Bboy Guillotine - The Hip Hop Ambassador - Noise of the Broke Boys Episode 012
Manage episode 279346364 series 2835172
Bboy Guillotine of the Concrete Allstars Crew sits down to discuss his various work in the Hip Hop community and speculates on the future of the bboy/bgirl scene.
A broke degenerate hooligan documents conversations about being a Bboy, Breakin', Hip Hop, Dance, Art, Music, Creativity, Innovation, and the slow subtle crumble of society in audio form.
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[Music]
this episode of noise of the broke boys
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[Music]
in this episode I sit with a b-boy
educator and community activist that I
have tremendous respect for we have a
great conversation about hip-hop and
where we see it going in the future I'm
very excited to get into it so please
enjoy this conversation with guillotine
of the concrete all-stars hello
everybody and welcome to the show my
name is Kurt rock and I'm joined today
with guillotine how are you doing man
yeah without feeling good man thanks for
having on the show
I should have adjusted these mics a
little bit before we started so that
they're in your face a little bit better
so um so what's up man I know you're a
busy guy cuz you you you're involved
with like a lot of stuff right I know
you do those all those well actually how
about you tell me what you're into cuz
yeah you got lots of stuff going on yeah
sure thanks bro
um so
well I mean right now it's like the
second day of the new year so I'm lucky
I get a little break most of my classes
are like on school break right now so um
it's kind of getting some time to reset
and get ready and kind of like get back
in shape a little bit after the holidays
but um what I what I've been doing
lately for work is I I work out juice
juice is a nonprofit organization in Los
Angeles that does hip-hop culture
we got an open session every Friday
night it now it's hosted at Belvedere
Park currently because Salazar Park is
under there gym is under renovation
mmm so basically while they're
remodeling the gym they hosted us at
another part called Belvedere
Belvedere's dope it's a dope place for
practice because they have like two
different areas you could break and they
have like a blue like gymnastics
training type floor oh no these work on
like blow-ups and stuff we're gonna
crash land okay yeah yeah Belvedere part
East LA and then every Saturday at
MacArthur Park by downtown LA and that's
a famous session spot that's been going
on for at least nine years so yeah I
work at juice right now I'm taking a
break from being a regular facilitator
there but I'm still gonna work with them
on other projects in the future yep and
I'm just trying to keep alive that free
open practice space for b-boys and
b-girls people of all skill levels if
it's a person that breaks all the time
now and they want to train with other
b-boys and b-girls a person that hasn't
braked in 20 years when I get back into
it or somebody wants to learn for the
first time I tell everybody y'all come
to juice we also got facilities for you
to learn how to do you know make beats
do rhymes and work on em scene and beat
production you can also learn a deejay
if you want to because you know dope ass
deejay that juice also nice yeah thanks
man so I do that that's my Friday and
Saturdays or that was now I'm kind of
taking a break but Saturday nights I
perform at break room 86 which is like a
straight-up needies themed night club
yeah so that's that's pretty fun that's
just something I keep alive because it's
one of my homies runs it so it's just
like a fun way to kind of like keep me
out of trouble on a Saturday night you
know make a little bit of extra money in
off hours and be connected to some cool
stuff because that that Club is kind of
it's dope it's kind of high-end we get
to meet a lot of celebrities yeah but
not be bougie about it you know like we
break they're like we dress like we're
from the 80s and come out and break so
it's it's dope I like it and then during
the week I work at ok I do a fitness
program at an elementary school for
diseases yeah thanks man that one's
really fun cuz that's in the morning so
it always gives me like a good start in
the morning and then three days a week I
teach a art class a nonprofit
organization in South Central LA at
Leimert Park it's called the good seat
uh-huh and so I love that one too
because it's basically you know like I
said it's for homeless youth that are
looking for transitional services oh
yeah kids that are trying to like take a
shower do their laundry get some food
get on a computer and work in the resume
apply to some different opportunities to
get a job and get housing and then I do
a art group so it's kind of like art
therapy you know I mean I try to turn it
into a career development because a lot
of those kids are really talented
artists yeah they are and so it's just
like how we're talking and building on
stuff right now when I sit down with
them and we start drawing and painting
and stuff they you know they start to
build on their creativity and you know
that's the job I really love so I do
that three days a week and then oh I
teach at a college I need to the
Performing Arts college called the
studio school yeah so that one's dope
that's and that's like that's like
everybody there is like Italy performers
who have been in performance or dances
there are little kids yeah yeah so you
got there like industry type of yep
dancers and stuff and they're kind of
trying to learn some hip-hop or
something totally and so that's another
one I love I have a very special love
for that place because I come in there
and just straight do b-boys shit and
talk about blow ups are not blow ups I'm
talk about doing solos freestyling
battling hip-hop history like I show my
students like Star Wars
documentaries like yet yeah cuz I think
so you know so many people utilize and
commodify hip-hop culture in so many
ways and then even know where it comes
from
yeah yeah it's it's crazy how that is is
like the conversation rarely goes to
b-boys and the involvement that b-boys
had in
hip-hop but it's almost the fundamental
reason why it even exists which i think
is crazy because yeah it's like all that
famous hip hoppers now are like rappers
most most of the time right and you know
there's not really mention of b-boys
really but right it's you know the break
the reason there's a break is because of
a B board they were like hey let's see
that let's see that guy do some some
moves for longer right let's extend this
song and then you know yeah man so so
that's that's really dope cuz I get to
educate those kids those kids that are
literally going directly into the
entertainment industry yeah I get to
teach them about like you know
foundation footwork where this comes
from the history the influences and give
them that knowledge and also I try to do
other stuff to kind of keep it real with
them and talk about important things in
the entertainment industry like
exploitation and cultural appropriation
and stuff like that and try to keep them
keep their mental you know their mental
side a little bit more cutting edge cuz
I feel like a lot of people that come
from a that I've met that come from a
dance studio background they're very
good at being just told what to do and
just do it oh yeah yeah you know without
questioning or thinking or being like
you know super about it that's what drew
me to breakin actually is cuz like cuz I
didn't dance before it I did martial
arts and I was just sick I was like I
mean I love the martial arts but I was
like man it feels so restricting in a
way cuz it's like do this style do this
style and I didn't know what mixed
martial arts those back in the day I
probably would have done that if I had
known what it was but I had no idea I
just you know I would read like Bruce
Lee's book and stuff and I'm like dude
this guy's talking some realness and you
know anyway so like I found breaking and
I was like oh this is a lot less
dangerous than fighting let's just try
it look so cool and then it was just
like I went to the homies that knew how
to do it and they were like you know I
say how do you do it and they go oh
we'll just come here roll around and
dude that's breaking and I was like dude
I can just do whatever I want really in
there like
yeah that's kind of what it is here's
some of the moves everybody else does
but you know like do it your own way or
else you're a biter so right and so
that's what really drew me in cuz I
could just do whatever I wanted which
you know at that age you know I was a
teenager I just you know that's all I
wanted to do in the first place is do
whatever I want it's so bright dreamy
and really quickly the same thing with
my brother
but going back to what you're talking
about with your classes with all these
different people it's kind of similar to
what my my mother does and I don't know
if my brothers talked to you about that
actually similar to what my brother does
to UM but my mother she used to work for
a food bank in Sacramento
she's an artist she's a painter um and
what she would do is she taught this
class I forget the name of it right now
but it was basically it was called oh
it's called woman's wisdom which women
that were in I guess difficult
situations in their life like you know
they they're homeless whatever something
you know they're they've been abused or
whatever they could come to the food
bank they would help them out with
different things food shelter or
whatever they need classes to get back
on their feet and a lot of them you know
had like you know such a rough time that
they said okay we need to give these
these women some creative things too and
so that's where my mom came in she was
like oh here I'm a painter let me teach
some classes so she would come in that's
most classes and she found that these
women you know once they were in the
studio with her they would just kind of
go wild be you know let the true artist
kind of come out and so um you know
eventually she started doing art shows
with the with the women that were part
of her program that's you know letting
people do it I'm pretty sure they sold
some of the artwork for a lot of money
actually that's dope so you know so as
m'as kind of a skill that they all
learned as just as some kind of stress
relief but it became maybe something
that they were really passionate about
and that they could actually make maybe
some money on that's great man so yeah
so I totally
what you do and and the importance of it
because it's like creativity I think
it's highly overlooked definitely in in
school and it doesn't get emphasized as
you become an adult and I really think
that that is one of the fundamental
things of as a human that we strive to
have yeah I totally agree with you and
and to piggyback on that I think a lot
of the professional routes of a person
coming from a creative background they
take the creativity out of it they do
you know like like just just in
particular as an artist you know I've
been an artist since I was a little kid
I always loved to draw you know my first
kind of like stab at doing more
professional type of artworks like you
know I drew all the pictures in the
school newspaper in the school yo yeah
like that you draw your girlfriend's
name and you drop into people but then
when you get to a college age and you go
okay I'm an artist what can I do and
you're like oh graphic design and I just
was never really that excited by it and
now years and years later I've done work
where I've worked with graphic designers
and they frickin a lot of ones that work
for big corporations they they don't
like it because it's like a corporate
office environment and you're not using
your creativity to create something new
you're creating like I got like I'll
just give an example I worked at a toy
company hmm as a as a structural
prototype er there's just part-time work
helping out our friends like like studio
shop where they all worked in oh yeah
and we would meet the designers and I
was kind of thinking like oh this is
cool it's a designer like this is what I
would be if I went to like art school
mm-hm and they're like oh man I fucking
hate my job and I hate this person that
my boss is a dick and they want to tell
me to design all these toy packaging
it's wack and I always felt like wow you
know you you have that um that was so
what I'm looking for like everything's
laid out you have your insurance you
have your 9 to 5 yeah the reliability of
having that career but you're not in
control of it and you don't even like it
yeah like that makes me really sad to
see an artist like their like art slave
you know yeah yeah no I totally
understand that kind of thing I work as
an engineer and like
there's creativity in it but not much at
all and you know in a lot of ways you're
kind of like a paper pusher and stuff
and so you know breaking has always been
like my creative outlet to kind of get
my mind off of this number crunching and
all this other stupid shit and just kind
of exercise the other side of my brain
to do you know some other stuff and
that's kind of what this podcast is too
is like finding out what what makes
other creatives tick and you know kind
of giving me my own thing to like do
whatever the hell I want with you know
put some dead flowers in a trash can for
instance I've been painted in so long
actually but I used to paint all the
time mine it's fresh year I like the
trashcan it's kind of like a thing for
me now well see so actually this is
probably maybe a good time to explain
this a little bit is like the reason the
trash can I think is kind of like a
symbol for me in a way because it
represents like kind of a container it's
an empty container that really you can
put anything in and we arbitrarily as a
society say this is not worth anything
the stuff we put in here is not worth
anything but I think that you know if
this was made out of gold you'd probably
think differently of it but why why just
cuz it's gold it's it's just a container
to put something in and I might highly
value this stuff that's in there and so
it's kind of like counterculture in a
way to have a trash can as a symbol for
me is that I can put whatever I want in
there and I value it and so anyway so
like you got a trashcan fire with you
know some ladies boom box meteorite boom
box yeah so you know I thought it was
kind of funny too but but yeah that's
kind of what I'm doing is like there
there's there's value and things you
might not see value in
kind of what I try to remind myself of
and that's why I use that I love it man
that's very hip-hop of you take the
image and flip it you know yeah yeah
definitely so uh let's talk about so
you're originally from Seattle yeah okay
and so did you start out as a b-boy so
you started out as a b-boy because I
know you do graffiti as well how did you
get into the graffiti scene from there I
mean I think I I want to see I started
at both very simultaneously like when I
was really little kid like like 10 years
old and younger I always saw graffiti
and was like yeah like what is that you
know yeah and I always felt like wow I'm
drawing comic characters in a notebook
but this person drew it on the wall with
full colors like whoa yeah yeah
and that was always like something I was
kind of obsessed with and then same
thing with when I would see kids break
because sometimes here and there I would
see people break randomly and I was like
that's that's the craziest movement like
that's like something I really want to
do because it's just there's something
so original about it but but very
organic about it mm-hmm you know and I
was obsessed with martial arts too when
I was when I was a kid was in middle
schools to take Taekwondo oh cool yeah
yeah yeah right and so when I would see
kids break I was like that around that
same time I was also watching a lot of
like hip kung fu movies yeah and then
also I started to get into wu-tang Clan
I was like the first hip-hop that I
started listening to and they and they
use like kung fu sounds in their in
their hip-hop music and so I was like
this is all kind of tied together yeah
you know and then when I when I got a
little older I think I was like 14 I saw
this documentary called Style Wars
mm-hmm and that comes from the 80s and
that was just like a blueprint that gave
me all the info I needed and once I saw
that I was like BAM that's me I'm gonna
learn about graffiti and get good at it
and I'm gonna learn about breaking into
how to like learn how to break so yeah
yeah I know I feel like I have a similar
story is you know kind of like always
seeing it going like what is that it's
really cool I wonder what that's all
about and then just you know coming
across
just a slew of information it probably
was stock Style Wars that I watched
there was some documentary long time ago
but yeah it was just like this is what
hip-hop is and I was like okay that is
everything I wanted it to be and so I'm
glad that that's what it is because this
is this is tight this is hype I'm all
about it so let's go and I was maybe
only like 14 or something at the time so
that was like you know it just all
clicked to me and then now it it was
almost like I was always a hip hopper
and then didn't know what it was called
until I was like introduce you were
already moving congruently with it yeah
yeah yeah and so yeah so that that's
dope so what do you think about the age
of hip-hop it's like because I was
talking to someone earlier today about
it is I realized that hip-hop is you
know 50 years old maybe crazy dude and
you know I have been deeply into the
scene for almost 20 years and maybe
invested into it even a little bit
longer than that before I even knew what
it was really and that's like a third of
the time to a half of the time that it's
even been alive I I was like whoa what
the heck that's kind of a crazy thing to
realize totally that it's such a young
thing in that it's ever-growing it's not
like it's not like some of the other
things that we see out there is like we
are whether we understand this or not we
are like still the beginning pioneers I
guess of like what hip hop is going to
be in like a hundred years exactly it's
it's kind of crazy to think about that
yeah I love that and um I think that you
know another thing we see now because
guys like me and you are at that age
where we're getting married settled down
having kids and so now if you're a dad
who comes from hip-hop you want to take
your kids to like you know like dads do
dads stuff like oh they get to get their
kid in sports or music or whatever but
yo you can take your kid to break in
together take them to open practice spot
have a break or get him into
you know DJing or Ryman or art video art
and like that's a thing now you know and
I think that's beautiful I think it's so
cool to see how it's gone all the way
around the world and come back you know
what I mean and we have people like from
other countries that took up hip-hop
because they loved it and ended up
influencing our hip-hop culture in
America yeah you know I think that's so
dope dude and I'm always it's always
blowing my mind to see the level that
hip-hop is is taking it to like like
every time there's something new you
know like oh man there's a Netflix
series about hip-hop
oh yeah there's all these new Doc's
about it I'll dude there's another movie
about hip-hop like Oh like I love that
because I feel like people are passing
it on on the right way yeah yeah you
know there's some there's obviously you
know I'm sure we'll get into dissolving
some stuff at from our generation where
we look at it like what yeah what is
that you know yeah but but but to me
that's also a part of it and you gotta
take you know take that with it and keep
alive what you think is important you
know it's like a it's like a martial art
we got to keep the style alive so yeah
actually I have a question um cuz cuz
this really ties in to what you're
saying is what are your thoughts on like
the new style of hip-hop now like the
mumble rap and all that stuff compared
to like what we grew up with which is
like 90s kind of style right what are
your thoughts on it because I know
there's like a lot of mixed opinions
about it from people like our age
totally um I think I just see
reflections in this new style in the
same new so called new styles when I was
young
mm-hmm like when I was when I was
getting into hip-hop it was like I love
you know boom bap type hip hop or
underground hip hop or or backpacker
type music but I also did like some more
trendy club time music's has a dope beat
and you can vibe to it especially as a
b-boy you can identify with that yeah
you know but then there was okay I I got
to admit I would specifically remember
hating on like Cash Money millionaires
No Limit
yo type because I was like okay you guys
are kind of using a commercial or
superficial type of information base in
your raps where these other MCS
talking about positivity knowledge
creativity something different if you're
gonna say it the same way you have to
flip it make it different you know what
I mean however that movement is is like
party music United media and that's
that's how I look and I like it too bro
when you learn you look at the samples
the influence how they made like the
bass and the hi-hat more important in
the beat than your things and I like
that music too and it has adult vibe to
it too so you know I feel that way about
a lot of the rappers out today I think
that it's is very different um
definitely a lot of the conscious minded
cultural movement has like left and come
back like I'm always kind of is blowing
my mind to to see now the female artists
that are talking about empowering stuff
for females and yeah we did not have
that yeah we do as much you know it's
like Lauryn Hill Erykah Badu a couple
other artists like that um you know like
but now it's a lot more of them and it's
a much more powerful thing I think
that's amazing
yeah you know you got to acknowledge
what's positive that's coming out of it
and I see like even now a lot of older
rappers are coming back releasing new
albums and kind of dropping tracks with
they're kind of mumble rapping a little
bit yeah oh yes I could do that too yeah
yeah you know and I like that and I'm
like that's what that's what hip hop is
supposed to do is supposed to be like
acrobatic and be able to be flexible and
make fun of stuff and go and elevate by
going there so yeah ya know I I think I
had a similar perspective on it too cos
when I first you know I used to be all
into the conscious kind of hip-hop and
stuff you know some of the other kind of
party music I was like okay it has its
time in place but for the most part you
know it's not really for me
but then something common has a lyric in
one of his songs where he says if I
don't like it I don't like it that don't
mean that I'm hatin true and that like
really resonated with me back when I
first heard it because I was like you
know what that doesn't mean it's not
hip-hop and I shouldn't like try to hate
on it because of that because it's just
someone else's perspective on that and
so with that mind that with that
mentality I was like I gained like a
bigger respect for what they were doing
and
you know was more accepting to it you
know like I guess I stopped being the
hip-hop police
ya know anyways yeah like cuz I was like
you know I gotta keep this thing real
but it's like no you're not keepin it
real you're just being a hater you're
yeah there they took hip hop to a
different place than you thought it was
gonna go but that doesn't mean that it's
a it's a bad thing and so I look at that
I look at mumble rap the same way like
when I first heard it I was like aw what
the hell what are these guys doing but
then the thing you know that thing in me
clicked again going like you know what
hip-hop has always kind of been this
counterculture thing and what is mumble
rap they're going you know we don't want
to sound like the guys before us you
know why cuz we don't want to be biters
let's do something different let's you
know in a way like mumbling so you have
to kind of listen harder or whatever to
understand what's going on is like their
artistic expression of what they're
trying to do in a way sure you know and
so when I started realizing that I'm
like dude they're doing the same thing I
was doing you know everyone else was
doing it so I can't hate on that that's
hip-hop that really is hip-hop yeah man
and I mean I personally I'm like a
reverse hater like when I see older
heads hating on new him up I'm like man
what are you doing bro mm-hmm you know
what I mean cuz exactly I have social
media have Facebook and Instagram all
that stuff so when I see people you know
they post a video of somebody who broke
down in an interview with sets of wack
shader said something that was negative
against legendary iconic hip-hop artist
because they're not obviously not
educated about the importance of these
artists mm-hmm which you know I can
understand that but it makes me sad when
somebody who's older is pointing at the
youth and being like oh these youth are
so crazy it's so out of control look at
them look I can't believe they're doing
that when it's like yo bro it's the same
thing people saying about us when we
were teenagers yeah when I was a
teenager doing graffiti and doing
breaking mad people will shake a finger
and be like you're wack you don't know
what you're doing that's not a part you
don't know what this is and it's like yo
I'm here I am 20 years later keeping
this shit alive so my answer to those
people is like don't hate you know like
find the positive in it or promote
what's positive like what's dope to me
now is you got people like um
my other favorite podcast Noriega and
this move deejay efn they have a podcast
called drink champs and yeah it's
ratchet like they get drunk and they
smoke weed but they talk about hip hop
non-stop and it's on a major platform
and they got millions of listeners and
they're literally giving you direct
history of hip hop culture right there
yeah yeah I love that and it takes these
artists makes them relevant again it
gives another push in the popular
culture to be like you know a local Jay
still around Wyclef you know if you know
about their history and how they made
their hip-hop music which is iconic mmm
classic you know you can learn more
about yourself and what you're doing
what's happening now yeah kind of like I
guess getting spreading the message of
like what hip-hop actually is and not
trying to like define it under the terms
that you had when you first were
introduced to it you know cuz that's it
is ever-growing thing and it's gonna
yeah and recognizing that it's going to
evolve yeah yeah and so I guess with
that in mind breaking right now is
evolving a lot too and I know the scene
is very different from when I started as
it is now and in the future we're gonna
see it even more different because now
the breaking is going to the Olympics
and stuff and so it's like crazy I feel
like the scene right now is where we're
kind of like approaching this this thing
with the Olympics and I feel like that's
gonna be the stage where maybe a lot of
people that have never you know I've
never been introduced to it are gonna
see this for the first time and so I
what I want to do is welcome those
people and show them like what it's all
about and here's here's some history
here's you know here's what you missed
on all the years that you weren't doing
this right and now you know now enjoy
the rest of what this is you know and so
that's kind of what I'm trying to do
with this podcast is like kind of
document what's going on in the scene
what you know everyone's thoughts on it
and
like have something there so that when
someone comes in who's never seen
hip-hop before and was introduced to it
they can go okay
I think I understand a little bit more
there's some background information yeah
and there's you know here's you know it
guess it's your foot in the door in a
way and you can easily go down the
rabbit hole as you did as I did in our
own lives but we had to get we had to
get our introduction somewhere and write
nowadays you know most people's
introduction is through like social
media or whatever and so it's like I'm
not too big on social media or anything
so I'm trying to at least like put my
thoughts out there somewhere yeah that's
good that's that's totally important
crucial yes so I guess what do you see
with with the future or like I guess
from when you first started in the scene
till now and beyond how do you see this
going oh man I don't know so yeah that's
a vast vast answer like when I first
started in breaking and very very very
first started I got really lucky the
first Jam I ever went to was like an
epic Jam link I was like 15 I think
and my homegirls told me about it and
they're like you know let's go
because they knew older hip-hop people
in Seattle mm-hmm and so we went and I
think the jam is called break beats in a
jam it's a jam that Crazy Legs was
throwing on a tour where he throw him
all over the place and so it was so dope
all these b-boys from all over the west
coast came and that was the first time I
ever went to and I got to see like LA
Breakers caveman and Bruin Iron Monkey
energetic all these people from from
down here in LA and the Bay Area people
like b-boy wicked b-boy Ivan all the
people from Seattle like the young
massive before they were massive monkeys
I think mmm the younger like circle of
fire people and see all these styles
like I specifically remember just
looking at people how they were dressed
and how they would dance
and I'm like wow everybody here has
their own style mm-hmm like there was a
kid and he had a kung-fu suit like a
silk good blue suit and a Kangol hat and
he was doing like kung-fu movements with
his hands I was like oh shit that's so
sick and then like the con yeah or like
a crazy like comic book character
Throwdown showdown like yeah you see
like like um like one of my favorites
even from back then from that first time
was Jerome ski cuz Jerome ski had mad he
had Matt's town like a cocky attitude
like loosely kind of yeah and he's
dressed like he's like a little sports
player something so he looks like he's
gonna like fuck you up with this sit
down and then like like caveman caveman
looked like a badass you know he really
he could probably could whoop your ass
but then he's gonna do some hard-ass
like shoulder hallo impossible type
movements you know like and so that that
was my first introduction to b-boying in
hip-hop and that's one of the things
that I think has kind of left a little
bit is like that aspect where you wanna
look at the next person and go nah homie
I danced differently than you yeah yeah
yeah yes yeah yeah no I think that's
right is back then it was like you you
recognized people's styles and that they
were good at what they're doing but
you're like yo my style is better and
then this is what I bring to the table
and now I think it's more like people
approach it and they go wow I like what
that guys doing I want to take it and
flip it or something right you know and
so it's kind of gonna buy the same
sweatpants he has oh yeah I want to
dress like that guy or what you know
whatever it's so it's kind of day and I
I have a feeling it has something to do
with the social media world is that a
lot of people get you know get their
kicks on social media and you know the
they see you know someone who's popular
there and they go okay let me try to
emulate what this guy does cuz he is
obviously popular on you know on social
media or whatever right and so yeah I
think the jam the the aspect of events
and like getting ready for events and
jams and stuff is not so important
anymore because you can still
you can still get the clout you were
striving to get on social media now
right whereas before it's like there is
no social media there's barely an
internet it's just this Jam this month
and that's it exactly guard and I mean
it there was maybe one Jam yeah there
was one Jam that you knew there was
gonna be a ton of people at and you were
gonna see a ton of b-boys there and all
the other days the only people you saw
break was your crew oh you know probably
3 to maybe 10 people if you were lucky
you know
and so that Jam was like so freaking
important to you that you were like dude
okay I got a you know I got to make sure
that I'm hitting everything and if
someone's trying to battle I'm gonna
smoke them or whatever you know you're
coming correct every single time and so
it's yeah it's a different it's kind of
different yeah I think too there was
that influence in hip-hop like yeah I
mean once again taking back to the
moment right thing you could see how
part of the part of the coolness of it
is the conformity to be like is lit it's
wet look at what's up in that bed you
know like hey like if I can follow this
formula I can find success and be cool
kind of feel whereas with the original
art not the original but you know when
we're not when I was getting into it it
was like okay but flip it though like
don't act like then that the last person
don't let that be a standard of coolness
or a key to unlock your you know street
cred or whatever keep pushing it like
flip the shit in another way to show
that you actually are more creative and
more intelligent and you can push this
thing further so I think that's kind of
a big change that happened and I think I
think with the dress code I feel like
there was so much more other stuff
involved in hip-hop that was coming in
and part of it was like street culture
gangster stuff martial arts sport where
culture you know what I mean and after a
while it became like like instead of
looking like a character I think you
wanted to look like you could do more
flares than the next person you know
yeah yeah kind of like I will win by
doing more
instead of like I will win by being
totally different yeah yeah does that
make sense yeah I don't know no that
makes a lot of sense yeah I mean I just
look at b-boy I guess it's I think the
the the most definitive thing you could
see is that people that break in this
era versus people that break in like
late 90s or so it's hard to say it's
hard to pin a style to that like late
90s early 2000s Aaron but nowadays it's
like I can probably think of maybe a
handful of b-boys that probably define
that era very much so and it'd be like
somebody who's somewhat well-rounded has
like you know decent power you know
every every blow-up type of fries or
whatever right you know enough basic
footwork to like you know do a really
nice CC or something you know you know
basically that kind of formula that
works on the like BC one level right yes
so to take it a little further this is
one thing that I see is very popular now
it's a style of break and I call it one
of everything and the dude comes out and
does one of everything he does one top
rock one burn one go down one footwork
one transition one spin ya freeze one
blow up one beat hit and that's it I
feel like in their mind or like I just
did everything you can't beat that
hey oh yeah yeah it's like yo you had no
style you did this ain't like shout out
to those b-boys that you described cuz
to me those are the people now that are
pushing this culture to new audiences
and being the main influence now that's
like this is what b-boying is so you
have to be good like that I think that
is a part of it's important to to
respect that but I think a lot of the a
lot of the younger heads because of
YouTube and social media that's how
they're consuming it yeah they're
they're sort of taking this to like say
push basically pushing in the sporting
direction rather than like back in you
know back then it was like nah don't do
that you're being a biter right now
we're like nah man come on dude like
different or like you literally go in a
group with your friends you say we're
all gonna be different from every
but we're gonna be together on this you
know and so I mean I think there's still
a lot of crews that do that which is
dope I'm not trying to say that stopped
it's just a lot of the jams and
practices that I go to I see a lot of
b-boys that are like the one of
everything style
ya know what there's a you know one guy
that I've always liked a lot is Yann
yeah he's crazy like and the reason I
like him so much is that he's not a one
of everything b-boy but if you if say
your style is just you're like you love
just doing top rocks or something and
you battle that guy he's gonna answer
you with just top rocks and he might
smoke he's gonna rock your ass yeah yeah
he's gonna go and then if it's a you're
just a power head or something and you
just do power against him he might go
okay well here's some power moves to
right and he might smoke you too so it's
kind of like totally he's a he he is
like everything b-boy but he does have a
like a definitive style he has like a
vocab in each of those things he's got a
huge vocab right yeah that's what it is
he's he's a dictionary of stuff just yes
styles are I don't know what to say but
yeah just different elements of b-boying
and and another thing that he does which
I like is he throws his own style into
it you can see he's a guy that has
obviously a very flexible back you know
I mean he's always doing like crazy
rainbows where it's almost touching the
ground and back bends and crazy dolphin
dives in and out of his power and shit
and like that's dope that's isn't that
he discovered that probably very early
on in his breaking and that's like part
of his style he's a person that if you
see a silhouette of him breaking you'll
recognize him yeah yeah yeah you know
mm-hmm to me those are always the
greatest ones because they have there's
their style of how they move is like
comes from the shape of their body and
then also probably their background you
know I mean and then going from there
yeah yeah yeah it's yeah he does it
really well and what I'm talking about
is where like sometimes I'll watch him
and I'll go like dude what the heck did
that guy just do and I'll like have to
read
the video or whatever or hope there was
a video that I can rewatch of it and I'm
just like what the heck was that that's
crazy crazy crazy and then like finally
it clicks in my head oh that was like a
CC but he just did his own little twist
to it
right and made it his own move and I
think that's like the dopest way to
really like show show that you
understand the dances that you took a
fundamental move that literally every
b-boy does and you made it into
something that's your own that was hard
for someone who's been dancing for 20
years to like even recognize as a
fundamental move you know and I think
the first person I ever saw do that was
migas from boogie Bratz was like I when
I first saw that guy I was like blown
away I'm like dude what is he doing it's
like it's it's like he's going in a
different dimension or something cuz
it's like we had all these weird little
things it seemed like everything had it
it's like his hand would go this way and
then your he was telling your brain to
look at this and then he would do
something over here shoot he tricked me
right and that's kind of like what I
when I understood that is like he was
tricking you the whole time it's like a
magic act almost it made me want to like
kind of do that is like you know trick
you into thinking I'm gonna do something
and then do something else cuz I was
like that is like such a cool way to to
kind of blow someone up in a way I call
it flow up instead of blow up that's
what's up yeah totally
ya know I used to love to watch that guy
cuz he's amazing the way his um how
fluid you know his movements are and
what like when you say that term flow up
that really makes me think of like
circle afar like orb and free oh yeah
yeah those guys are like that too like
though they will they will flow on you
and like it'll just blow you away like
it's crazy because they're they're like
control of the dance like they don't
have to do I feel like I feel like
they're very well-rounded but it's more
like just their own style it's not like
I did a power set with like swipe 90 it
just Flair like they just flow and
everything just fits together so well
were you like whoa damn it just it looks
like they just made up their own dance
in a way right when you see it you're
like oh what the heck is this it's like
it's like I know it's breaking but it's
almost you know it's it's almost
different than breaking plate I mean I
guess that's what that's the point
but um ya know I always liked free a lot
I always like to orb a lot circle a fire
they that's a very revolutionary crew I
think did a lot for the scene I mean and
they still are as far as I understand
they're still like oh they're doing that
thing I know um Seth he lives in the Bay
Area so I lived in Oakland for like five
years and so I would always like hang
out him break with him and stuff and so
him yeah that's what's up he kind of has
like a kind of couple where a style or
something it's it's interesting yeah
yeah dude I love it man that guy's the
homie - like shoutout south seth circle
fire all those guys bought the balance
of the balance I've been a long time
yeah that guy was good - yeah those guys
are always cool they were like cool
older brothers yeah and and I feel like
especially for Seattle they brought a
lot of opportunities like straight to us
and she's like showed in our face like
look like redbull Lords of the floor
mm-hmm was a crazy Jam I don't know
exactly how bad the balance was involved
but I know he that was one of the big
first times when redbull got into
breaking was like here's a you know
whatever the budget is let's do
something crazy and like and he was
involved with that yeah he was oh yeah I
think he like organized it or something
I don't know exactly that what yeah
that's crazy cuz like you look at how
involved redbull is with the scene now
and as far as I am as I know that was
the first gem that redbull was even
involved with Leto and that's you know
obviously a legendary event you know
where all these other people came in
yeah one of the biggest things for me
was was being cuz I was like 18 when it
happened or 17 maybe it was seeing all
the people they flew out in in person
instead of on a video yeah yeah yeah and
also realizing like
oh I seen that dude on the b-boy summit
in 99 yeah that's that one guy and oh I
see oh damn that's intrigue oh but
that's actually migas you know I mean
that cat had different names and it was
like wait but that's Oh like it was so
cool to see him in person and it was
kind of like a mind-blowing thing you
know yeah what I always thought was
funny was that like cuz you had this
grainy ass footage that you would see
these guys on and it's you know like
people you never met before and then you
go to a jam and you're like oh who's
this guy he looks like he's important or
whatever and then you see him breaking
you're like oh that's free it like
clicks in your head and like oh that's
what his face looks like because you
recognize the movement recognized his
style and you're like no shit you know
like oh that's Rob Zilla okay good dude
he's another one oh man that guy was
crazy yeah yeah Rob zilla's dope he's
still good I he sometimes comes to
practice at my brother's house I will
train and stuff and he's still he's
creative as hell I guess where he that
guy has so many moves mm-hmm just and he
it's like when he approaches the dance
he goes like what are you expecting me
to do oh okay I'm gonna do the complete
opposite or I'm gonna do that in Reverse
and I'm only gonna use my elbows or
something and it's like okay dude I love
it yeah his dogs very complete like very
crazy yeah just I feel like he's one of
the first like a blow-up move artists
I've ever seen is where it's like cuz
you know like the typical blow-up guy is
just like you know hand hop and stab
into like a you know air chair or
whatever right you know that takes a lot
of difficulty no doubt but there's a lot
of artistry in the way that Rob Zilla
would blow you up because he had that
sort of athleticism too but he would
just like do something creates like
something that weird little swipe thing
he does and then he'll like go on his
fingertips and like you know his shoe
off in the middle of it right and it's
like holy shit how did he do that that
was the craziest thing I ever seen and
it was also like you know
super um just super artistic it's just
like he not only blew you up with
athleticism but he also blew you up in
like the weirdest shit he could think of
so yeah I mean hard like difficult so
did a lot of those signatures I still
haven't seen anybody do yet yeah you
know what I mean like the Mothra style
he has the plague moth wings yeah yeah
but I feel like yeah the Grinch thing
the freaking he would do like elbow tip
spins like what his hand on his hip kind
of thing like that like dude he was man
that guy was crazy good yeah I want to
get him on the show actually eventually
though I'm gonna do ace tomorrow
actually Oh tight yeah that's a guy that
has a lot of history a lot of history
himself he's deeply embedded in the
Southern California breaking history for
a shirt that's sick it's like I feel
like he's the I don't know he's uh he's
like so damn smooth just nope yeah it
like you see you see a little bit of him
in so many like oh jeez it's crazy yeah
it's probably because he taught a lot of
them yeah I feel like is it's really
cool to see somebody like him because he
realizes like wow there's people in this
area that were very well-rounded mm-hmm
yeah like very well-rounded like a
little bit of everything yeah cuz
historically Southern California was
known for like power moves and just like
doing some crazy stuff and then makers
top style like yeah but then you there's
also like a very rich history yeah like
a little Caesar perfect example of like
dudes that'll just like go crazy on you
but yeah but yeah Los Angeles has like a
huge history of like some styles beyond
that too and so I think ace is a good
example of that totally yeah
so uh so we didn't really talk about the
Olympics what do you think about
breaking in the Olympics
man something I've been asking probably
everyone I've had on just because it's
such an interesting place that we're
about to go to totally I think that one
big thing about breaking when you break
every b-boy can identify with this I
think people have so much Miskin
misconceptions about it yeah you know
like think of the things that normal
person says do you like oh you break oh
dude
like do you get in a lot of dance
battles like when you believe them all
or something yeah yeah oh you break you
must have crazy upper-body strength
oh I must be able to bitch like you know
and it's like no none of those things
are true you know and I just think that
the the miss conceptions about it could
possibly be like crazy magnified mmm by
this situation possibly possibly not it
could be great for us you know so I want
to keep my mind open to the positivity
and I personally would love to be
involved I'm a type of person like I'm
good at talking and hosting and doing
stuff like that like I would love to be
the commentator talking at the break-in
Olympics yeah yeah because when I do
that I'm gonna talk about where that
person is from what crew they're from
what country they're from why they dance
that way why they're dancing that way at
this moment - you know like I think that
that's an opportunity that all of us
have to bring this culture with us into
the forefront of this spotlight and a
positive on a in a positively motivated
sense it could be fantastic
yeah you know what I agree I think it's
like a very good opportunity for the
scene to showcase like what we have been
up to since you last saw like in the
freakin 80s or whatever right you know
and and I hope that everyone else is
recognizing that it's a huge opportunity
but we also need to get our acts
together for it because if we go into it
blindly and you know don't introduce the
public to it the right way you're gonna
have some wild-ass shit happen and
they're gonna get the wrong cuz
someone's gonna be out there saying okay
this is what's happening on these
battles and it's you know this guy just
rolled on the ground all that was cool
Oh what do you call that right let's
call it a you know the Rolly do you know
yeah you don't want that to happen yeah
and so um
like commentators are probably the most
important thing at least for the
introduction to everyone else into the
scene because in my mind the battling is
gonna happen it's we've been doing the
shit
you know our whole lives it's gonna
happen and it's gonna be right so I'm
not worried about that the battles are
gonna be hype yeah but I'm I'm more
afraid of like how the public is gonna
be introduced to it and so that's why
again I think this podcast is a good way
to like get give I guess give the the
call to everyone that there needs to be
some thought into this totally before we
just kind of blindly step into it yeah I
mean I think I think another really big
aspect of the culture that we are seeing
a shift with late a recent you know big
sponsored battle formats is that you
compromise the music yeah play James
Brown yeah in Rocky damn shame Big Daddy
Kane Rock yeah whoo tang you know all
these classic break beats and funk
tracks and hip-hop tracks in this whole
body of music that's so has educated
b-boys and hip-hop people so much about
hip-hop music like I love break breaking
music so much that it made me learn
about music yeah yeah and I think most
real b-boys are the same way and that's
one thing that always makes me sad kind
of that they can't play classic tracks
because that is one of the ways that you
educate the public about this culture
you know Sean where I came from man
James Brown give it up turn loose sex
machine soul power you know what I mean
and when you take that away and make it
a little more electronical I'm cool with
that
you know yeah like like and once again
shout out to the deejays that are on the
forefront of that that are yeah
making it fit in that format and doing
the best they can you know it but it's
just different yeah you know it is
different and yet I I hope that if
that's the only hump we need to get over
I think we can probably figure out a way
to do it and yeah I think DJ's like plus
one and lean rock and flank flag and
countless others have been doing a
really good job of like
keeping kind of the essence of like what
we do in the music that they produce
themselves and but yeah I mean the but
these guys are not just producers
they're like very very talented DJs when
you give them already established music
they make you know they make it go crazy
so it's like I really I really hope that
we can pull that back into the scene
more and yeah I think it's a damn shame
that it's kind of come out and I think
it maybe has to do with you know
copyrights and all that great job with
that corporate influence when you're
streaming it live to millions people are
viewing it yeah the copyrights right so
yeah yo maybe won't be an issue I
remember watching the Olympics in hey
they do like floor routines and mm-hmm
the routine with figure skating with
their listen to music that music ska be
ready yeah I mean they probably have to
get it cleared so it's maybe just a
really crappy exercise of just saying
here's the music we want to play let's
see what we can get cleared and you know
maybe it's like here's 200 tracks let's
cut it you know let's see what what goes
through okay it's only a hundred let's
see what we can do with 100 maybe that's
what you got to do but it'd be nice to
see that come back into and especially
on the stage of the Olympics where a lot
of people are gonna see it you know and
with that being said I think the other
thing that I am a little bit worried
about is how judging is gonna happen in
right Olympics because it's like I think
breaking is such a like a subjective
thing right you know it's you're judging
an art form and I think most of you
always understand this that you win or
lose a jam and it's not that you
actually won or lost it's more that the
judges maybe they liked your style or
didn't like your style that exactly you
know and so there's a lot of opinion
involved with that I mean the most
unbiased judge is still biased and
that's because no matter what they do
you know no matter how many things they
try to draw away from swing their
opinion they're still gonna go all
things being equal
this style versus that style what breaks
the tie I like that guy's style better
than that guy's style and everything
else being equal no flops you know
perfect execution of everything same
difficulty or whatever same musicality
what breaks the tie it's always gonna be
I like that style more than that one
right so to me that there's an inherent
bias in there that so knowing that how
do you reconcile that in the Olympic
setting where you need to have some
objective criteria to judge on cuz you
can't just point with your hand right
yeah because that's how we traditionally
do it is we point to the winner who we
think wins the battle and usually like
around for round or whatever whatever
way you judge but you know for the
Olympics
you got you got like uh Caicos here um
you're gonna need some kind of criteria
to judge on that is stable for
everything right yeah and I'm trying to
figure out a good way to do that you
know what I mean yeah because I guess
for like gymnastics right you got you
know usually there's like a floor
routine and they'll say okay I'm gonna
do these moves or whatever point system
point point system they'll deduct based
on how you executed or whatever so a lot
of it just has to do with execution and
I think you can probably do that for
braking is given execution score but I
don't think that's gonna really do cut
it for what we need it to do because you
know you can execute a whole lot of
trash right nicely you know what I mean
or a whole lot of biting very nicely and
maybe exactly you know where does it
where do you cut that kind of stuff out
you know and that's where you get this
creative score I don't know how you do
that though I don't know man to me I
feel like the creative score would be
like one of the most important parts
because otherwise when you're
quantifying everything it's just gonna
be about who could do the most flares in
the most head spins yeah it's gonna be
whoo whatever kid as the long as power
sets gonna win probably right
like you know like a score for like your
legs were straight or something yeah and
that's another thing is like people have
different styles how they do power even
the quant the most quantifiable part of
breaking right so how do you even
determine what a set in stone score is
gonna be you know and then how do you
how do you score footwork originality
style you know are you gonna are you
gonna get a penalty if you freakin you
know make a gun with your hand and
putting the dude's face yeah yeah yeah
there's stuff that's already involved in
braking but it's like not involved in
other sports yeah they don't want to see
that in that groin you know I mean like
are you gonna be penalized and stuff
like yeah I'm afraid that that's
probably gonna happen right well yeah I
almost think what you need to do is
embrace the bias and say you know this
is part of what we do because it's a
creative it's a creative thing right and
so what you need to do is have a heat
you know you need to have this pool of
other creatives that are knowledgeable
about the dance and and give their
opinion on what happens and I mean yeah
you can give them criteria like what is
a good execution and bad execution score
and they can factor that into what their
overall opinion is but I think if you
somewhat embrace it a little bit but try
to weed out the bad opinions by having
tons of judges okay you know so like
traditionally we only have like three
judges maybe five judges for a battle
right I'm thinking like what if for the
Olympics you just had like 20 judges oh
well you know because in a way in it in
a way I think it it actually stays kind
of true to what we're breaking is is
like back before any competitions
existed you were breaking you were
battling say me and you are battling
like what are we trying to do we're
trying to blow the other person up right
and have the crowd go like oh that guy
got burned you know what I mean and so
in a way these judges are the crowd
except they're not just like bystanders
they're like they're they're very
knowledgeable people and they have their
holds a lot of weight now and so I think
I think if you had that it would at
least get rid of you know the the few
guys that are like trying to vote for
their homies or whatever right you know
hopefully you can't vet out there's
always gonna be a thing hopefully you
can yeah it will be yeah I think if you
can at least vet out the judges well
enough so that you know that they're not
going to outwardly do that or obviously
do that they at least have a little bit
of honor and like they're judging and
then but you have like twenty of them
and yeah we know that it's probably
gonna happen a little bit unconsciously
but it's gonna get weeded out because
you have this huge this multitude of
judges from different countries
different backgrounds different eras
giving these opinions on it so you have
a diverse diverse judging panel I almost
think that's maybe the fairest way to do
it and still hold true to what breaking
is well cuz that way too if you got 12
judges or 15 judges on your side you
know you really won yeah yeah yes that
many people but you know saying that you
got it then that's a little bit easier I
think to accept ya cuz cuz all this all
these other judging systems while I
think it's like they're they're trying
to nail down criteria for judging I
think they're also showing the holes in
judging to me like Dizzy's system for
instance I think he's he's made a good
effort to try to nail it down but he's
also pointed out that you know you can
have all these things you could score
100% on his scorecard but I could still
think you lost right like like if you
went back to the example of like yawn
right say you had the the one of
everything b-boy versus a yawn who just
say he just does his like typical little
flow kind of move and hits a crazy
freeze you know he probably score high
in certain things and not high in other
ones if you just did something like that
and then maybe you had some other guy
that hits whatever and maybe he scores
really high in all these categories
right in in Jersey system I think maybe
that guy would win but in another system
some
you'd probably go with the aunt I would
think totally cuz he's just you know
maybe he's mastered that style so much
more than this guy
and that's that depends on the outcome
of what what it is we're going for here
right yeah yeah and so yeah and so I
think with Dizzy system what it's
pointed out to me at least is that it it
it tailors you to have a certain style
to win that kind of battle but yeah
inherently you don't need to do that to
be a good b-boy and so I I think he's at
least like giving good categories for
what breaking what can constitute a good
boy but I also think that there's other
categories I also think you shouldn't
just have one single person judging on
each of those categories because again
you're introducing a lot of bias that
you probably don't want to have in it so
my perspective is that you'd have all of
the judges vote on each of those aspects
would probably be a little more fair
yeah but again I think maybe what you do
is you just say here's this is this is
what we define as all this stuff and
then give it to these twenty judges or
whatever they can use it or they can't
that doesn't matter they just do what
they want they do what they want it's
like I trust that they have the
experience and knowledge to know like
what they like and what they don't and
and they can back up their opinion I
guess the the issue then comes where the
public might come forward and go like
okay well why did this guy win and that
guy didn't win and then now you got a
whole slew of people giving a bunch of
commentary on why that is and there's
nothing objective about it it's just my
opinion was this my opinion was this my
opinion was this and you sum it all
together to say okay that's why that guy
edged over this guy I don't know but I
think this is the conversation that
needs to happen and totally so we can
have some kind of like basis yeah um I'm
sorry to interrupt but can I go the
bathroom oh yeah a gallon water - oh
shoot
break-in Olympics another thing that I
think is gonna be really interesting to
see what you're already experiencing is
the corporate sponsorship influence and
how that's gonna be a thing I mean you
know this is already happening in a lot
of ways in people and already I'll just
give an example it like could happen in
the Olympics let's say you know let's
say like Team USA sponsored by Nike
right and they're in there and they're
all Nike DUP which okay we like Nikes I
freaking love them right yeah
there's like a Nike frickin billboard
inside the arena and then they win and
you look at the judges and all the
judges have Nike track suits on you know
I mean it's an those things were you
like oh
Nike kind of bought this one they bought
it yeah well I don't know yeah to me I
kind of see that as as a negative part
because you know there's so much money
flying around and and I think for for
b-boys it's hard to get a job dude
yeah it's hard to get a job everything
compromises your ability to break you
know unless if your job is breaking
unless it is break and then those jobs
are very competitive with other people
that break so if somebody some corporate
sponsor comes in and says yo your rent
covered plus this amount plus you teared
up you know they're gonna be controlling
those they're gonna be like little
break-in puppets right yeah yeah you
know I don't know that's just a fear I
would have of breaking blowing up but I
don't want to go forward with fear I
want to go forward you know with the
love for it and the understanding that
we're gonna you know those same people
are gonna be involved
I think people you mentioned like lean
rock bless one flag who you know those
same guys turn around they go back into
their local communities and throw dope
jams that are raw where they played the
original break beats and they hire on og
deejays hmm you know actually lean rocks
been doing a series with juice and
they've been awesome it's been - so far
it's called Stiles no joking mmm just a
raw hip hop jam in the park mmm and so
you know that's yeah I just I just think
it's important and and I think it's
important for those of us that work
professionally in in whether it's the
entertainment industry or education or
the
nonprofit sector to always try if you
can try and find a way to give back you
know and that that's why yeah I do gigs
like I'll do if people come to me and I
like it I'll do you know music videos or
commercials or whatever I've been in a
breaking movie like hmmm but I'm a
person that you will see like at a rec
center teaching kids yeah you know what
I mean and like also have a lot of
experience and knowledge in this culture
and I and I turn around and put that
into my lifestyle yeah so I think that's
important because you know hip-hop they
say each one teach one so that's like a
thing that we have to keep a lot yeah
each one teach one is like a staple kind
of thing in the whole all of hip-hop
culture that I feel like you got to be
in hip-hop to like really understand it
but it's something that is so important
to everything really I mean cuz it's
it's it's spreading your knowledge to
someone else and I think that that's the
that's the overall that's the overall
thing we're trying to go with with
hip-hop is like cuz it's ever growing
and you know new faces into it obviously
need to get put on and they need a they
need to end up eventually putting
someone else on too and so I guess
instilling that behavior it's different
now you don't get those those teachings
through YouTube yeah you know or they're
the feet on Instagram you know the
popular most popular feed yeah yeah yeah
um well got a lot of stuff I could keep
talking to you about but probably we
should end this show since I think we've
done quite a bit ok well so it's good
having you I'd love to have you on again
there's tons to talk to you about I know
you've been you've been doing tons of
stuff in your career in
and hip-hop and so like do you want to
plug anything before we end this show
yeah um let me see here if I could real
quick I would definitely want to say if
you come to LA you want to come to
practice come to juice all the info is
on Facebook juice hip hop or instagram
at juice hip hop and that's just a
classic practice spot you know another
thing that's very important is letting
people know when people come to you with
those with those misconceptions and they
say like oh you know like did you where
can I take a class to learn breaking
it's like yo none of us learn in a class
we learn from an open session tell
people that let them know yeah and that
is a community thing it's not just you
know like I'm sure I'm sure a lot of
people did and nowadays even more people
you know have learned in a class but
then they graduated and went start going
open practice I would say you know don't
let not finding a class stray you away
from it and and don't be afraid to take
a class I mean that's good that there's
resources out there but like you know
obviously none of us took classes and we
figured out how to do it so it's you
know it's there in its there's tons of
people out there to help you out and so
right they'll point you to in the right
direction and then you know as you get
more into it yeah there's classes as lot
there's tons of resources yeah my
brother has his YouTube channel if you
want to just lines and stuff it's tons
of stuff out there there is and with
that I feel like the more that we can
uphold each other and push each other up
and give each other give each other
resources and honor each other as
teaching artists as oh geez as like you
said like soldiers in the culture that's
the best because we're basically making
ourselves more valuable to each other
you know like one thing that I'm always
trying to push on my upon myself
especially but then upon other people
who are younger who I see them going and
down a professional path is like yo your
professional development dude how is
your resume what could you really do
with this yeah yeah yeah you know and um
I love that I like like moving here
living here in LA I've gotten so many
crazy opportunities you know like I've
done work as a cultural ambassador
of the United States and other countries
you know yeah bro and I love it and I
and one of the reasons is because when
somebody asked me to make a two-week
long program in a curriculum I'm like
yeah I'll give it to you tomorrow
like when people ask me to do something
professionally in this as an artist too
I always say yes if I want if I want to
do it yeah and and you know it's I feel
respected as whatever I'm doing I always
say yes and I always bust my ass to do
my best because BAM now I could say I'm
a cultural ambassador and it just
expands it expands your the dimensions
of your resume dude you know what I mean
in this stuff you could do like hip hop
is legit why do you think people get
paid millions of dollars to do it you
know b-boying is one of the elements of
hip-hop culture which unfortunately is
the most overlooked overlooked
underutilized correctly and and has the
least professional development if you
you know I seen graffiti artists now
that our millionaires just on the
strength of them building their own
branding and it's just one guy yeah you
know what I mean same thing with
producers and DJs
same thing with emcees b-boys we don't
have that because we just break until
our bodies break right yeah yeah and I
think the more we can add extra
dimensions to what we're doing and make
people respect that it'll it'll get
better for us
well dope I mean that that's actually a
really good topic to jump into in like
another show I'd love to do that which
if you're if you're open to that well
but anyway so thank you for coming I
think this was a great show and it was
great talking to you man - bro thank you
for having me yeah I thank you guys for
listening
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45 episodes