hop" and propagated it through four active elements - DJing, MCing, B-boying and Graffiti. 

  • November 12, 1973 is considered to be the day of Zulu Nation formation and November 12, 1974 - the day of formation of Hip-Hop culture as an organized movement.

03 aug Топ 10 Хип-хоп книг, о которых не все знают


Many argue that the written word is the fifth element of hip-hop, and if that rings true, then any solid documentation about the culture qualifies as a contribution to the elements. To help bulk up your hip-hop library. Check the selections and stack them on your bookshelf or e-reader.

‘Can’t Stop Won’t Stop: A History of the Hip-Hop Generation,’ Jeff Chang, DJ Kool Herc

This 2005 book is a no-brainer for any hip-hop bookworm. Jeff Chang traces hip-hop’s earliest roots and documents the progression of the culture through its many changes. The photos are equally informative and the book reads like a literary timeline. Then there’s the intro by DJ Kool Herc, which lays a solid foundation. It’s the size of a textbook, with just about as much information as one.

‘Hip Hop America,’ Nelson George

Author Nelson George’s book ‘The Death of Rhythm and Blues’ shed light on the musical shift that was happening with R&B. In ‘Hip Hop America,’ published in 1998, he approaches hip-hop in a similar fashion but with greater focus on rap’s cultural impact. While some of the discussions in the book — particularly on women in hip-hop — are slightly dated, the historical info and George’s anecdotes are worth the read.

‘How to Draw Hip Hop,’ Damion Scott, kris ex

When comic artist Damion Scott and hip-hop literati kris ex approached the concept of visually encompassing hip-hop, it didn’t stop at graffiti. Scott’s flair for animation and kris ex’s instructions make this a how-to book for anyone curious about entering the graphic side of hip-hop. There’s graffiti, anime and comic book elements in this 144-page 2006 manual. Get your sketchbook ready.

‘Hip Hoptionary TM: The Dictionary of Hip Hop Terminology,’ Alonzo Westbrook

Tools like offer some insight into the vernacular of many subcultures. However, 2002’s ‘Hip Hoptionary’ is a book of terms that pertain specifically to hip-hop. Of course, the words in this dictionary are dated now, but it’s a fun, little read-through for anyone looking for some hip-hop words to toss around. From slang to standard English, this book is meant to educate and entertain.

‘Decoded,’ Jay-Z, dream hampton

One of the most mystical figures in hip-hop finally decided to break down his lyrics for the masses in 2010. Jay-Z‘s ‘Decoded’ takes some of Hov’s most popular (and confusing) lyrics and breaks them down in his own words. The intermittent discussion points are also pertinent information to truly understand the mind of a hip-hop genius. Line drawings and photographs are sprinkled throughout the rapper’s work.

‘The Wu-Tang Manual,’ The RZA, Chris Norris

Another guide to understanding an otherwise enigmatic hip-hop group: The RZA breaks down the code of Shaolin for all true Wu schoolers. There’s even a picture of the original Wu-Tang Clanlogo (made by Wu producer Allah Mathematics), which was far more graphic than the “W.” Part of the 2005 book is dedicated to lyrics, giving an in-depth analysis of each rapper’s rhymes on the Wu’s memorable tracks.

‘The Way I Am,’ Eminem

We all knew that Eminem carried years of aggression just by his lyrics alone. However, in ’09, Marshall Mathers lays it all out in his book. There are old family photos as well as personal gems — more than 200 color and black-and-white in total — and Em goes into detail about his family and his life growing up. It’s a truly candid book about a rapper whose emotional struggles can be heard within every bar he rhymes.

‘And It Don’t Stop: The Best American Hip-Hop Journalism of the Last 25 Years,’ Raquel Cepeda

Journalist Raquel Cepeda collected 29 of the best hip-hop articles over 25 years (from 2004 and back), penned by some of hip-hop’s most prolific writers: Nelson George, Cheo Hodari Coker and Joan Morgan. The pieces range from the early days of the culture to articles on the genre once the tax bracket changed. The book serves as a reminder of the importance that hip-hop journalism continues to serve.

‘Check the Technique: Liner Notes for Hip-Hop Junkies,’ Brian Coleman

This book, published in ’07, is for any hip-hop nerd who wants explanations behind the makings of some of the genre’s notable albums. With artist commentary mixed in, the book, like the title states, is an extensive version of liner notes from the game’s favorite MCs, including the Roots, the Fugees and De La Soul. As digital albums become more popular, more books like this need to hit the shelves.

‘Bling: The Hip-Hop Jewelry Book,’ Gabriel Tolliver, Reggie Osse

Bling, the gift and the curse of hip-hop — and the reason behind most of Kanye West‘s lamentations, next to models and Louis Vuitton bags, of course. While this is a lighthearted approach to the diamond district of hip-hop, the visuals are pretty fun. Released in 2006, it’s a perfect coffee-table book to remind everyone that grills, pimp cups, Jesus pieces and rings worn by the likes of Slick Rick are sought-after jewelry.

25 jul BBoy Summit

"No Easy Props" Organization proudly presents to the world another "BBoy Summit" under the slogan "Cure the World with Hip-Hop".

"No Easy Props" Organization proudly presents to the world another "BBoy Summit" under the slogan "Cure the World with Hip-Hop". 
"BBoy Summit" is a worldwide known battle which takes place in Los Angeles (USA) and has a 20-year history. The permanent main nomination of this event has always been 2x2 breaking battles, but "BBoy Summit" also includes popping and freestyle dance battles, seminars, graffiti shows, performances, cyphers, kids battles and the hip-hop market. 

The rich history of "BBoy Summit" has been highlighted by the big community contribution to the hip-hop culture due to the visual presentation of hip-hop elements along with training seminars, where the worldwide art of Bboying / Bgirling, Deejaying, Emceeing, and Graffiti is described in great detail. This tradition of civil activism and popular art culture has taken root in response to the social and economic oppression and racism.

24 jul Rock Steady Crew 40-th Anniversary

From July 28th to 30th large music festival "Rock Steady 40 Anniversary" will be held in New-York, where "Red Bull BC One New York Cypher" is going to take place.

From July 28th to 30th large music festival "Rock Steady 40 Anniversary" will be held in New-York, where "Red Bull BC One New York Cypher" is going to take place. Over the last years this well-known jam which gathers breaker from all over the planet has grown into a big music hip-hop concert. In the early 90's, when the first "Rock Steady Anniversary" jams in history were arranged, they looked like a cypher of dancers who came together to face off each other and exchange their experience. Years later we can see that this event has become a massive open-air concert bringing together hip-hop stars such as Funk Flex, Tony Touch, Large Professor, Grand Master Caz, Fat Joe, MC Lyte, Mobb Deep, DJ Premier and many other. Aside from the pre-party on July 28th and the main concert on July 30th within the framework of this event New-York preliminary phase for "Red Bull BC One" will take place on July 29th. What makes this "Red Bull BC One" special is that MСs, DJs , and even one of the judges represent the classical school of New-York hip-hop in keeping with the best traditions of "Rock Steady".

21 jul Outbreak 2017

Outbreak Hip-Hop Festival is not only about dance battles and jams, It is a large five-day event which includes workshops, parties, basketball tournaments, concerts, showcases, competitions and cyphers.

Outbreak Hip-Hop Festival is not only about dance battles and jams, It is a large five-day event which includes workshops, parties, basketball tournaments, concerts, showcases, competitions and cyphers. 
Within the framework of this festival Outbreak, one of the biggest breaking battles in Europe, is held. Originally Outbreak is 2x2 and 1x1 (footwork) competition which took place on West Coast of the USA and was well known all over the world. Then thanks to enthusiasts from Slovakia MG and MK, who organized qualifications in their country for the famous American battle for the first time, the European Outbreak has outgrown its ancestor. 2x2 is one of the most preferred bboy breaking system and Outbreak is primarily associated with it, whereas the footwork nomination was changed to “Undisputed” 1x1 several years ago. Like many other big battles in Europe and the rest of the world Outbreak claims to be a part of worldwide championship framework and has changed the well appreciated footwork nomination to 1x1 battle to become a contest which opens the doors to absolute championship. 
Outbreak in Slovakia is a European child of the famous American Battle and serves as the qualification phase for it. But in 2012 in Banská Bystrica the world finals were held where Russian and Ukrainian breakers became winners in all nominations. This is very symbolic since a considerable part of Outbreak contestant comprises dancers from Ukraine, Russia and Belarus. 
This time the festival will be held on of July 26th - 30th and as usual is going to be very eventful: the anniversary of the local crew “Hasta la Muerte”, “7toDrink” party, concert stage where on one of the days hip-hop artist will be performing in a continuous stream and a lot more. In order to find out more details and the schedule of Outbreak festival see attached pictures or visit:

18 jul Yalta Summer Jam

Every year in the middle of the summer "Yalta Summer Jam", a five-day hip-hop dance and music festival, takes place in Yalta. This festival has a long history which takes its origin in 2001 and during these years it became a traditional pilgrimage destination for many breakers and hip-hop culture enthusiasts. What makes "YSJ" special is its unique geographical location and its history.

Every year in the middle of the summer "Yalta Summer Jam", a five-day hip-hop dance and music festival, takes place in Yalta. This festival has a long history which takes its origin in 2001 and during these years it became a traditional pilgrimage destination for many breakers and hip-hop culture enthusiasts. What makes "YSJ" special is its unique geographical location and its history. A cozy town on the south coast of Crimea is the perfect spot for a festival of this kind. This year "YSJ" was held from the 12th to the 16th of July and the basic concept of it was the mixed system of mixed 2x2 battles, where the duos are made by lot. This system was applied to all battles in all nominations. But the winner still must be one dancer, since in the finals the teams are disbanded and everyone battles for himself/herself in four corners. The festival promoters make it their priority to fill the event with various music and give many Djs a chance to rock. 

The tale of "YSJ" would not be complete without mentioning Sream - bboy, DJ, MC and promoter of the festival. Long time, more than 15 years ago he came to the battle in Yalta as an ordinary contestant and 
Around 3 thousand people gather at "YSJ". It is the oldest event in the country. Many people anticipate and prepare for it. Its fame is spreading all around the world. In all over the world it is hard to find a relatively experienced breaker who has not heard about this jam. 
Link to "YSJ" VK community:
Visit "Event calendar" page on our website where the videos from "Yalta Summer Jam 2017" will be uploaded (

18 jul New brand of Hip Hop apparel.

"Circle" is a new brand of Hip-Hop apparel founded and designed by b-boy Komar from Top 9 Crew. The first t-shirts were put up for sale during the last sessions of V1 Festival and Yalta Summer Jam and proved to be in high demand. The signature style of this line is consistency of colors and forms. The minimalistic design naturally complements the elements of street graffiti pieces. Stretchy seamless cotton makes the t-shirt light which adds comfort during the dance. Undoubtedly, just in the beginning of its journey "Circle" showed to be a casual fashion brand with a mature style. The first models were produced in a limited quantity, but you can still get them by contacting Komar personally (

"Circle" is a new brand of Hip-Hop apparel founded and designed by b-boy Komar from Top 9 Crew. The first t-shirts were put up for sale during the last sessions of V1 Festival and Yalta Summer Jam and proved to be in high demand. The signature style of this line is consistency of colors and forms. The minimalistic design naturally complements the elements of street graffiti pieces. Stretchy seamless cotton makes the t-shirt light which adds comfort during the dance. Undoubtedly, just in the beginning of its journey "Circle" showed to be a casual fashion brand with a mature style. The first models were produced in a limited quantity, but you can still get them by contacting Komar personally (

21 jun Contest of Break mixes

For the last month a contest for the best mix has been opened for DJs, record collectors and b-boys who specialize in breaking music. This initiative belongs to Red Bull Company prior to "Red Bull BC One Camp" festival. Conditions of participation - record a fresh beat mix using any equipment, timing - min 30 minutes - max 40 minutes, show the skills of mixing, scratching and DJ technique, show the style and flavor in the track list, upload the mix on vk in the corresponding topic of the "Red Bull BC One Camp" community before June 1st. 5 best works have been selected by the "Red Bull BC One Camp" Russia residents: Soul Dj Smirnoff (Kirishi), South Dj Scream (Yalta), Mr.And-7 aka Dj JD (Moscow). 5 mixes have been selected for an open vote, where the winner was found by the listeners, i.e. the dancers themselves. DJ who got the most votes was Legioner. He has received a prize from Pioneer DJ company. The full list of mixes you can find in "Red Bull BC One Camp Russia 2017" Vkontakte community at:

For the last month a contest for the best mix has been opened for DJs, record collectors and b-boys who specialize in breaking music. This initiative belongs to Red Bull Company prior to "Red Bull BC One Camp" festival. Conditions of participation - record a fresh beat mix using any equipment, timing - min 30 minutes - max 40 minutes, show the skills of mixing, scratching and DJ technique, show the style and flavor in the track list, upload the mix on vk in the corresponding topic of the "Red Bull BC One Camp" community before June 1st. 5 best works have been selected by the "Red Bull BC One Camp" Russia residents: Soul Dj Smirnoff (Kirishi), South Dj Scream (Yalta), Mr.And-7 aka Dj JD (Moscow). 5 mixes have been selected for an open vote, where the winner was found by the listeners, i.e. the dancers themselves. DJ who got the most votes was Legioner. He has received a prize from Pioneer DJ company. 
The full list of mixes you can find in "Red Bull BC One Camp Russia 2017" Vkontakte community at:

21 jun Freestyle Session - Return of the Full Crews Battles
Freestyle Session is one of the oldest jams in the world hip-hop scene. Traditionally it is held on the West Coast of the USA and attracts many b-boys and b-girls from all over the planet.

Freestyle Session is one of the oldest jams in the world hip-hop scene. Traditionally it is held on the West Coast of the USA and attracts many b-boys and b-girls from all over the planet. Starting as a local jam in the late 90's Freestyle Session has grown to be a big global competition, preliminaries for which take place all over the globe.

Freestyle Session is a team contest. The VHS tapes, DVDs  and later online videos are known to every breaking scene member in the world and this jam has always been synonymous with the word "crew".

Crew is a team, an integral part of the hip-hop culture and breaking in particular. As a general rule there is no quantitative restriction  in a crew, but when it comes to contests, 10 is the limit. It is and old generally accepted rule which Freestyle Session has been keeping  up to 2011, when following the global trends Freestyle Session became a 3x3 competition.

Six years after in 2017  Freestyle Session is to be held under the slogan "The Return of Complete Crew Battle". It has been awaited and it has happened. It should be noted that in the modern breaking scene of today there is a certain tendency for return of complete crew battles.

20 jun Hip Hop Family Tree
Publishing house White Apple has issued the famous comic book series Hip-Hop Family Tree. Its author Pittsburg artist Ed Piskor tells the history of the genre from Afrika Bambaattaa to the present days in the form of a graphic novel.

Publishing house White Apple has issued the famous comic book series Hip-Hop Family Tree. Its author Pittsburg artist Ed Piskor tells the history of the genre from Afrika Bambaattaa to the present days in the form of a graphic novel.

Hip-Hop Family Tree describes the events which took place during the formation of hip-hop as a full-scale culture between late 1970's and mid 1980's.

In 2013 the comic book became a New York Times bestseller graphic novel of the year and the Washington Post included it in the list of 10 graphic novels of 2013.

The first issue deals with the b-boys, graffiti artists, DJs and MCs who became the pioneers of the genre in the late 1970's. Release date - May 2017.

20 jun Breaking at the Olympics

Breaking at the Olympics. In October of 2018 the b-boys/b-girls, born in the period from January 1, 2000 to December 31, 2002, will become principal characters of the epic quest with the goal of winning the first golden medals...

Breaking at the Olympics.

In October of 2018 the b-boys/b-girls, born in the period from January 1, 2000 to December 31, 2002, will become principal characters of the epic quest with the goal of winning the first golden medals with the five Olympic Rings engraved on them. An innovative qualification system has been integrated to select the best 24 breakers of the world who will compete for the medals at the Youth Olympic Games 2018 in Buenos-Aires in three competitions - "B-boys", "B-girls" and "Mixed Breakbeat Crew". The first of three phases of this unique process is open for everyone without any limitations, except for the age group (16-18 years in 2018). Every self-confident b-boy/b-girl can go after the participation in subsequent phases and, possibly, at 2018 YOG. For this end on has to upload a 45-second video about himself/herself on in the period from the first week of May to July 31, 2017. The judges at the first preliminaries phase will be famous b-boys and b-girls from various countries: AT, Crazy Legs, Jeskills, Katsu, Lamine, Mounir, Moy, Narumi, Renegade, Storm.

20 jun Hip Hop Boulevard in the Bronx.

The government of New-York (USA) officially declared Sedgwick Avenue “Hip Hop Boulevard". It has been anticipated by many people for a long time and some of the biggest names in the hip-hop world came over there to pay tribute to the place where everything began.

The government of New-York (USA) officially declared Sedgwick Avenue “Hip Hop Boulevard". It has been anticipated by many people for a long time and some of the biggest names in the hip-hop world came over there to pay tribute to the place where everything began.

1520 Sedgwick Avenue is an unremarkable high-rise apartment building north of Cross Bronx Expressway. Hip-hop was growing all over Bronx but this building became a starting point where Clive Campbell also known as DJ Kool Herc was in charge of the recreation room parties.

This building is the place of residence of famous Kool Herc. DJ Kool Herc is attributed with playing a chief role in the creation of hip-hop and rap music. It all began at a house party at 1520 Sedgwick Avenue on 11 August 1973. Actually hip-hop as a scene was slowly developing in several locations in the 70's but this building became a place where one of the most important events took place which stimulated the evolvement of the hip-hop culture.

20 jun Red Bull BC One Camp

On June 15-17 "Red Bull BC One Camp" was held in Moscow. It is a three-day hip-hop event.

On June 15-17 "Red Bull BC One Camp" was held in Moscow. It is a three-day hip-hop event. For three days on the premises of art space Khlebozavod workshops and competitions in breaking, popping, house, beatmaking, sratching, rap freesytle, lecture of world famous hip-hop producer Marley Marl, exhibition of famous photographer Little Shao, film screenings, jams and parties took place. The climax and grand finale of the hip-hop camp was the Russian preliminaries of "Red Bull BC One" where 16 b-boys from all over the country from Vladivostok to Saint Petersburg were battling each other. Zip Rock from Kazan, "Action Man" crew, came out on top and now he is to participate in "Last Chance Cypher", the last preliminary phase, where the winners of many regional preliminaries will meet.