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On the left is the record where the break first appeared, and on the right is DJ Kool Herc.
You could also call the Apache break the national anthem of drum n bass and all the other electronic microgenres based on sped up and scrambled hip-hop beats.
I can’t breakdance. I want to learn. It looks like fun. When I worked for the Parks Department I was involved in their afterschool programs. One of them met in the Alfred E Smith Recreation Center in the housing project of the same name. In the basketball gym, Roc-a-fella (the b-girl, not the record label) and her crew taught classes. Some of the people were beginners, and some were advanced Jedi masters. One guy could spin on his head while nonchalantly taking off his jacket. I watched some of those classes and felt as happy as I’ve ever felt watching other people do anything.
Here I’m going to collect some breakdance media and see if any thoughts emerge. Your suggestions welcome.
People have been experimenting with using recording playback devices as musical instruments for a hundred years, but the concept didn’t explode into mass consciousness until the rise of hip-hop turntablism in the early 1980s. The breakthrough moment for a lot of people was Herbie Hancock’s song “Rockit” from his 1983 album Future Shock. The song includes turntable scratching over a blend of live and programmed drums and synths, along with some heavily processed robo-vocals. Future Shock is named for the Curtis Mayfield song, which is itself named for the Alvin Toffler book. The basic gist is, “Too much change too fast is stressful for people.” Herbie, at least, has managed to get some pleasure from his future shock. (more…)
