Corcoran College of Art + Design
Senior Thesis 2012 written and designed by: Derek Long
CONTENTS 2
Introduction
3
80’s Breakdancing
21
21st Century Breakdancing
45
Jason Powell Interview
48
Niger Miles Interview
52
Bibliography
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INTRODUCTION
Breakdancing carries a specific graphic design
hip-hop cultures. Through extensive research,
language expressed in vinyl and CD albums,
personal experiences, and scholarly research
advertisements, posters, and fashion. Since
the theme of “Race and Graphic Design” will
the 1980s it transformed from a symbol of
be explored through breakdancing.
rebellion to one of mainstream acceptance and is now part of twenty-first century pop-
Breakdancing, which is more commonly known
culture. “The 1980s saw an explosion in many
as “street dance” or “b-boying” grew as a part
different kinds of music, which spawned some
of hip-hop culture among African Americans
very interesting and popular dances. With
and Latino youth groups in New York City. Not
new forms of music becoming mainstream,
only has breakdancing allowed dance artists to
like hip-hop, dance, electronic and Latin, the
express their talents, it has also become a form
dances that accompanied those sounds also
of graphic art. Rebels in the movement wanted
entered the pop culture landscape. Many of the
to be on their own and not with other crews.
most popular dance forms still endure into the
In the 1980s tension between the Latino and
21st century” (Koehler, eHow). This paper will
African American gangs were often settled
show the developments, both past and present,
through breakdancing.
of graphic design in the breakdancing and
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(Fig.1) Breakdance Movie Poster. 1984. 15�x32�
To its adherents, b-boying is a spiritual dis-
In the 1980s the youthful population began to
cipline much like martial arts. (Fig.1+2)
break free from the traditions of fashion, music
It exemplifies a cultural tradition in the form
trends, language or slang, and body posture.
of dance that visually portrays difficulty in
Race, in particular, was relevant as there is a
such moves. In its prime in the 1980s and
dispute whether Latino or African American cul-
again in the 21st century, b-boying emerged
ture planted the seed of what we now know as
into the worldwide culture more prominently.
breakdancing. Since then, new movements; b-
Through gymnastics, street dance, house music,
boying, mc-ing, and graffiti arts appealed to the
Broadway performance, aboriginal, jazz music
younger generations, addressing the hardships
and capoeira, which is a Brazilian art form that
that some faced in their lives. Graffiti was pos-
combines elements of martial arts and sports,
sibly the most significant and expressionistic
b-boying encompassed experimentation and
art form of this younger generation. Graffiti, also
tradition. From the African American and Latino
known as tagging or bombing, was portrayed
youth groups of New York in the mid 1970s to
on metro trains, trucks and abandoned build-
Europe, Asia, Japan and France breakdancing
ings. Taggers expressed their names; the term
became a worldwide phenomena.
king, was for individuals who have achieved the highest recognition as the most prolific writer in a particular area.
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“A significant issue in the ‘80s has been the relationship between b-boy culture and ethnicity. Clearly, ethnicity and its expression through culture are major themes of most scholarly writing about hip-hop ... The assumption of unbiased competition is the basis of almost all b-boy philosophy; the idea that such a competitive practice should favor individuals of one ethnicity over another runs directly counter to the ideals of the dance.” - Joseph Schloss
(Fig.2) Red Bull BC One. Times Square street show. 2009
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An introduction to the practice of graffiti writing, for example, actually presents a series of yogalike training exercises that students are expected to complete before even picking up a spray can... One must learn how to use the entire body for painting. The painting stance has often been compared with fencing. The body must be able to bend low, reach high, and make adjustments, all within the frame of its physical ability to do so. - Joseph Schloss
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Reactions may vary to such a broad statement, yet the physical manifestations that were
“The industry is one thing, but the culture is another and real recognizes real. We use to
involved with this practice, breakdancing more
just ride the train all day to see all the pieces,
so, were clearly identifiable from the perspec-
out of this struggle, this concrete jungle. That
tive of tagging. Tagging conformed to the per-
to me was like inspiration.�
sonalities of the individual or crew and exposed
(Style Wars, Disc 2)
cultural slangs and identities that were used
on multiple surfaces in the city. Most of society
Accompanying the new music and graffiti
at this time thought graffiti artists were African
came language and slang. Hip-hop was the
American and Latino, mainly due to the rise
hub for this language, set apart from normal
of hip-hop music and cheap fashion. B-boys
words or accents. The slang of the 1980s was
were pioneers, creating for themselves and
innovative because it represented the identity
not for others.
of younger teenage ethnic groups. Words such as stoked, fresh, def, and radical were among the many slang terms that were used during this time. They defined many cultural aspects
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“What was once performed at parties or on the street appeared in commercials, TV shows, and movies. By the mid-1980s breaking had become a worldwide craze. [ The style to many was becoming overexposed.] Members of the media which had once celebrated the dance, called (Fig.3) Wild Style DVD Cover. 1983
of society during the ‘80s and are still com-
b-boying a fad.” - Wendy Garafoli
seen as a pop-culture fad of the ‘80s, partially
In time, images associated with graffiti and
monly used today. Breakdancing, as a term, was
the result of social prejudice toward the African
the hip-hop industry emerged. The hairstyles,
perceived as a disturbance by members of the
American and Latino communities from which
headbands, jumpsuits, du-rags, sneakers, gold
media; Above all, breakdancing was designed
the dance emerged, and partially due to
chain necklaces, sunglasses, and mannerisms
not only for teenagers, but by teenagers.
the way hip-hop tends to keep its aesthetic
of rappers and breakers (all denounced by
B-boying, was the derivative term associated
principles to itself” (Schloss, Foundation). A
society) became the new social trend. “The
with breakdancing and is commonly mistaken
prime example can be seen in Fig.4, of a vinyl
general statement that fashion is cyclical has
and misinterpreted by the mainstream and
record cover called Breakdance: The Best Music
been proven time and time again as hairstyles
early breakdancers.
for Breaking, compares how b-boys performed
from the past have made their way back into
“B-boying, like most other aspects of hip-hop, is
in secret places, exemplified by the shadowy
the mainstream.” (Like Totally 80s) Rap groups
b-boy figures along with the language they
such as Run DMC became a cornerstone to
often portrayed as being devoid of abstract
spray painted on the brick wall in the center,
aesthetic principles. In the case of b-boying
(Fig. 3) an example of real graffiti associated
‘80s fashion for any age group, including the famous Addidas jumpsuits and sneakers, to the
specifically, this is partially due to its being
with tagging and the hip-hop culture.
Gazelles sunglasses. A song called “My Ad-
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(Fig.4) Arc-Music Vinyl Record Cover. 1984
(Fig.5) Break Machine: Break Dance Party. Cd Album Cover. 1984
didas” which was created during the downfall
dance album cover portrays the Break Machine
to in the half-decade between hip-hop’s
of the company during the eighties. It was an
crew strike a pose in their Nike shoes, which
emergence as a sociocultural movement
enormously successful marketable scheme
later became more famous after Run DMC
around 1974 and the development of an
that empowered Run DMC to become the first
began the fashion. While the bright fluorescent
associated musical genre in 1979. For those
rap group to promote fashion as the backbone
colors dominate the composition both digitally
who see hip-hop as a wild, anarchic expres-
of their successful careers. As Rawle Harris
and perspectively, the album successfully
sion of youthful abandon, brutal materialism,
put it; “Whatever the rappers during that time
resurrects the 80s jumpsuit, sneaker-wearing
criminality, or even political change, this may
were wearing, we also would wear. Most of the
fashion that has been so recognizable. In Fig.
seem odd” (Schloss, Foundation). Although
rappers were wearing sheltie Addidas sneakers
6 photograph of a breakdancer also displays
in both scholarly writing and popular press,
with the jump suit to match … The eyewear
the style that was so prominent during the
hip-hop culture and its descendants were
was strictly Gazelles, DMC was wearing them
mid-1980s.
received as a disruption of a tradition, one that
so why not us? … Had the fat laces to go with
became sort of cultural scab over the wounds
all my outfits … Hair style was always waves
As the junction of language, clothing, hairstyle,
of African American and Latino youth in New
in the hair. We wore du-rags back then not for
graffiti and breakdancing, was hip-hop. “They
York. “Through the nonverbal expressivity of the
fashion, but to keep our waves clean and fresh.”
are not hip-hop songs. They are the rock and
body, breakdance brings the global and local
(Harris, Like Totally 80s) In Fig. 5 this break-
funk songs that b-boying’s originators danced
closer than we usually imagine. The centrality
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(Fig.6) Photographer Unknown. 1983. Photo of B-boy
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(Fig.7) Magazine Spread. 1984. Vintage. 9”x12”
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Through the nonverbal expressivity of the body, breakdance brings the global and local closer than we usually imagine…B-boying as a part of hip-hop culture along with the myriad styles in the popping and locking dance genres and the many derivative styles of dance that accompany today’s rap music, become the visible component to this rhythmic base aesthetic. of the body in Afracanist aesthetics privileges“
expression of the present moment. This rhythm
Hip-hop music translated the rags to riches
structure of feeling” to use Raymond Williams’
can be clearly viewed in Figs. 3, 5 +7 the
lifestyle of the youth during the mid 1980s
terms, where the rhythm of hip-hop is made
gathering of participants lead the way into a
and earlier. It wasn’t until the mid 1980s that
visible literally through the muscles, apparent
more expressive and powerful performance.
hip-hop coined a new cultural phenomenon.
The combination of Latin percussions, which
of the time can be seen in b-boying. This
delivery. B-boying as a part of hip-hop culture
included bongos, guitar riffs and horns along
magazine graphic is a strong representation of
along with the myriad styles in the popping
with the mellow and steady beats of old school
hip-hop’s perception through music, clothing,
and locking dance genres and the many de-
artists such as James Brown and Jimmy Castor
mannerisms, and human proportions. The
rivative styles of dance that accompany today’s
Bunch allowed for alternatives for expres-
overall design lends itself to clean legible
rap music, become the visible component to
sive dance. Within hip-hop music and Latin
typography and photographic dominance,
this rhythmic base aesthetic” (Osumare 15).
percussion the deejays formulated rhythm that
working in unison. “Although the concept of
The backbone of this rhythmic component is
included breaks in between beats. It was from
hip-hop as popular music is commonplace now,
to provide participants the power to redefine
here that b-boying arose.
it was far from self-evident that such a thing
not only in the improvising b-boy or b-girl, but also in the emcee and deejay in his/her skilled
In Fig.7, Hip-Hop, as a term and music genre
themselves and their individualism, not only
would emerge. It is often forgotten that hip-hop
by selective emphasis, but through the self-
existed in a culture and performance context
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for at least five years (1974-1979) before it became a genre of popular music. For many in that era, the idea of hip-hop as a product was literally unthinkable.” (Schloss, Foundation) In (Fig. 8), the Jabbawockeez, who were the first Americas best Dance Crew winners, show how their one-of-kind fashion and position as a crew brought them to be the most recognizable b-boy crew today. As hip-hop music proceeded, the heritage behind the music was revealed. “Back in the day, people in Hawaii felt they had to act a certain way to be hip-hop. The best example is that the kids [then] felt they had to wear the Africa red, green and yellow medallions not even knowin’ what it stood for. But now they wear kukui nuts [made into leis] and show pride in their [own] heritage” (Osumare 116).
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“ Since the hip-hop club The Source opened, a city councilman did everything in his power to shut it down, even though it was something for kids of all ages to do and didn’t promote any negative things. It was just a place for the kids to come dance in a non-alcoholic, secured environment. But, because of his ‘image’ of what kids and dancing equals, he had it shut down. I would like to see more people opening their minds to the culture. Not judging the culture [hip-hop] when they don’t know the facts.” - Halifu Osumare
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(Fig.8) Jabbawockeez on Stage at Americas
(Fig.9) Vans Sneaker Mailouts. 1984
Best Dance Crew. International event. 2010 MTV
Many young kids began to revolve around
musical traditions, including Latin percussion
In the 1980s breakdancing was in its prime
the fashion and music trends of the 1980s,
and song structure, African American melodic
and what was being done on the streets and
a reminder of their origins. Latino B-boys
and vocal techniques, and an overall aesthetic
in alleyways was more important than what
found it most important to hold their ground
that speaks to the struggles and aspirations of
was being posted on billboards and inside
on the floor rather than through fashion
urban youth of the early 1970s. The musical
and outside trains. Graphics and typography
and fancy clothing.
soundtrack to b-boying is still primarily drawn
promoted breakdance culture worldwide. Vans
from recordings produced between 1969 and
sneakers saw this new form of dance as a
“Part of the power of b-boying is that it compli-
1974, suggesting that this fusion-and the tradi-
profitable way to gain the trust and respect of
cates these questions; it has drawn its founda-
tion it gave birth to is still highly valued almost
b-boys of the 1980s. (Fig.9) Mail outs were
tional movements and concepts from African
four decades later� (Schloss, Foundation).
American culture, the cultures of the English
sent to those who wore Vans sneakers, as well as to those who knew nothing about break-
and Spanish Caribbean, and Africa itself. B-
Hip-hop music, fashion, spoken language,
dancing. Vans consumers became known as
boying is truly a dance of the African diaspora.
personal image and heritage is the visual
the elite. The Breaking Out typography hints
Even the music that gave birth to the dance
language seen in posters, sneakers, graffiti
at the style of graffiti seen on brick walls, yet
is notable for its fusion of cultural elements
and more. A visual language is a system of
is digitally placed on the mailout card. Within
drawn from both African American and Latino
communication using visual elements.
the photograph Hispanics dominate the page,
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(Fig.10) Vans Sneaker
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(Fig.11) Photo by Alyssa Rosenzweig. April 19, 2009. Christian Battling Brian in breakdance showdown. Cardboard does not look terribly soft or forgiving
performing breakdance moves. The headbands,
rewind on this aspect of America’s musical
hand maneuvers without scratching their
boombox, and street environment all represent
history” (Kelley NPR Music). As I became more
bodies. They were usually soaped down to
iconic elements of b-boying. The iconography
aware of the hip-hop culture in the mid 1990s,
allow for an increase in spin moves and slid-
of breakdancers appeared in many of the ‘80s
I began to absorb all that was being done, and
ing. The cardboard floor mat is a symbol that
photographs and designs. The boombox was
purchased a boombox, baggy clothes and the
resonates with all breakdancers of the 1980s
one of the most important symbols in 1980s
hip-hop music. Icons such as the boombox
and can be seen in many photographs such
hip-hop culture. As Frannie Kelley wrote in an
removed the barriers which were used by
as in (Fig.11).
online article for NPR music released in April
younger generations. They symbolized the
of 2009, “Before there were iPods, or even
art of the music and the art of design through
From a typographic perspective, breakdanc-
CDs, and around the time cassettes let break
their scale and personalization. Alongside the
ing posters and cd album covers referencing
dancers move the party to a cardboard dance
boombox was the cardboard floor mats seen
hip-hop or graffiti have been overlooked. “The
floor on the sidewalk, there were boomboxes.
in Fig. 3+10 of the Wild Style DVD cover. The
advent of personal computers and computer
It’s been 20 years since the devices disap-
cardboard floor mat was used in the 1980s to
graphics in the 1980s led to block-like ma-
peared from the streets. It’s high time to press
allow b-boys and b-girls to perform spins and
chine and computerized fonts” (Hewitt). Many
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(Fig.12) Tiny Love popping in Union Square, NY with boomboxes from his collection. 1980s
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(Fig.13) Panasonic Magazine Ad. 1981-1985
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“ The 1980’s backgrounds often featured neon grids to give the appearance of high technology.” - Andrew Hewitt
forms of typography such as hand drawn,
became the most popular typographic choice
they tended to sting the eyes, which transferred
stencil, graffiti, and sans serif type made their
in creating the final products. Fluorescent
into the posters, cd albums, and wide ranges
way onto the poster, cd and vinyl record album
color palettes dominated ‘80s design. During
of apparel. “Neon shades of purple and blue
covers, sneakers, bandanas, jumpsuits and
the hip-hop movement, these bright colors
tried to make an impact, but they couldn’t
more. Graffiti, in particular, combines craft
were eye-popping and exemplified the idea of
hold a candle to their brighter counterparts,
with 3-dimensional aspects that help pop the
black lights. The most common colors during
pink, yellow and green. Eventually all forms of
signatures. Seen in Figs.14-16 the typographic
the 1980s were blues, red, sexy pink, yellow, tan,
neon faded and a more subdued color palette
approaches derive from similar cultural back-
purple, white and black. Tan represented the
emerged again.” (Like Totally 80s) In (Fig.17)
grounds, environments and fashion. These
texture of the cardboard mats that break-
we can see how the collage of imagery, color
titles reflect typography in the 1980s, most
dancers performed on in the streets and in
and multiple typefaces are integrated into one
especially during the era of the hip-hop culture
clubs. The remaining colors were used in
design, breakdancing posters. The composition
movement, dominated by cd album artwork.
striking designs that drew in audiences from a
of breakdancing posters, cd albums, DVD cov-
Photographs often spoke louder than words
distance. These colors were found in the most
ers, sneakers and clothing combined shapes,
such as in Fig.16 which portrays the crew sur-
mundane and unlikely places which, in return,
colors, graphic icons, and similar fashions that
rounded by a collage of graffiti and photomon-
created controversy from the media and from
spoke of the 80s graphic language. (Fig.18)
tages. In Figs.14+15 we can see that Helvetica
audiences abroad. The clothes were so bright
In this poster, three dominant figures (Lucinda
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Dickey, Adolfo Quinones, and Michael Cham-
be seen from a distance. Most 1980s poster
bers) are set in motion in a crowded space.
designs lack texture except for that of the
Both the top figures overlap while the bottom
cardboard textures.
figure is firmly grounded to focus the viewer’s attention to the credits on the bottom of the
Since I was born during the height of the
poster. What is successful about this photo is
breakdancing phenomenon in the late
essentially the title, which is hand-crafted and,
1980s, I was unable to see the movement in
to my eye, dominates the hierarchy. The geo-
action. Once the 21st century began, I was
metric shapes reflect Art Deco compositions of
at the edge of everything hip-hop, learning
the 1930s-1940s. Alongside the radical color
dance moves, lyrics, personal stories and
palettes, shapes, typography, and photographs
struggles. Breakdancing has stronger
was the element of scale. The size of specific
legs now than ever before. Even rural
graphic elements made a greater impact
communities established their own foun-
than would normally be expected to see in
dations, meanings, and above all, unique
posters or cd albums. Larger elements worked
styles. Breakdancing has once again emerged,
successfully for audiences because they could
in posters, fashion, televised ads, and exhibi-
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Breakdancing, a hip-hop-inspired series of dance moves that arose in the 1980s, continued to progress in the 21st century with new moves and techniques. Specifically, certain forms of breakdancing that utilize ballet, jazz and martial arts have taken root in certain urban areas, such as Austin, Texas. These forms of breakdancing work with three basic moves: the bear, the crab and the monkey. These three moves provide the foundation for the new wave of breakdancing - Byrd McDaniel
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(Fig.16) Typographic Styles. CD album covers
tions. The collision of both rural and urban
Today, slang is used more in t-shirt designs,
communities have now produced a wild style
titles for cd albums, and campaign posters
that continues to gain popularity in the most
promoting competitions and other b-boy events.
(Fig.14) Breakdance: Step by Step. Instruc-
unlikely of places. The seed has been planted
While carrying over into the graphic language,
tional DVD. 1989
and has thus blossomed into a well-known,
both in the ‘80s and today, it can most firmly
(Fig.15) Typographic Styles. CD album covers
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well-defined culture.
be referenced to the graffiti tag names we see
daily. It is truly a manifestation of ‘80s culture
Slang has flourished in the new wave of break-
and has remained a backbone for many of
dancing. Closely related to the evolution of
today’s graphic design media created for both
language and slang in the 1980s, many words
youthful and mid-age generations.
have remained and many have propagated,
including ill, sweet, ace, sick, punked and
Breakdancers in the 21st century have a
totally. One major difference today is that slang
multitude of different styles and forms. The
has now become a more common form of
b-boy image which was once flashy jump-suits,
spoken and graphical language. One thing has
gold chains and headbands has now dissolved
remained constant, and that is breakdancing.
and resurfaced with some changes. In Fig.20
(Fig.17) Breakdance the Movie: Sensation 4. Musical / Drama. The Rock Steady Crew, Mr. Robot. 1984. 23” x 33”
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(Fig.18) Breakdance the Movie. Poster.
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“ You know I’m pretty amazed that sneakers on the whole have become that kind of Fabergé-Eggish of our culture” - Darryl McDaniels
an African American and Korean breakdancer
moves and styles.
will see a b-boy make gestures, such as smiles
who are display their affection for the new
[For those who do not know what a
and hands over the mouth, when punking an
style. T-shirts, hoodies, jeans and cargo pants
Fabergé-egg is, it is a term used to for any
opposing crew member. (Figs.23+24) Man-
have become the new fashion. Sneakers were
one thousands of jeweled eggs made by the
nerisms within breakdancing, in particular,are
the most essential of b-boy gear, and that con-
House of Fabergé.] Hats became the new
reflexive communication, which assumes that
tinues today. “So when we started breakdanc-
headbands, dark clothes became the new
various individuals have differing views of the
ing and b-boying then sneakers came into play
bright clothes, but attitudes remained the same.
same reality and therefore may derive different
crazy because the ones that were comfortable
Twenty-first century b-boying is more graceful
meanings from the same experience. This
to dance in became standing gear for the
and less violent. Although it may appear that
simply means that the mannerisms seen on
people and b-boys” (McDaniels). Sneakers
an opposing crew member may want to fight,
and off the dance floor vary accordingly to the
like the Nike breakdancing sneakers seen in
it is all part of the performance. Typically you
experience or move performed by opposing
(Fig.22) were designed for performance, style
b-boys. These mannerisms give a sense of
and comfort. Nike, Addidas, Vans and Puma
pride and attitude. This has become a b-boy or
are long-term supporters of b-boys all around
b-boy crews official battle ground attitude that
the world. Their sneakers helped new and vet-
is very similar to the feuds that occurred in the
eran breakdancers evolve with unique power
‘80s. It has become an addition to the peaceful
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solution fostered by breakdancing.
who express their struggles and aspirations
Hip-hop music made its debut in the early ‘80s
through musical poetry. Some songs are vul-
and blossomed into 21st century pop culture,
gar and abusive towards women, politics and
along with R&B and electronic music . With
society. That has an impact on the youth of
emerging artists such as Lil Wayne, Chris Brown,
today, through obscene gestures and language.
Skrillax, and more music genres have taken
Hip-hop now is combined with electronic
on a more experimental form. “And, you know,
dance music, allowing breakdancers to spin
once hip-hop pops and it becomes mainstream,
themselves into moves never before seen by
what does a rap artist want to do to separate
the general public. Electronic dance music is a
himself from commercialism? He’s looking
form of mc-ing, where deejays of all races mix
for legitimacy! He’s looking for authentic”
different versions of music into one continuous
(McDaniels). Hip-hop, in particular, has trans-
song, while still creating the breaks and sounds
formed into a more individual and raw format,
from the early 1980s.
although in its defense, hip-hop has become the most successful music genre today. The (Fig.19) Planet B-boy: Breakdancing Has Evolved. Poster. 27” x 40”. 2007
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hip-hop industry includes many individuals
“While knowledge about many elements of hip-hop – rap music, especially – is primar-
(Fig.20) Two Breakdancers of different cultures exposing their new fashion style.
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“ Breakdancing is more popular today than it was in the 1980s ... battles happen on a global scale, with competitions taking place from Canada to Germany. Hip-hop dance, from breaking to newer styles like krumping [body-shaking-style] remains an important part of hip-hop culture� -Wendy Garafoli
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(Fig.21) BRAUN Battle of the Year. Poster/Flyer. 2011. Designer unknown.
ily developed through television, radio, the
the figures and icons. These illustrative figures
Internet and recordings, b-boying is almost
reflects Mr. Robot of the Rock Steady Crew in
always learned through personal interaction�
the 1984 Breakdance Sensations poster insert
(Schloss, Foundation)
(Fig. 17) This comparison of design elements
connects similar design styles that were once
The culture of b-boying began with two heri-
used in the 1980s with current design practic-
tages, African American and Latino, it has since
es in poster design. B-boying is just one aspect
grown at an unprecedented scale. Since the
of hip-hop, accompanied with dj-ing, mc-ing,
‘80s exclusivity, breakdancing has evolved into
and graffiti art. One of the many divides of
a worldwide phenomena that has captured the
b-boying within the South Korean, Japanese,
minds of rising talents. The Braun Battle of the
French, American, African American and Latino
Year is an international competition that invites
cultures is the disconnect between b-boys and
b-boy crews from around the world to compete
their parents. While b-boying is only mastered
against one another for the honor of being the
through years of practice, it is also an inherent
best. In (Fig.21) the graffiti style letterforms
skill. There is a type of universal anxiety expe-
are used along with the illustrative quality of
rienced by parents. They are pressured on the
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30
generational divides explored in interviews and the topics of racism and class structure, which in return is more directly absorbed by the bboys themselves, not only the parents. This, in turn, could be the reason why b-boys practiced in secret and had the attitudes they did. It was not only from the vulgarities of hip-hop music, but from the pressures of the parents and nonsupporters of this art form.
The 21st century still presents many negative perceptions for b-boys. Competitions such as the Braun Battle of the Year and Planet B-boy documentary have exposed b-boying and made it more universally accepted. “It is not surprising that there is a cultural disconnect, (Fig.22+23) Duel B-boy battle. Mannerisms. July 16, 2006. & March 1, 2011
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but it is surprising where the disconnect comes
In the 21st century, design in breakdancing
into play. B-boys from France and the U.S. are
has been reborn. The imagery, compositional
easily distinguished, as are those from South
layouts, photography, color and typography
Korea and Japan. South Koreans, relatively
have revived this creative art form, especially
new to the game, compensate with hard work
in the 21st century. As breakdance was viewed
and intensity. The Japanese are noted for
as its own creative art form. In Figs. 22+23 the
innovation, the French for artistry, and the
photographs make a distinct presentation on
Americans for their aggressiveness during
the expressions of fellow b-boys. Photographs
dance battles. Although each culture places
became a viral and universal element in
a new spin on their spins, the overall art is
furthering the b-boy lifestyle and more amaz-
universal across the world� (Kabir). Koreans
ingly, the freezes and difficulty in moves they
showing their experimental moves that defy
performed. Photographs also acted as a kind
gravity itself in conjunction with their love of
of secret floor plan for other b-boy enthusiasts
‘80s b-boy traditional style.
to study and dissect. (Fig.24) Photographs provide visual anchors that inspire and justify b-boys around the globe. On the parallel of (Fig.24) London newspaper article. Photograph. 2011
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(Fig.25) MTV Ad. 2010. Jabbawockeez
photographs are the prominent attributes of
symbolism. Icons such as the cardboard mats,
more commonly in 21st century breakdance
video and digital components. Video applies
the boombox, and fashion including sneakers,
design for its reference to early b-boy culture.
itself more exclusively with breakdancing
has defined the imagery. The ‘80s provided
Furthermore, the cardboard mats used since
because it provides documented footage of
some of the brightest and most colorful times
the early ‘80s continue to be used in perfor-
competitions and individual performances
in history with breakdancing, but the 21st cen-
mances. The cardboard mat is a symbol that
held globally. With technology advancing,
tury spun away from jumpsuit uniformity and
projects onto every b-boy and b-girl who began
videos can now be taken from mobile phones
into a personalized mode of fashion and color
on the streets. The cardboard mat would
and high quality digital cameras. In this documented stage, breakdancing can and has
. Some speculate that the ‘80s fluorescent fashion has been making a gradual comeback.
been dissected thoroughly and motivated and
In Fig. 25 the Jabbawockeez crew performs at
inspirated current and aspired b-boys.
MTVs America’s Best Dance Crew season finale
protect the breakdancer from getting scratched from the rough pavement underneath.
Sneakers continue to express personality in
after they won it in 2007. They are a crew who
the b-boy community and are used by b-boys
With the help of photography and video, elec-
continue to use the recognizable icons such
when performing, as they provided comfort and
tronic devices used by b-boys promoted iconic
as the boombox. The boombox has been used
stability. Fig. 26 show the Nike Triumph Break-
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(Fig.26) Shoebacca website. Nike Air Triumph Breakdancing sneaker.
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34
(Fig.27) Americas Best Dance Crew. Season
(Fig.28) Team Evolution. CD Album Cover. 2008
Finale. 2010. Jabbawockeez Crew.
graffiti, stencil, serif and sans serif, and grunge
dance sneaker still being sold today. The colors
moment, perform to entertain and do it for
remain fluorescent, as in the ‘80s yet still have
respect, the best gift one can receive. “Being
styles that are applied to similar environments.
a interesting visual appeal. In contrast with the
professional. What does that mean for you?
The computer effected on the quality and
Vans sneakers, (Fig. 9) the Nike sneaker has
Getting paid for what you do. Having your own
speed in which designs are made. Three-
bright colors and high-top comfortable design.
style. Doing your own moves. Don’t let nobody
dimensional type has been making major leaps
Sneakers are complemented by matching
else bite. Knowing what your doing. Be the best”
in design, seen in magazine ads, posters, shoes,
headgear and clothes, still commonly used
(Style Wars).
televised ads, motion, digital and more. Cey Adams’ recent design of Looking at Music 3.0
in places such as Americas Best Dance Crew,
in combination with Team Evolution cd album
(Fig.27) The idea of uniformity began to die
Typography in the 21st century reflects a transi-
off when competitions like Braun and Red Bull
tion made technologically, methodically, and
cover, three-dimensional type became an
personally. Typography includes hand drawn,
effective style in promoting b-boys, hip-hip and
BC One were introduced. B-boys live in the
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dance communities. It brings hierarchy to the designs without making them overly complex. Sans serif and serif typefaces continue in b-boy designs from the ‘80s. The grunge typography style is one that involves the subtraction of pieces or the addition of digital brushes to create a rough effect. This style reflects graffiti on brick or cement textures. It provides the rough edge to designs and brings street life or rugged terrain environments into the design. Graffiti in 21st century b-boy designs like cd albums or posters has transferred into a digital realm. This new digital form cleans up and makes graffiti more crisp and legible for viewers. Typography in 21st century breakdance designs continues to be dominated by ‘80s style. (Fig.29) Cey Adams. Looking At Music 3.0, 2011. Poster. Wall Graphic
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37
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38
(Fig.30) Americas Best Dance Crew. Banners
(Fig.31) Poster. Positively Cool. Uknown Artist
(Fig.32) Photo manipulation. Digital Graphic. 2011. Photoshop
Color has become an infectious element
audience’s reactions to shapes, the size of
in both eras, resulting in and explains to the
in designs of the ‘80s and the 21st century.
the elements, textures and the hierarchy of a
positivity of breakdancing.
Fluorescence in the ‘80s hip-hop communities
message or element. While the combination
was extravagant. In current designs, color
can be overwhelming, they remain vital to
(Fig. 32), although created digitally, reflects
lures us in. Cey Adams in Looking at Music 3.0
design aesthetics. Is the message or graphic
the history of breakdancing from the ‘80s into
(Fig. 29) portrays diverse colors that create a
relevant in the present? Are the shapes used
the 21st century referencing spray paint and
soothing feel to the overall design. Color now,
more for playful or informational purposes? Is
texture. The blue is vibrant and fun which
vibrates more, is cleaner and less muddled
the overall composition visually pleasing to the
reflects both the ‘80s and 21st century color
(Figs. 30 + 31). Color is exemplified on a vari-
eye and is that the only thing you’re interested
palettes. The message within the silhouette
ety of different levels. They are clearly different
in? Does the message, if any, speak to you on
of the figure takes more than one view. The
in saturation and boldness which visually flips
a personal level? Asking these questions will
photograph reflects the secrecy of graffiti artists
our perceptions upside down.
The composition of a design relies on the
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help clarify and determine your perceptions of
today. In (Fig.33), the web ad is an effective
graphic design media and language. Some
digital design full of color, shapes, textures,
may reflect aspects of your own experiences
photographs and communication. I Got Strings
(Fig.33) Web Ad. 2007. I Got Strings To Hold Me Down. Designer N/A Break Racism
40
(Fig.34) AIGA. 50 Greatest Hip-Hop Artists Breakdance Box. 2003. VH1 Productions. New York, New York.
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To Hold Me Down is an interesting graphic that
most successful b-boy design packages I have
incorporates many different, yet successful, ele-
seen. It combines all essential b-boy elements
ments. The photographs relate to the message
such as the boombox graphic printed onto the
of the design. The B-boy seems to be in a firm
cardboard material, reflective of the cardboard
freeze, yet is not exactly standing on anything.
mats used in the ‘80s and today. The variety
Even so, a b-boy is known for his acrobatic
of old-school and new school hip-hop beats
moves in the air and creates an interesting
accompanied with stickers and flyers help to
viewpoint. The hierarchy in the shapes behind
take the old school b-boys and b-girls, as well
the b-boy and the large hand are distracting
as new enthusiasts, back to the success of the
due to their size. In regards to their white color
breakdance culture. Education, history, and
they seem to act as a stage light projecting be-
creativity prove to be the dominant aspects of
hind the b-boy. In (Fig. 34) AIGA’s 50 Greatest
this package and show the diversity of graphic
Hip-Hop Artists Breakdance Box is among the
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ally into an aesthetic that combines tradition with cultural diversity. The ‘80s and the 21st century proved to be unique time periods for experimenting, with design in breakdancing in the 21st century.
many diverse styles of breakdancing. Both time periods reflect racial acceptance in different
In the 1980s breakdancing was performed by
ways, the traditions, originality in moves and
African Americans and Latinos; today it has re-
talent became the most notable attributes
emerged as a universally inclusive art. The ‘80s
of b-boys. Design in breakdancing started
displays of fluorescent colors, wild style graffiti,
small in the ‘80s, and has now grown on an
and unique fashions, were reflected in many
unprecedented scale. Breakdancing is a form
design media. In the 21st century breakdance
of creative art that invites people of all ethnici-
design vocabulary includes digitally generated
ties to challenge themselves. I see graphic
three-dimensional lettering and graffiti, a
design working in the same context as the
diverse color palette and a reliance on modern
dance itself. Graphic design in breakdancing
technology for printing and video. This fusion
continues to evolve. Where it ends up is up to
of breakdance and design has exploded glob-
the creativity of the designers and breakdanc-
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Jason Powell
INTERVIEW DL: The 1980s was a transformative time for breakdancing, when it went from small localized groups to recognition by the larger culture. Its growth was accompanied by visual identifiers such as graffiti, mc-ing, dj-ing, and b-boying. Do you feel graphic design was influenced by breakdancing during the 1980s? If so, how? JP: Thinking about the stylistic aspects of modern graphic design—rather than its utilitarian, organizational functions—I, of course, think it can be influenced and informed by anything and everything in the culture which surrounds us all. I’m reminded of an old expression about how fish don’t realize they’re in water, but I think many designers—well, the really good ones, anyway—are hyper-observant of the world around them, from the kerning on a packet of sugar in a restaurant to the infinite colors of a sunset. And designers can certainly draw inspiration from anything they may come across, from an Albrecht Dürer engraving to a photocopied punk rock concert flyer from the 1970s. Designers then create projects which go out into the world to become a part of the larger visual atmosphere, potentially influencing other designers, and the cycle continues unabated. To answer your question, I don’t think capital-G, capital-D Graphic Design, as a whole, was influenced by breakdancing in the 1980s. Many of the design elements that are commonly thought of as iconic signifiers of the B-boy culture were not created in response to breakdancing, but happened organically at the same time, from the party flyers of Buddy “The Flyer King” Esquire and Phase 2, to Eric Haze’s classic logos for Public Enemy and EPMD, and Dr. Revolt’s Yo! MTV Raps logo. As breakdancing gained popularity in the larger pop culture landscape in the 1980s, large corporations began to notice, and attempted to incorporate or, more accurately, co-opt these designs to stay relevant to the times, capture the booming youth market, and consequently increase their own bottom line. DL: Breakdancing had a resurgence in the last 15 years. What changes have you seen in the visual languages associated with the breakdancing culture during this period compared to the early 1980s? Has the revival led to new influences on graphic design? If so, can you describe some of these changes or influences? If not, why? JP: In my experience, breakdancing has almost always been having a “resurgence” in one form or another, to the point where it’s never really gone away. But to answer your question, the period stretching from the 1990s to the 2000s saw breakdancing partially adopted by the rave/jungle/ drum ‘n’ bass electronic music subculture. These (and countless other closely related) dance music subgenres all share music that eschews the repetitive, 4/4 staccato rhythm of house music for the fluid poly-rhythms of break beats, and what better form of locomotion than breakdancing
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to accompany this music, whether performing manic footwork to the 140+BPM high-end, or popping and locking to the ultra-deep basslines, which are often at exactly one half of the main tempo? As a result of this perhaps unlikely union, the imagery associated with breakdancing got a visual remix of sorts, dropping outdated signifiers like cardboard mats and boom boxes and picking up things from the flyers and posters of its new scene like sans serif typography and sophisticated Photoshop collages. Break-dancing once again looked like something from the future. However, I feel like a lot of the more recent images I see that employ breakdancing or B-boy imagery are using it to invoke a retro vibe or to serve as a visual badge of authenticity or “realness”. This seems lazy and insincere, like the graphic design equivalent of stonewashed jeans, or t-shirts with pre-distressed images silkscreened onto them. The Braun “Battle of the Year” poster you used in your example looks fairly clean and modern at first, but on second glance the sans serif typeface is one that’s been digitally distressed, the contemporary illustration style is undercut by the inclusion of an antique boombox, and the wildstyle graffiti piece is unceremoniously stuck in the middle of the composition, where it sits isolated and unrelated to any of the other design elements surrounding it. DL: Many artists during the 1980s, including Break Machine, used fluorescent colors in their album artwork. Why do you think using fluorescent colors became so popular in the 1980s among breakdancers and hip-hop artists? Why do you think it is no longer used in designs for the breakdancing community? JP: The Break Machine album cover you cite doesn’t contain any fluorescent colors, but rather the primary red and yellow and secondary green of the Pan-African movement. If this color palette is representing anything it’s more likely the group’s racial heritage and pride, rather than any strong ties to the breakdancing community, as they are widely regard as a novelty act at best. And fluorescent colors weren’t a signifier of only breakdancing culture in the 1980s, but were widely prevalent across much of the culture of the time. To name just a few examples: Patrick Nagel’s album cover for British pop group Duran Duran’s 1982 album Rio, the matching outfits of R‘n’B crossover group The Jets, The day-glo fashions of skateboarding’s first renaissance as best exemplified by the poster boys of the Bones Brigade, and of course the television series Miami Vice, with its retro-deco logo and the hugely influential wardrobe worn by Don Johnson. When I think of fluorescent colors and breakdancing, I actually look a bit further back, to the late 1970s and the proto-break dance troupe known as The Lockers. Their striped, polka-dotted, wildly colorful outfits—think a cross between early 1920s golfing attire and the Munchkins—served to draw viewers’ eyes to every part of their body, all of which were almost constantly in motion in their pioneering dance routines. DL: There continues to be debate over the relative influence of African Americans and Latinos in the early history of breakdancing. How do you feel these two groups influenced breakdancing? Do you feel these communities had an affect on the development of the visual languages associated with breakdancing? If so, how? JP: I’m not familiar with the debate you mention, and in my mind breakdancing was wholly a creation of the Black and Latino (and certainly other ethnic) youth in New York’s ghettoes, drawing on the musical and cultural influences of Africa, Jamaica, Puerto Rico, and more (see: disco, Kraftwerk, Giorgio Moroder, kung fu film choreography, etc) to create a wholly new cultural form out of diverse elements—a true symbol of America as a melting pot. Break Racism
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DL: In conjunction with design, clothing and iconography, such as headbands, boomboxes, and cardboard mats, have defined the ‘80s style of b-boying. Is it possible that fashion of this time affected the language of graphic design? JP: I think the breakdancing fashion of the time affected fashion rather than graphic design. Headbands, wristbands, bandanas, “parachute” pants, sleeveless shirts, mesh, grommets, painters’ caps, multiple watches, studded belts, etc all found their way into the mainstream look of 1980s apparel in a very short period of time. DL: The 2009 Red Bull BC One Poster uses a combination of stencil lettering and photo collage. Does this poster successfully represent the contemporary design language of breakdancing? If so, what particular elements of this poster are the most important and why? If not, why? JP: When I look at this poster design it feels very similar to the Braun “Battle of the Year” poster mentioned above: very corporate and not in any way innately connected to the vibrant youth culture it’s trying desperately to commodify. Again, the inclusion of the boombox and the cardboard mat speak in no way to contemporary breakdancing iconography. It’s akin to including a ‘57 Chevy and a “greaser” jacket in a flyer promoting a contemporary rock ‘n’ roll concert. The use of the stenciled font (not that it is just that—a font, and not stenciled by hand) the spray-paint spatters and drips (no doubt obtained from a free downloadable vector pack with a single Google search), and the wildstyle arrow circling the dancer suggest the designer is ripping off, or “biting” the 2005 iPod commercial featuring Eminem (the producers of which were sued for basing it largely on a commercial for the Lugz Arrow shoe from two years prior). Something like the promotional artwork for the 2012 Breakin’ Convention in London feels a bit more modern in execution, with its posterized line art, halftone dots, and tightly tracked Helvetica, though the imagery on the festival website once again falls back on paint spatters. DL: Graffiti style lettering was commonly used in 1980s breakdancing related designs. Should these forms of typography continue to be used in 21st century breakdancing design? If so, why? Is the relationship between graffiti and breakdancing still relevant or appropriate? JP: Graffiti style lettering, burners, tags, and murals are still vibrant, beautiful, and contemporary, as a visit to New York’s Five Pointz or Los Angeles’s Venice Beach Graffiti Pit can easily attest. However, I think graffiti has grown a great deal as an art form, to the point that it is no longer thought of in conjunction with breakdancing and the other elements of hip hop. Breaking may have further to go, as many still see it as a relic of the past rather than a vital, living art form. But with new musical genres such as dubstep engaging new generations of dancers (Marquese Scott springs to mind, who rose to fame via a viral video dancing to “Pumped Up Kicks” by MGMT), with beats that dovetail seamlessly with the physical language of breaking, it seems like it’s not going anywhere. Perhaps a new generation of graphic designers can adapt the visual language of breakdancing to keep pace with its ever-evolving identity.
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NIGER MILES
INTERVIEW DL: The 1980s was a transformative time for breakdancing, when it went from small localized groups to recognition by the larger culture. Its growth was accompanied by visual identifiers such as graffiti, mc-ing, dj-ing, and b-boying. Do you feel graphic design was influenced by breakdancing during the 1980s? If so, how? NM: I wouldn’t necessarily say that the art of breakdancing itself had an influence on graphic design, but the culture surrounding breakdancing has had an enormous influence on graphic design, as well as the other creative disciplines and the culture at large. Hip Hop culture in general, as a platform for communication has permeated society and commerce on a global level. If we were to take a critical look at the primary arts that we associate with hip hop, and break them down to their essence I think that we would start to see a commonality that can absolutely be seen in graphic design all over the place, today and for the past few decades. DJ’ing, graffiti, breakdancing, and mc’ing all share the same element of freestyling. That is to say that they all aim to deviate from some sort of traditional structure in an attempt to communicate something in a pure expressionistic way. Graffiti is essentially expressive typography, without the cumbersome traditional limitations of x height, line weight, baselines, proper ascenders etc. Although all of those things are present, it is the artist’s objective to deviate from that in some way. Mc’ing is the same thing but with words and poetry. These aren’t sonnets or haikus. Dj’ing also does this and so does breakdancing. But more important than that is the direct correlation between hip hop culture and under served communities, who may not have had a voice prior to its birth. Hip hop started in the Bronx. It’s not like jazz where you can argue that it started in Tennessee or New Orleans, or with punk where some would have you believe it began in London UK, others may tell you Germany, others say right here in the States. The environment in which hip hop started has never been up for debate. The environment being an underdeveloped urban area of New York City. This is important, because the scenery, the materials, the colors, the architecture have are all reflected in that “urban” aesthetic that is so present graphic design today. How many corporations run ads with some “ethnic” kids bopping around in front of a brick wall listening to watered down, radio friendly rap music, before they sell us fast food, car insurance, or a cell phone? Maybe there are graffiti like arrows streaming out of their phone or something. (Thank you After Effects!) It’s everywhere. I can’t even count how many commercials I see, where people are just gratuitously breakdancing! And then they sell me beer after that. It’s funny, but it speaks volumes. Creative firms like Gomedia and We Work for Them sell vector sets of silhouette breakers, spraycans, tape decks and graffiti arrows. This way we can tell our clients “Yes, I can totally give you that urban edge, because I know that your marketing research indicates that your audience wants to feel like they live in New York City in 1985!” It’s a fucking win win! Basically, the way it works is that the socio-economic and political climate of any given area affects the people of that area, and this is the mo-
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ment when culture is born. This culture then produces something. That something being whatever platform the culture uses to exercise its voice. That voice is then heard and interpreted in any number of ways. Once commerce is introduced in to the mix, something interesting happens. In order for the individuals involved in commerce to sell anything back to the culture, they need to on some level, at least give the impression that they have an understanding of the culture that they are selling to. Otherwise their business will ultimately fail. Incidentally on some larger level, this just contributes to the same cycle I previously described. Businesses fail- jobs are lost–people get angry–the angry sentiment fuels creation of platforms to exercise voice. Then it happens all over again, except each iteration may be slightly different. It happens every decade or so. –– But this, perhaps, is a discussion for another venue. The point being, that this is where graphic design, and other forms of communication come in to play. When a culture’s voice gets loud enough, it will inevitably be reflected in the communication arts because the economy depends on it. DL: Breakdancing had a resurgence in the last 15 years. What changes have you seen in the visual languages associated with the breakdancing culture during this period compared to the early 1980s? Has the revival led to new influences on graphic design? If so, can you describe some of these changes or influences? If not, why not? NM: I think that the visual language associated with breakdancing culture has become more harmonious with other sub / counter-cultures that have existed around popular music and popular culture in general. I live in NY, so I see kids breakdancing all the time, at Union Sq or 59th and 5th or wherever. And I also see a lot more kids on the train just popping and locking, by themselves, looking at their reflection in the window (which I find absolutely hilarious). One of the things I have observed, is how this cross pollination can be seen in their fashions. Which is has been slowly developing since breakdancing / hip-hop cultures inception. The video for Walk This Way by Aerosmith was a pivotal moment, as rap culture and rock culture converged. Then later in the 90’s came The Judgement Night soundtrack. It started to be cool to like both hip-hop and rock or metal. Two cultures that were previously segregated. Now that rock and hip-hop have reached mainstream status and are essentially both, pop music, we can see those styles coming together. This is evident in graphic design. The DIY hand-made design aesthetic is back. (I want to get back to you on this question with some examples, but I gotta run right now) DL: Many artists during the 1980s, including Break Machine, used fluorescent colors in their album artwork. Why do you think using fluorescent colors became so popular in the 1980s among breakdancers and hip-hop artists? Why do you think it is no longer used in designs for the breakdancing community? NM: I think that the bright colors, again, stemmed from an under served communities’ need for their voice to be heard and to create a contrast with their surroundings. And one way of doing that, as I mentioned earlier is to deviate from traditional structure, or conventional use. Colors in the eighties were generally kind of drab. Particularly in NYC, (which was a mess back then) the colors of the environment itself were anything but vibrant. We’re in the Bronx, and Harlem, areas of Brooklyn. These were areas that at that time were extremely under-developed and as a result, left the culture, or the people feeling marginalized. So the landscape was drab. Grey concrete, busted silver fences, the brownish grey of uncollected trash, dark red bricks and abandoned buildings. Every piece of electronic equipment was black, grey or beige. In the work place people were wearing a lot of navy blue and maroon. So naturally any one seeking to be heard may gravitate towards brighter, more fluorescent colors. If we look back through history, particularly at poster design from various revolutions around the world we see the same thing. Bright contrasting colors with bold typography. You will see a lot of bright reds and yellows. Then you have the propaganda posters which countered that. –Of a whole other discussion. But I’m fairly certain that if the printing technology existed you would have seen fluorescent colors as well. We didn’t
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always have the ability to produce such bright colors. We didn’t have PMS 172 and 186 (two of my personal favorites) 8 and 16 bit per channel colors that can sear ones eyeballs when juxtaposed against a complimentary color. We see the same thing with punk posters from that ‘80s. They were always lots of black and white often times with extremely bright neon greens or blues yellows and pinks. Neon colors was also HUGE in rock & roll from the ‘80s, which spilled into popular culture even earlier. And the results of that were everywhere, workout tapes, television shows, advertising. But basically loud colors communicate “SHUT UP AND LISTEN TO US!”. I think, and this is just my own personal theory, that we may no longer see the fluorescent colors as much these days, because the need for that voice to be heard is not as strong. Since the culture of hip hop has become synonymous with mainstream popular culture and a sought after aesthetic for commercial use, the urgency that was such a defining characteristic at its birth, is no longer relevant. The movement passed. The communities’ voice was heard. It’s no longer necessary to shout so loudly because the message was received. What was done with message and it’s nuanced interpretation across the masses, is an entirely different story. –But the evidence is all over the streets, on billboards, in department store and specialty boutique shelves and on television. By the way, the second the message actually reaches television is a monumental milestone for any cultural activity, if for nothing else, because of the sheer cost of televising anything. Have you ever seen GO-GO music on any major network? I haven’t. The majority of the world has never even heard of go-go. And if I didn’t spend 4 years in DC, I probably wouldn’t have either. Hip-hop, however is what most of the world thinks of now, when some one says; USA. DL: There continues to be debate over the relative influence of African Americans and Latinos in the early history of breakdancing. How do you feel these two groups influenced breakdancing? Do you feel these communities had an affect on the development of the visual languages associated with breakdancing? If so, how? NM: I don’t see why there is any debate. Everybody knows that hip hop culture came from Black and Latino communities in New York. When you go to Europe and Latin America and other places around the world they openly refer to it as “Black Music.” I went to a club in Hamburg, and the African dude outside was like “BLACK MUSIC, NO COVER, NO COVER!”. I looked at my German girlfriend at the time and was like “Did he just say black music?!” She was like (without an ounce of reservation or prejudice,) “Yeah that’s what we call it!” Then we went inside and I found out where all the Black people in Germany were hiding. In Brazil it’s the same thing. In the US, Latinos often get grouped in with Black people for reasons that are beyond the scope of this interview, (and I’m intentionally staying away from the term “African American”, because emigrated peoples from the West Indies and Africa are also lumped into this group) but for all intents and purposes let’s say that the term Black Music includes Latinos as well. I think that debate is ironically more prevalent here in the States because perhaps we’re too close to it. And more importantly there is so much history that makes for a much more inflammatory discourse than what might occur overseas. Did I answer the question? Wait–no I didn’t. Okay, so basically YES these two groups absolutely influenced breakdancing, and subsequently the visual language associated with it, because they were the main constituents of the culture that produced breakdancing. Okay there were a couple White people in the hip hop scene back then. But literally a couple. Blondie…. Give me a call if you can think of another. DL: In conjunction with design, clothing and iconography, such as headbands, boomboxes, and cardboard mats, have defined the ‘80s style of b-boying. Is it possible that fashion of this time affected the language of graphic design? NM: I think that fashion is just another means of expression and goes hand in hand with all the others created by a culture. So sure it affected the graphic language. We see those same bold colors, typography and general irreverence. But it’s also based on function as all design is. Breakers
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wore and continue to wear headbands, trackpants and sneakers because breaking is an athletic activity. But the colors chosen and the way they were worn speak to their particular time and culture. The same thing goes for the mc’s, writers, and dj’s. Gold belt buckles in the shape of your name in a slab serif typeface! What else screams “LISTEN TO ME,” so loudly! Oh wait– Gold Teeth with your name engraved in them. PUBLIC ENEMY’S FLAVA FLAV FLOSSING HIS GOLD FRONTS (notice bright primary colors on Flav’s hat and shirt ;) DL: The 2009 Red Bull BC One Poster uses a combination of stencil lettering and photo collage. Does this poster successfully represent the contemporary design language of breakdancing? If so, what particular elements of this poster are the most important and why? If not, why? NM: do think that this poster represents the contemporary language of breakdancing. At least when critiqued in its most commercial use. It’s a good example of what can happen over time when counter-culture becomes popular culture. As I was saying earlier the voice of these communities was heard throughout mainstream popular culture. Over time this can cause the message to be diluted. Once it’s diluted it’s no longer about the message as much as it becomes more about homage. The emotion that was infused in this message is gone and what we are left with are symbolic representations of what once was. What we see here are all of the symbols of the culture. New York City, a boom box, a subway train, a breaker, with those graffiti like arrows streaming around everything. Then we have those stencil letters. Now those stencil letters weren’t really happening in the “b-boy” era. In street art in general yes, but they weren’t specific to that particular culture. But since they are used on the street, in conjunction with spray paint, they get lumped in and the younger audience accepts it. Because honestly it’s really about the younger audience. It’s the demographic with disposable income, that a lot of these companies try to reach. I grew up in the eighties and I haven’t paid for a record since 1997. I became a designer because I realized that I could put my artwork all over the place and get paid for it, as opposed to getting arrested. So you’re not gonna get me to drink Redbull by making a collage with a bunch of elements that represent what I saw in my youth. However if they concerned themselves more with capturing that feeling and emotion, they could probably ditch half of those elements and make a clearer more powerful design. Then I might buy a can of Redbull, even though I think it’s good with vodka but otherwise kind of disgusting. This can be a problem with collage in general. It’s real easy to put a bunch of things on top of each other but it takes more focused research and consideration to re-create an emotional climate specific to a time and place. I hope this isn’t your poster by the way, if it is, consider this constructive criticism. As I mentioned I’m no longer part of the audience this poster aims to reach so my opinion isn’t necessarily relevant, where it’s effectiveness is concerned. I’m not saying the design sucks, but it could definitely be stronger. DL: Graffiti style lettering was commonly used in 1980s breakdancing related designs. Should these forms of typography continue to be used in 21st century breakdancing design? If so, why? Is the relationship between graffiti and breakdancing still relevant or appropriate? NM: I think the relationship between graffiti lettering and breakdancing is still pertinent. They are inextricably linked really. They have the very same roots. That being said I think it would be refreshing to see them progress because that look has gotten a little stale. I wouldn’t be surprised if they started offering a hip hop dance course at Julliard some time in the next 10 or 20 years. If that were to happen, it wouldn’t be too far out of the realm of reality to expect to see elements of breakdancing on the stages of Lincoln Center. How would that advertisement look? Would they still be using classical typefaces like Swiss Thin, and Futura on top of an image of a fresh new talent doing a windmill? Maybe. I think that would pretty cool. Likewise graffiti lettering could be used 20 yrs from now to sell people of my generation wine! I’ll be 51 yrs old opening up a bottle merlot aged since 1980 with the winery’s name in graffiti letters. Who knows?! 51
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Bibliography Elfman, Bradley. Breakdancing: Mr. Fresh and the Supreme Rockers Show You How to Do It. New York: Avon Books, 1984. Garofoli, Wendy. Hip-Hop Culture. Mankato, Minnesota: Capstone Press. 2010. Harris, Rawle. “Like Totally 80s: 80s Hip-Hop Fashion Memories.” Web. 1 November 2011. Hewitt, Andrew. “Retro Graphic Design.” Web. 6 December 2011. Johnson, Imani. “Ken Swift Part 1&2: Hip-Hop Humanities.” Hip-Hop Theater Festival. Web. Kabir, Naushad. “Breakdance’s Global Domination.” The Cornell Daily Sun. Web. 20 October 2008. Karsten, Margaret. Gender, Race, and Ethnicity in the Workplace. Westport, CT: Praeger Publishers, 2006. Kelley, Frannie. “A Eulogy For The Boombox.” NPR Music. Web. 22 April 2009. Koehler, Mike. “The Most Popular Dances in the Eighties.” Web. 31 March, 2011. Leach, Andrew. “One Day It’ll All Make Sense: Hip-Hop and Rap Resources for Music Librarians.“ Web. 1 March 2007. Lee, Benson. Planet B-Boy. USA. DVD. 2010 McDaniel, Byrd. “A List of Different Types of Dances for the 21st Century.” Web. 25 June 2011. McDaniels, Darryl. Just for Kicks. DVD. 2006. Miles, Niger. Personal Interview. Dec. 2011. Nketia, Kwabena, J.H. “The Musical Heritage of Africa.” Daedalus.Web. Vol. 103, No.2, Spring, 1974. Osumare, Halifu. The Afracanist Aesthetic in Global Hip-Hop: Power Moves. New York: Palgrave Macmillan, 2007. Powell, Jason. Personal Interview. Dec. 2011. Rockwell, John. “We B-Girlz in a Breakdancing Battle at Lincoln Center in London.” Web.12 August 2006. Schloss, Joseph. Foundation: B-Boys, B-girls, and Hip-Hop Culture in New York. London: Oxford University Press, 2009. Silver, Tony. Style Wars. DVD. 2004. Stoute, Steve. The Tanning of America. New York: Gotham Books, 2011.
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