break racism by derek long
DESCRIPTION
Break Racism by Derek Long 2012 ThesisTRANSCRIPT
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Corcoran College of Art + Design
Senior Thesis 2012
written and designed by: Derek Long
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2 Introduction
3 80’s Breakdancing
21 21st Century Breakdancing
45 Jason Powell Interview
48 Niger Miles Interview
52 Bibliography
CONTENTS
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1 Break Racism
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Break Racism 2
Breakdancing carries a specific graphic design
language expressed in vinyl and CD albums,
advertisements, posters, and fashion. Since
the 1980s it transformed from a symbol of
rebellion to one of mainstream acceptance
and is now part of twenty-first century pop-
culture. “The 1980s saw an explosion in many
different kinds of music, which spawned some
very interesting and popular dances. With
new forms of music becoming mainstream,
like hip-hop, dance, electronic and Latin, the
dances that accompanied those sounds also
entered the pop culture landscape. Many of the
most popular dance forms still endure into the
21st century” (Koehler, eHow). This paper will
show the developments, both past and present,
of graphic design in the breakdancing and
hip-hop cultures. Through extensive research,
personal experiences, and scholarly research
the theme of “Race and Graphic Design” will
be explored through breakdancing.
Breakdancing, which is more commonly known
as “street dance” or “b-boying” grew as a part
of hip-hop culture among African Americans
and Latino youth groups in New York City. Not
only has breakdancing allowed dance artists to
express their talents, it has also become a form
of graphic art. Rebels in the movement wanted
to be on their own and not with other crews.
In the 1980s tension between the Latino and
African American gangs were often settled
through breakdancing.
INTRODUCTION
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3 Break Racism
To its adherents, b-boying is a spiritual dis-
cipline much like martial arts. (Fig.1+2)
It exemplifies a cultural tradition in the form
of dance that visually portrays difficulty in
such moves. In its prime in the 1980s and
again in the 21st century, b-boying emerged
into the worldwide culture more prominently.
Through gymnastics, street dance, house music,
Broadway performance, aboriginal, jazz music
and capoeira, which is a Brazilian art form that
combines elements of martial arts and sports,
b-boying encompassed experimentation and
tradition. From the African American and Latino
youth groups of New York in the mid 1970s to
Europe, Asia, Japan and France breakdancing
became a worldwide phenomena.
In the 1980s the youthful population began to
break free from the traditions of fashion, music
trends, language or slang, and body posture.
Race, in particular, was relevant as there is a
dispute whether Latino or African American cul-
ture planted the seed of what we now know as
breakdancing. Since then, new movements; b-
boying, mc-ing, and graffiti arts appealed to the
younger generations, addressing the hardships
that some faced in their lives. Graffiti was pos-
sibly the most significant and expressionistic
art form of this younger generation. Graffiti, also
known as tagging or bombing, was portrayed
on metro trains, trucks and abandoned build-
ings. Taggers expressed their names; the term
king, was for individuals who have achieved the
highest recognition as the most prolific writer in
a particular area.
(Fig.1) Breakdance Movie Poster.
1984. 15”x32”
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Break Racism 4
(Fig.2) Red Bull BC One. Times Square street show. 2009
“A significant issue in the ‘80s has been
the relationship between b-boy culture and
ethnicity. Clearly, ethnicity and its expres-
sion 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
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An introduction to the practice of graffiti writing, for example, actually presents a series of yoga-like 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 fenc-ing. 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
involved with this practice, breakdancing more
so, were clearly identifiable from the perspec-
tive of tagging. Tagging conformed to the per-
sonalities of the individual or crew and exposed
cultural slangs and identities that were used
on multiple surfaces in the city. Most of society
at this time thought graffiti artists were African
American and Latino, mainly due to the rise
of hip-hop music and cheap fashion. B-boys
were pioneers, creating for themselves and
not for others.
“The industry is one thing, but the culture is
another and real recognizes real. We use to
just ride the train all day to see all the pieces,
out of this struggle, this concrete jungle. That
to me was like inspiration.”
(Style Wars, Disc 2)
Accompanying the new music and graffiti
came language and slang. Hip-hop was the
hub for this language, set apart from normal
words or accents. The slang of the 1980s was
innovative because it represented the identity
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
Break Racism 6
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7 Break Racism
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Break Racism 8
“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 over-
exposed.] Members of the media which
had once celebrated the dance, called
b-boying a fad.” - Wendy Garafoli
(Fig.3) Wild Style DVD Cover. 1983
of society during the ‘80s and are still com-
monly used today. Breakdancing, as a term, was
perceived as a disturbance by members of the
media; Above all, breakdancing was designed
not only for teenagers, but by teenagers.
B-boying, was the derivative term associated
with breakdancing and is commonly mistaken
and misinterpreted by the mainstream and
early breakdancers.
“B-boying, like most other aspects of hip-hop, is
often portrayed as being devoid of abstract
aesthetic principles. In the case of b-boying
specifically, this is partially due to its being
seen as a pop-culture fad of the ‘80s, partially
the result of social prejudice toward the African
American and Latino communities from which
the dance emerged, and partially due to
the way hip-hop tends to keep its aesthetic
principles to itself” (Schloss, Foundation). A
prime example can be seen in Fig.4, of a vinyl
record cover called Breakdance: The Best Music
for Breaking, compares how b-boys performed
in secret places, exemplified by the shadowy
b-boy figures along with the language they
spray painted on the brick wall in the center,
(Fig. 3) an example of real graffiti associated
with tagging and the hip-hop culture.
In time, images associated with graffiti and
the hip-hop industry emerged. The hairstyles,
headbands, jumpsuits, du-rags, sneakers, gold
chain necklaces, sunglasses, and mannerisms
of rappers and breakers (all denounced by
society) became the new social trend. “The
general statement that fashion is cyclical has
been proven time and time again as hairstyles
from the past have made their way back into
the mainstream.” (Like Totally 80s) Rap groups
such as Run DMC became a cornerstone to
‘80s fashion for any age group, including the
famous Addidas jumpsuits and sneakers, to the
Gazelles sunglasses. A song called “My Ad-
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9 Break Racism
didas” which was created during the downfall
of the company during the eighties. It was an
enormously successful marketable scheme
that empowered Run DMC to become the first
rap group to promote fashion as the backbone
of their successful careers. As Rawle Harris
put it; “Whatever the rappers during that time
were wearing, we also would wear. Most of the
rappers were wearing sheltie Addidas sneakers
with the jump suit to match … The eyewear
was strictly Gazelles, DMC was wearing them
so why not us? … Had the fat laces to go with
all my outfits … Hair style was always waves
in the hair. We wore du-rags back then not for
fashion, but to keep our waves clean and fresh.”
(Harris, Like Totally 80s) In Fig. 5 this break-
dance album cover portrays the Break Machine
crew strike a pose in their Nike shoes, which
later became more famous after Run DMC
began the fashion. While the bright fluorescent
colors dominate the composition both digitally
and perspectively, the album successfully
resurrects the 80s jumpsuit, sneaker-wearing
fashion that has been so recognizable. In Fig.
6 photograph of a breakdancer also displays
the style that was so prominent during the
mid-1980s.
As the junction of language, clothing, hairstyle,
graffiti and breakdancing, was hip-hop. “They
are not hip-hop songs. They are the rock and
funk songs that b-boying’s originators danced
to in the half-decade between hip-hop’s
emergence as a sociocultural movement
around 1974 and the development of an
associated musical genre in 1979. For those
who see hip-hop as a wild, anarchic expres-
sion of youthful abandon, brutal materialism,
criminality, or even political change, this may
seem odd” (Schloss, Foundation). Although
in both scholarly writing and popular press,
hip-hop culture and its descendants were
received as a disruption of a tradition, one that
became sort of cultural scab over the wounds
of African American and Latino youth in New
York. “Through the nonverbal expressivity of the
body, breakdance brings the global and local
closer than we usually imagine. The centrality
(Fig.4) Arc-Music Vinyl Record Cover. 1984 (Fig.5) Break Machine: Break Dance Party.
Cd Album Cover. 1984
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Break Racism 10
(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“
structure of feeling” to use Raymond Williams’
terms, where the rhythm of hip-hop is made
visible literally through the muscles, apparent
not only in the improvising b-boy or b-girl, but
also in the emcee and deejay in his/her skilled
delivery. B-boying as a part of hip-hop culture
along with the myriad styles in the popping
and locking dance genres and the many de-
rivative styles of dance that accompany today’s
rap music, become the visible component to
this rhythmic base aesthetic” (Osumare 15).
The backbone of this rhythmic component is
to provide participants the power to redefine
themselves and their individualism, not only
by selective emphasis, but through the self-
expression of the present moment. This rhythm
can be clearly viewed in Figs. 3, 5 +7 the
gathering of participants lead the way into a
more expressive and powerful performance.
The combination of Latin percussions, which
included bongos, guitar riffs and horns along
with the mellow and steady beats of old school
artists such as James Brown and Jimmy Castor
Bunch allowed for alternatives for expres-
sive dance. Within hip-hop music and Latin
percussion the deejays formulated rhythm that
included breaks in between beats. It was from
here that b-boying arose.
Hip-hop music translated the rags to riches
lifestyle of the youth during the mid 1980s
and earlier. It wasn’t until the mid 1980s that
hip-hop coined a new cultural phenomenon.
In Fig.7, Hip-Hop, as a term and music genre
of the time can be seen in b-boying. This
magazine graphic is a strong representation of
hip-hop’s perception through music, clothing,
mannerisms, and human proportions. The
overall design lends itself to clean legible
typography and photographic dominance,
working in unison. “Although the concept of
hip-hop as popular music is commonplace now,
it was far from self-evident that such a thing
would emerge. It is often forgotten that hip-hop
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 yel-
low 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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Break Racism 14
“ 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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15 Break Racism
Many young kids began to revolve around
the fashion and music trends of the 1980s,
a reminder of their origins. Latino B-boys
found it most important to hold their ground
on the floor rather than through fashion
and fancy clothing.
“Part of the power of b-boying is that it compli-
cates these questions; it has drawn its founda-
tional movements and concepts from African
American culture, the cultures of the English
and Spanish Caribbean, and Africa itself. B-
boying is truly a dance of the African diaspora.
Even the music that gave birth to the dance
is notable for its fusion of cultural elements
drawn from both African American and Latino
musical traditions, including Latin percussion
and song structure, African American melodic
and vocal techniques, and an overall aesthetic
that speaks to the struggles and aspirations of
urban youth of the early 1970s. The musical
soundtrack to b-boying is still primarily drawn
from recordings produced between 1969 and
1974, suggesting that this fusion-and the tradi-
tion it gave birth to is still highly valued almost
four decades later” (Schloss, Foundation).
Hip-hop music, fashion, spoken language,
personal image and heritage is the visual
language seen in posters, sneakers, graffiti
and more. A visual language is a system of
communication using visual elements.
In the 1980s breakdancing was in its prime
and what was being done on the streets and
in alleyways was more important than what
was being posted on billboards and inside
and outside trains. Graphics and typography
promoted breakdance culture worldwide. Vans
sneakers saw this new form of dance as a
profitable way to gain the trust and respect of
b-boys of the 1980s. (Fig.9) Mail outs were
sent to those who wore Vans sneakers, as well
as to those who knew nothing about break-
dancing. Vans consumers became known as
the elite. The Breaking Out typography hints
at the style of graffiti seen on brick walls, yet
is digitally placed on the mailout card. Within
the photograph Hispanics dominate the page,
(Fig.9) Vans Sneaker Mailouts. 1984(Fig.8) Jabbawockeez on Stage at Americas
Best Dance Crew. International event. 2010 MTV
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Break Racism 16
(Fig.10) Vans Sneaker
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17 Break Racism
performing breakdance moves. The headbands,
boombox, and street environment all represent
iconic elements of b-boying. The iconography
of breakdancers appeared in many of the ‘80s
photographs and designs. The boombox was
one of the most important symbols in 1980s
hip-hop culture. As Frannie Kelley wrote in an
online article for NPR music released in April
of 2009, “Before there were iPods, or even
CDs, and around the time cassettes let break
dancers move the party to a cardboard dance
floor on the sidewalk, there were boomboxes.
It’s been 20 years since the devices disap-
peared from the streets. It’s high time to press
rewind on this aspect of America’s musical
history” (Kelley NPR Music). As I became more
aware of the hip-hop culture in the mid 1990s,
I began to absorb all that was being done, and
purchased a boombox, baggy clothes and the
hip-hop music. Icons such as the boombox
removed the barriers which were used by
younger generations. They symbolized the
art of the music and the art of design through
their scale and personalization. Alongside the
boombox was the cardboard floor mats seen
in Fig. 3+10 of the Wild Style DVD cover. The
cardboard floor mat was used in the 1980s to
allow b-boys and b-girls to perform spins and
hand maneuvers without scratching their
bodies. They were usually soaped down to
allow for an increase in spin moves and slid-
ing. The cardboard floor mat is a symbol that
resonates with all breakdancers of the 1980s
and can be seen in many photographs such
as in (Fig.11).
From a typographic perspective, breakdanc-
ing posters and cd album covers referencing
hip-hop or graffiti have been overlooked. “The
advent of personal computers and computer
graphics in the 1980s led to block-like ma-
chine and computerized fonts” (Hewitt). Many
(Fig.11) Photo by Alyssa Rosenzweig. April 19, 2009. Christian Battling Brian in
breakdance showdown. Cardboard does not look terribly soft or forgiving
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(Fig.12) Tiny Love popping in Union Square, NY
with boomboxes from his collection. 1980s
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19 Break Racism
(Fig.13) Panasonic Magazine Ad. 1981-1985
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Break Racism 20
forms of typography such as hand drawn,
stencil, graffiti, and sans serif type made their
way onto the poster, cd and vinyl record album
covers, sneakers, bandanas, jumpsuits and
more. Graffiti, in particular, combines craft
with 3-dimensional aspects that help pop the
signatures. Seen in Figs.14-16 the typographic
approaches derive from similar cultural back-
grounds, environments and fashion. These
titles reflect typography in the 1980s, most
especially during the era of the hip-hop culture
movement, dominated by cd album artwork.
Photographs often spoke louder than words
such as in Fig.16 which portrays the crew sur-
rounded by a collage of graffiti and photomon-
tages. In Figs.14+15 we can see that Helvetica
became the most popular typographic choice
in creating the final products. Fluorescent
color palettes dominated ‘80s design. During
the hip-hop movement, these bright colors
were eye-popping and exemplified the idea of
black lights. The most common colors during
the 1980s were blues, red, sexy pink, yellow, tan,
purple, white and black. Tan represented the
texture of the cardboard mats that break-
dancers performed on in the streets and in
clubs. The remaining colors were used in
striking designs that drew in audiences from a
distance. These colors were found in the most
mundane and unlikely places which, in return,
created controversy from the media and from
audiences abroad. The clothes were so bright
they tended to sting the eyes, which transferred
into the posters, cd albums, and wide ranges
of apparel. “Neon shades of purple and blue
tried to make an impact, but they couldn’t
hold a candle to their brighter counterparts,
pink, yellow and green. Eventually all forms of
neon faded and a more subdued color palette
emerged again.” (Like Totally 80s) In (Fig.17)
we can see how the collage of imagery, color
and multiple typefaces are integrated into one
design, breakdancing posters. The composition
of breakdancing posters, cd albums, DVD cov-
ers, sneakers and clothing combined shapes,
colors, graphic icons, and similar fashions that
spoke of the 80s graphic language. (Fig.18)
In this poster, three dominant figures (Lucinda
“ The 1980’s backgrounds often featured neon grids to give the appearance of high technology.”
- Andrew Hewitt
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be seen from a distance. Most 1980s poster
designs lack texture except for that of the
cardboard textures.
Since I was born during the height of the
breakdancing phenomenon in the late
1980s, I was unable to see the movement in
action. Once the 21st century began, I was
at the edge of everything hip-hop, learning
dance moves, lyrics, personal stories and
struggles. Breakdancing has stronger
legs now than ever before. Even rural
communities established their own foun-
dations, meanings, and above all, unique
styles. Breakdancing has once again emerged,
in posters, fashion, televised ads, and exhibi-
Dickey, Adolfo Quinones, and Michael Cham-
bers) are set in motion in a crowded space.
Both the top figures overlap while the bottom
figure is firmly grounded to focus the viewer’s
attention to the credits on the bottom of the
poster. What is successful about this photo is
essentially the title, which is hand-crafted and,
to my eye, dominates the hierarchy. The geo-
metric shapes reflect Art Deco compositions of
the 1930s-1940s. Alongside the radical color
palettes, shapes, typography, and photographs
was the element of scale. The size of specific
graphic elements made a greater impact
than would normally be expected to see in
posters or cd albums. Larger elements worked
successfully for audiences because they could
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Breakdancing, a hip-hop-inspired series of
dance moves that arose in the 1980s, con-
tinued to progress in the 21st century with
new moves and techniques. Specifically, cer-
tain forms of breakdancing that utilize ballet,
jazz and martial arts have taken root in cer-
tain 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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23 Break Racism
tions. The collision of both rural and urban
communities have now produced a wild style
that continues to gain popularity in the most
unlikely of places. The seed has been planted
and has thus blossomed into a well-known,
well-defined culture.
Slang has flourished in the new wave of break-
dancing. Closely related to the evolution of
language and slang in the 1980s, many words
have remained and many have propagated,
including ill, sweet, ace, sick, punked and
totally. One major difference today is that slang
has now become a more common form of
spoken and graphical language. One thing has
remained constant, and that is breakdancing.
Today, slang is used more in t-shirt designs,
titles for cd albums, and campaign posters
promoting competitions and other b-boy events.
While carrying over into the graphic language,
both in the ‘80s and today, it can most firmly
be referenced to the graffiti tag names we see
daily. It is truly a manifestation of ‘80s culture
and has remained a backbone for many of
today’s graphic design media created for both
youthful and mid-age generations.
Breakdancers in the 21st century have a
multitude of different styles and forms. The
b-boy image which was once flashy jump-suits,
gold chains and headbands has now dissolved
and resurfaced with some changes. In Fig.20
(Fig.16) Typographic Styles. CD album covers
(Fig.14) Breakdance: Step by Step. Instruc-
tional DVD. 1989
(Fig.15) Typographic Styles. CD album covers
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Break Racism 24
(Fig.17)
Breakdance the Movie:
Sensation 4. Musical / Drama.
The Rock Steady Crew,
Mr. Robot. 1984. 23” x 33”
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25 Break Racism
(Fig.18) Breakdance the Movie. Poster.
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Break Racism 26
an African American and Korean breakdancer
who are display their affection for the new
style. T-shirts, hoodies, jeans and cargo pants
have become the new fashion. Sneakers were
the most essential of b-boy gear, and that con-
tinues today. “So when we started breakdanc-
ing and b-boying then sneakers came into play
crazy because the ones that were comfortable
to dance in became standing gear for the
people and b-boys” (McDaniels). Sneakers
like the Nike breakdancing sneakers seen in
(Fig.22) were designed for performance, style
and comfort. Nike, Addidas, Vans and Puma
are long-term supporters of b-boys all around
the world. Their sneakers helped new and vet-
eran breakdancers evolve with unique power
moves and styles.
[For those who do not know what a
Fabergé-egg is, it is a term used to for any
one thousands of jeweled eggs made by the
House of Fabergé.] Hats became the new
headbands, dark clothes became the new
bright clothes, but attitudes remained the same.
Twenty-first century b-boying is more graceful
and less violent. Although it may appear that
an opposing crew member may want to fight,
it is all part of the performance. Typically you
will see a b-boy make gestures, such as smiles
and hands over the mouth, when punking an
opposing crew member. (Figs.23+24) Man-
nerisms within breakdancing, in particular,are
reflexive communication, which assumes that
various individuals have differing views of the
same reality and therefore may derive different
meanings from the same experience. This
simply means that the mannerisms seen on
and off the dance floor vary accordingly to the
experience or move performed by opposing
b-boys. These mannerisms give a sense of
pride and attitude. This has become a b-boy or
b-boy crews official battle ground attitude that
is very similar to the feuds that occurred in the
‘80s. It has become an addition to the peaceful
“ You know I’m pretty amazed that sneakers on the whole
have become that kind of Fabergé-Eggish of our culture” - Darryl McDaniels
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27 Break Racism
solution fostered by breakdancing.
Hip-hop music made its debut in the early ‘80s
and blossomed into 21st century pop culture,
along with R&B and electronic music . With
emerging artists such as Lil Wayne, Chris Brown,
Skrillax, and more music genres have taken
on a more experimental form. “And, you know,
once hip-hop pops and it becomes mainstream,
what does a rap artist want to do to separate
himself from commercialism? He’s looking
for legitimacy! He’s looking for authentic”
(McDaniels). Hip-hop, in particular, has trans-
formed into a more individual and raw format,
although in its defense, hip-hop has become
the most successful music genre today. The
hip-hop industry includes many individuals
who express their struggles and aspirations
through musical poetry. Some songs are vul-
gar and abusive towards women, politics and
society. That has an impact on the youth of
today, through obscene gestures and language.
Hip-hop now is combined with electronic
dance music, allowing breakdancers to spin
themselves into moves never before seen by
the general public. Electronic dance music is a
form of mc-ing, where deejays of all races mix
different versions of music into one continuous
song, while still creating the breaks and sounds
from the early 1980s.
“While knowledge about many elements of
hip-hop – rap music, especially – is primar-(Fig.19) Planet B-boy: Breakdancing
Has Evolved. Poster. 27” x 40”. 2007
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Break Racism 28
(Fig.20) Two Breakdancers of different
cultures exposing their new fashion style.
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29 Break Racism
“ 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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ily developed through television, radio, the
Internet and recordings, b-boying is almost
always learned through personal interaction”
(Schloss, Foundation)
The culture of b-boying began with two heri-
tages, African American and Latino, it has since
grown at an unprecedented scale. Since the
‘80s exclusivity, breakdancing has evolved into
a worldwide phenomena that has captured the
minds of rising talents. The Braun Battle of the
Year is an international competition that invites
b-boy crews from around the world to compete
against one another for the honor of being the
best. In (Fig.21) the graffiti style letterforms
are used along with the illustrative quality of
the figures and icons. These illustrative figures
reflects Mr. Robot of the Rock Steady Crew in
the 1984 Breakdance Sensations poster insert
(Fig. 17) This comparison of design elements
connects similar design styles that were once
used in the 1980s with current design practic-
es in poster design. B-boying is just one aspect
of hip-hop, accompanied with dj-ing, mc-ing,
and graffiti art. One of the many divides of
b-boying within the South Korean, Japanese,
French, American, African American and Latino
cultures is the disconnect between b-boys and
their parents. While b-boying is only mastered
through years of practice, it is also an inherent
skill. There is a type of universal anxiety expe-
rienced by parents. They are pressured on the
Break Racism 30
(Fig.21) BRAUN Battle of the Year.
Poster/Flyer. 2011. Designer unknown.
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31 Break Racism
generational divides explored in interviews and
the topics of racism and class structure, which
in return is more directly absorbed by the b-
boys 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 non-
supporters 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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Break Racism 32
but it is surprising where the disconnect comes
into play. B-boys from France and the U.S. are
easily distinguished, as are those from South
Korea and Japan. South Koreans, relatively
new to the game, compensate with hard work
and intensity. The Japanese are noted for
innovation, the French for artistry, and the
Americans for their aggressiveness during
dance battles. Although each culture places
a new spin on their spins, the overall art is
universal across the world” (Kabir). Koreans
showing their experimental moves that defy
gravity itself in conjunction with their love of
‘80s b-boy traditional style.
In the 21st century, design in breakdancing
has been reborn. The imagery, compositional
layouts, photography, color and typography
have revived this creative art form, especially
in the 21st century. As breakdance was viewed
as its own creative art form. In Figs. 22+23 the
photographs make a distinct presentation on
the expressions of fellow b-boys. Photographs
became a viral and universal element in
furthering the b-boy lifestyle and more amaz-
ingly, the freezes and difficulty in moves they
performed. Photographs also acted as a kind
of secret floor plan for other b-boy enthusiasts
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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33 Break Racism
(Fig.25) MTV Ad. 2010. Jabbawockeez
photographs are the prominent attributes of
video and digital components. Video applies
itself more exclusively with breakdancing
because it provides documented footage of
competitions and individual performances
held globally. With technology advancing,
videos can now be taken from mobile phones
and high quality digital cameras. In this
documented stage, breakdancing can and has
been dissected thoroughly and motivated and
inspirated current and aspired b-boys.
With the help of photography and video, elec-
tronic devices used by b-boys promoted iconic
symbolism. Icons such as the cardboard mats,
the boombox, and fashion including sneakers,
has defined the imagery. The ‘80s provided
some of the brightest and most colorful times
in history with breakdancing, but the 21st cen-
tury spun away from jumpsuit uniformity and
into a personalized mode of fashion and color
. Some speculate that the ‘80s fluorescent
fashion has been making a gradual comeback.
In Fig. 25 the Jabbawockeez crew performs at
MTVs America’s Best Dance Crew season finale
after they won it in 2007. They are a crew who
continue to use the recognizable icons such
as the boombox. The boombox has been used
more commonly in 21st century breakdance
design for its reference to early b-boy culture.
Furthermore, the cardboard mats used since
the early ‘80s continue to be used in perfor-
mances. The cardboard mat is a symbol that
projects onto every b-boy and b-girl who began
on the streets. The cardboard mat would
protect the breakdancer from getting scratched
from the rough pavement underneath.
Sneakers continue to express personality in
the b-boy community and are used by b-boys
when performing, as they provided comfort and
stability. Fig. 26 show the Nike Triumph Break-
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Break Racism 34
(Fig.26) Shoebacca website. Nike Air
Triumph Breakdancing sneaker.
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35 Break Racism
dance sneaker still being sold today. The colors
remain fluorescent, as in the ‘80s yet still have
a interesting visual appeal. In contrast with the
Vans sneakers, (Fig. 9) the Nike sneaker has
bright colors and high-top comfortable design.
Sneakers are complemented by matching
headgear and clothes, still commonly used
in places such as Americas Best Dance Crew,
(Fig.27) The idea of uniformity began to die
off when competitions like Braun and Red Bull
BC One were introduced. B-boys live in the
moment, perform to entertain and do it for
respect, the best gift one can receive. “Being
professional. What does that mean for you?
Getting paid for what you do. Having your own
style. Doing your own moves. Don’t let nobody
else bite. Knowing what your doing. Be the best”
(Style Wars).
Typography in the 21st century reflects a transi-
tion made technologically, methodically, and
personally. Typography includes hand drawn,
graffiti, stencil, serif and sans serif, and grunge
styles that are applied to similar environments.
The computer effected on the quality and
speed in which designs are made. Three-
dimensional type has been making major leaps
in design, seen in magazine ads, posters, shoes,
televised ads, motion, digital and more. Cey
Adams’ recent design of Looking at Music 3.0
in combination with Team Evolution cd album
cover, three-dimensional type became an
effective style in promoting b-boys, hip-hip and
(Fig.27) Americas Best Dance Crew. Season
Finale. 2010. Jabbawockeez Crew.
(Fig.28) Team Evolution. CD Album Cover. 2008
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Break Racism 36
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 cre-
ate 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 de-
signs 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 Break Racism
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39 Break Racism
Color has become an infectious element
in designs of the ‘80s and the 21st century.
Fluorescence in the ‘80s hip-hop communities
was extravagant. In current designs, color
lures us in. Cey Adams in Looking at Music 3.0
(Fig. 29) portrays diverse colors that create a
soothing feel to the overall design. Color now,
vibrates more, is cleaner and less muddled
(Figs. 30 + 31). Color is exemplified on a vari-
ety of different levels. They are clearly different
in saturation and boldness which visually flips
our perceptions upside down.
The composition of a design relies on the
audience’s reactions to shapes, the size of
the elements, textures and the hierarchy of a
message or element. While the combination
can be overwhelming, they remain vital to
design aesthetics. Is the message or graphic
relevant in the present? Are the shapes used
more for playful or informational purposes? Is
the overall composition visually pleasing to the
eye and is that the only thing you’re interested
in? Does the message, if any, speak to you on
a personal level? Asking these questions will
help clarify and determine your perceptions of
graphic design media and language. Some
may reflect aspects of your own experiences
in both eras, resulting in and explains to the
positivity of breakdancing.
(Fig. 32), although created digitally, reflects
the history of breakdancing from the ‘80s into
the 21st century referencing spray paint and
texture. The blue is vibrant and fun which
reflects both the ‘80s and 21st century color
palettes. The message within the silhouette
of the figure takes more than one view. The
photograph reflects the secrecy of graffiti artists
today. In (Fig.33), the web ad is an effective
digital design full of color, shapes, textures,
photographs and communication. I Got Strings
(Fig.32) Photo manipulation. Digital Graphic.
2011. Photoshop
(Fig.30) Americas Best Dance Crew. Banners (Fig.31) Poster. Positively Cool. Uknown Artist
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(Fig.33) Web Ad. 2007. I Got Strings
To Hold Me Down. Designer N/A
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41 Break Racism
(Fig.34) AIGA. 50 Greatest Hip-Hop Artists Breakdance Box. 2003. VH1
Productions. New York, New York.
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Break Racism 42
To Hold Me Down is an interesting graphic that
incorporates many different, yet successful, ele-
ments. The photographs relate to the message
of the design. The B-boy seems to be in a firm
freeze, yet is not exactly standing on anything.
Even so, a b-boy is known for his acrobatic
moves in the air and creates an interesting
viewpoint. The hierarchy in the shapes behind
the b-boy and the large hand are distracting
due to their size. In regards to their white color
they seem to act as a stage light projecting be-
hind the b-boy. In (Fig. 34) AIGA’s 50 Greatest
Hip-Hop Artists Breakdance Box is among the
most successful b-boy design packages I have
seen. It combines all essential b-boy elements
such as the boombox graphic printed onto the
cardboard material, reflective of the cardboard
mats used in the ‘80s and today. The variety
of old-school and new school hip-hop beats
accompanied with stickers and flyers help to
take the old school b-boys and b-girls, as well
as new enthusiasts, back to the success of the
breakdance culture. Education, history, and
creativity prove to be the dominant aspects of
this package and show the diversity of graphic
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43 Break Racism
design in breakdancing in the 21st century.
In the 1980s breakdancing was performed by
African Americans and Latinos; today it has re-
emerged as a universally inclusive art. The ‘80s
displays of fluorescent colors, wild style graffiti,
and unique fashions, were reflected in many
design media. In the 21st century breakdance
design vocabulary includes digitally generated
three-dimensional lettering and graffiti, a
diverse color palette and a reliance on modern
technology for printing and video. This fusion
of breakdance and design has exploded glob-
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
many diverse styles of breakdancing. Both time
periods reflect racial acceptance in different
ways, the traditions, originality in moves and
talent became the most notable attributes
of b-boys. Design in breakdancing started
small in the ‘80s, and has now grown on an
unprecedented scale. Breakdancing is a form
of creative art that invites people of all ethnici-
ties to challenge themselves. I see graphic
design working in the same context as the
dance itself. Graphic design in breakdancing
continues to evolve. Where it ends up is up to
the creativity of the designers and breakdanc-
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45 Break Racism
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 break-
dancing 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
Jason Powell
INTERVIEW
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Break Racism 46
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 fluores-
cent 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, Kraft-
werk, 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.
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47 Break Racism
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 ap-
parel 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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Break Racism 48
NIGER MILESINTERVIEWDL:
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 com-
monality 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 break-
ers, 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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49 Break Racism
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 break-
dancing 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 fluores-
cent 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 contrast-
ing 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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Break Racism 50
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 depart-
ment 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 impor-
tantly 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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51 Break Racism
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 hap-
pening 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. How-
ever 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?!
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